Contemporary Aboriginal and Torres Strait Islander Art
Key Idea 3: Kinship & Family

Family and kinship are of central importance to Aboriginal and Torres Strait Islander peoples. From the intimate relations of immediate family, to the broader connections between communities, and the macro associations between the distinct Indigenous nations across Australia. Elders hold a high place in Indigenous society as witnesses to history and custodians of sacred and essential knowledge. Much of the Indigenous peoples’ knowledge is preserved in language through the telling, listening, and re-telling of stories across generations. In this way, through respectful listening to Elders, knowledge of culture, spirituality, law and Country are passed on to new generations. Because ancestral knowledge is transferred through interpersonal contact, the maintenance of familial relationships is essential.

Art is also an important conduit for Indigenous knowledge and cultural practices. For tens of thousands of years up to the present-day, Indigenous people have been able to learn from their ancestors through the art that they left behind. This can take the form of imagery, such as rock paintings, or objects, such as carved shields. Because these artforms are incredibly durable, it means that new generations are able to learn directly from their ancestors who lived in much earlier times. They are also able to produce their own artworks to pass on knowledge to younger generations in turn.

Key Artworks

Yhonnie Scarce, Remember royalty series 2018, installation view, Australian Centre for Contemporary Art, Melbourne. Courtesy This Is No Fantasy + Diane Tanzer Gallery, Melbourne. Photograph: Andrew Curtis.

Yhonnie Scarce
Remember royalty (series)
2018

Yhonnie Scarce is a Melbourne-based artist and a descendant of the Kokatha and Nukunu peoples, of South Australia. Scarce has a multidisciplinary art practice, including sculpture and installation, but she is best known as a master glass blower for her sculptural glass objects.

Family are of central importance to Scarce. She thinks about everything that she does as an artist as being for them and that she owes her opportunities to their hard work and resilience. Scarce exhibits internationally and when she travels, she feels her ancestors travelling with her. She will talk to them about what is happening, for instance saying “Alright, guys, we’re off to Berlin!” 

The title of Scarce’s series Remember Royalty refers to the artist imagining her family as Australia’s royalty, in place of the British royal family. She has said that she wants people to pay respect to her ancestors and to acknowledge the importance of family in general, but especially in Indigenous community. Scarce has said “As far as I’m concerned my grandparents, great grandparents and those people who walked my Country before me, are Australia’s royalty”.

The images suspended from the gallery ceiling are scaled-up versions of original photographs of her grandparents, great grandparents, and other ancestors screen-printed onto different types of vintage fabric. In front of three of the images is an accompanying collection of glass objects and readymade items that relate to the people in each image.

The second artwork in the series Fanny – Andamooka opal fields, South Australia features a photograph of her grandmother Fanny Graham. The photograph printed on a floral sheet is a personal reference to the floral shirt Fanny is wearing in the photograph. In front of her image is a vintage ladies’ traveling case containing vintage gloves, a fine handmade handkerchief and lustre blown black glass objects in the form of bush plums.

The placement of the collection of objects in a travelling case reflects her grandmother’s travels throughout Australia to allow her husband to work, with five children in tow. The objects are fine and dainty, reflecting the fact that her grandmother was a proud, handsome woman who favoured the finer things in life. The bush plums are native to Scarce’s and her grandmother’s Country and the artist presents them as gifts to her grandmother, reflecting their shared belonging to that place.

Lisa Waup, Ancestors 2018 (detail), 2 cloaked figures: feathers, ceramic, glaze, digital print on cotton rag, cotton, copper wire, bird’s feet and metal stands, 41 x 28 x 50 cm (each), 2 winged figures: feathers, ceramic, glaze, oaten hay, fibre, bird’s wings, wool, cotton, 30 x 30 x 20 cm (each); Family 2018 (detail), 5 figures: feathers, ceramic, glaze, forged recycled copper water heater, copper patina, copper wire, fibre, 20 x 13 x 13 cm (each), installation view, Australian Centre for Contemporary Art, Melbourne. Courtesy the artist. Photograph: Andrew Curtis.

Lisa Waup is a Melbourne-based Gunditjmara and Torres Strait Islander contemporary artist who draws on traditional techniques such as weaving to create her artworks. She often incorporates natural materials and found objects such as feathers, grasses, seeds and animal bones and teeth into her creations. Waup’s family and ancestral history are central to her art practice and the artist has said “Family is everything to me, it has always been the epitome of happiness. The connectivity, love and strength it brings has shaped me into who I am today…” Through her art Waup connects to her the story of her ancestry.

Waup has spoken of her woven artworks as being about weaving stories. (Running) throughout my artwork is storytelling, basically, and I guess my connection to myself, my people, ancestors, the Country that I have grown up on and collecting found objects from different Country as well, which I weave into my work.”(via) A pair of figures within the group of sculptures titled Ancestors 2018 wear conical paper cloaks that are inscribed with protective shield designs and documentation of Waup’s family history. For the artist, these figures connect her to the story of her ancestry, as figures of strength and resilience.

The five smaller figures that make up Family 2018 represent the complexity of Waup’s extended family. Waup was adopted at birth and has spoken about being “in some ways, quite detached from culture for a long period”. For Waup, weaving “is a great way to be able to tell story and be able to connect.” Both groups of small sculptures incorporate diverse materials – clay, feathers, copper wire, bird feet and paper. Waup collects items like a magpie by paying close attention to her surrounds in day-to-day life. In this way, her sculptures tell the viewer about the places she has been. Waup’s family and friends also save items that they find to give to her to make her artworks. In this way, the materials tell the viewer about her connection to friends and family, where they come from and the inspirational role that they play in contributing to her creative work – both conceptually and practically.

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