By Renee Sachi Bertol Yu
We are starting to see more and more Indigenous Art and Design appropriated into our everyday lives. In the National Gallery of Victoria until the 14th of July is the “From Bark to Neon: Indigenous Art from the NGV Collection” which features artists such as Paddy Compass Namadbara, Clifford Possum Tjapaltjarri, Rover Thomas, Trevor Nickolls, Lin Onus, Emily Kam Kngwarray, Sally Gabori, Brook Andrew and Destiny Deacon who have have shaped and transformed the face of Indigenous art in Australia and inspired many artists to follow in their example.T
Today I had the pleasure of visiting the exhibition and I can easily say that it has very much exceeded my expectations. It was a rather quiet afternoon and there were only about six to nine people in the exhibition while I was there.
Looking in from outside you could see little bits of warm pink light filling the atmosphere, perhaps from the neon pieces, and it definitely set a very modern and almost romantic atmosphere. Upon entering, I immediately took notice of all the bold and vibrant colours around me.
Smile, 2017, by Destiny Deacon was one of the first few pieces that caught my attention as it’s not like most other indigenous art pieces I have seen in the past in a sense that it makes use of a bright yellow colour and also photography as its chosen medium rather than traditionally used colours and mediums.
Then, Anwerlarr anganenty (Big yam Dreaming), 1995, by Emily Kame Kngwarreye filled my eyes as I approach the massive 291.1 x 801.8 cm painting. These art works definitely had me curious about what was ahead.
I entered a dark little corner, lit up by bright neon pieces like Regalia, 2013, by Reko Rennie. Next to these pieces seemed like more tradition pieces of art and it was rather interesting to see them side by side as they were both so different yet they share the same culture and perhaps some similar ideas.
As I continued through the exhibition more familiar and traditional pieces made from acrylic paint dotting on canvas were presented such as the Big Pintupi Dreaming ceremony, 1972, by Anatjari Tjakamarra.
When I think of indigenous art, earthy, warm, and neutral colours accompanied by abstract patterns with organic forms usually come to mind, however this exhibition definitely took me by surprise it believe that it has done a great job of incorporating both modern and traditional art. I understand that discussing aboriginals in Australia is still a rather sensitive topic however as I learn more about them especially with the help of art, It has made me more eager to learn and potentially understand their culture and as someone who practices design, contemporary indigenous artist have definitely inspired me to be more bold and expressive with my work. I hope to see more exhibitions like this in the near future. I definitely recommend going to see Bark to Neon at the NGV while you still can!
Reference and Image Sources:
NGV Melbourne, (2019)
https://www.ngv.vic.gov.au/exhibition/from-bark-to-neon/
Design Methods 