Gunhinharrung – Grandmother
I introduce this emotional and spiritual story through my style of Contemporary Aboriginal Art, a soft but very strong piece lovingly dedicated to Nan, for all grandmothers. From the centre, a large circular concentric shape that is my depiction of a traditional Aboriginal symbol for a campsite, or place of rest. The campsites central section is made up of carefully painted dots that together look like individual threads of fine art, each weave is lovingly painted to look really tight to represent the close-knit connection we have with our grandmother. In this piece, she is the campsite, in the form of a tightly woven basket. The head of the family that we can turn to when things aren’t making sense. Grandmothers sometimes don’t have much, by widening the circle, I demonstrate there is always enough to go around, and a safe place to rest. The colour story sees the strong earthy tones repeat depicting the generational connection to country. The palette for the entire piece is a purposeful blend of tones from the centre representing our connection to Country, blending outward in its woven style, to the feminine pink shades that (to me) represent a soft place to fall. As the circle widens and the colours blend out, carefully placed dots represent many grandkids who are all different threads from that common centre, and sometimes these threads unravel. It is often that campsite and a Nans love that weaves those threads back together. People have fond memories of this, like me. As the artist, I am proud to share my maternal family briefly through this story. Nan was Elsie Kennedy born near White Cliffs NSW and the story she frequently told us was that she was born at the butt of a tree. She met and married my grandfather Fred Gibson, an Aboriginal drover on country like both their fathers before them. The family’s droving life led them to eventually settle near local landmark Dundullimal, on the outskirts of Dubbo NSW. Nan later lived in town in a tiny “commission” house, she didn’t have much but had walls that stretched to fit us all and more, food would also stretch, and no one was left hungry. I have many fond memories finding refuge and sense with Nan, like sleeping top and tail with Cousin Tess before finding my place in the world. This piece will represent anyone’s own story, to dedicate their own “campsite” of individual and sometimes complex threads, I hope it depicts those times most dear to our hearts. Until we meet again in that special place beyond, love you Nan
I introduce this emotional and spiritual story through my style of Contemporary Aboriginal Art, a soft but very strong piece lovingly dedicated to Nan, for all grandmothers. From the centre, a large circular concentric shape that is my depiction of a traditional Aboriginal symbol for a campsite, or place of rest. The campsites central section is made up of carefully painted dots that together look like individual threads of fine art, each weave is lovingly painted to look really tight to represent the close-knit connection we have with our grandmother. In this piece, she is the campsite, in the form of a tightly woven basket. The head of the family that we can turn to when things aren’t making sense. Grandmothers sometimes don’t have much, by widening the circle, I demonstrate there is always enough to go around, and a safe place to rest. The colour story sees the strong earthy tones repeat depicting the generational connection to country. The palette for the entire piece is a purposeful blend of tones from the centre representing our connection to Country, blending outward in its woven style, to the feminine pink shades that (to me) represent a soft place to fall. As the circle widens and the colours blend out, carefully placed dots represent many grandkids who are all different threads from that common centre, and sometimes these threads unravel. It is often that campsite and a Nans love that weaves those threads back together. People have fond memories of this, like me. As the artist, I am proud to share my maternal family briefly through this story. Nan was Elsie Kennedy born near White Cliffs NSW and the story she frequently told us was that she was born at the butt of a tree. She met and married my grandfather Fred Gibson, an Aboriginal drover on country like both their fathers before them. The family’s droving life led them to eventually settle near local landmark Dundullimal, on the outskirts of Dubbo NSW. Nan later lived in town in a tiny “commission” house, she didn’t have much but had walls that stretched to fit us all and more, food would also stretch, and no one was left hungry. I have many fond memories finding refuge and sense with Nan, like sleeping top and tail with Cousin Tess before finding my place in the world. This piece will represent anyone’s own story, to dedicate their own “campsite” of individual and sometimes complex threads, I hope it depicts those times most dear to our hearts. Until we meet again in that special place beyond, love you Nan
I introduce this emotional and spiritual story through my style of Contemporary Aboriginal Art, a soft but very strong piece lovingly dedicated to Nan, for all grandmothers. From the centre, a large circular concentric shape that is my depiction of a traditional Aboriginal symbol for a campsite, or place of rest. The campsites central section is made up of carefully painted dots that together look like individual threads of fine art, each weave is lovingly painted to look really tight to represent the close-knit connection we have with our grandmother. In this piece, she is the campsite, in the form of a tightly woven basket. The head of the family that we can turn to when things aren’t making sense. Grandmothers sometimes don’t have much, by widening the circle, I demonstrate there is always enough to go around, and a safe place to rest. The colour story sees the strong earthy tones repeat depicting the generational connection to country. The palette for the entire piece is a purposeful blend of tones from the centre representing our connection to Country, blending outward in its woven style, to the feminine pink shades that (to me) represent a soft place to fall. As the circle widens and the colours blend out, carefully placed dots represent many grandkids who are all different threads from that common centre, and sometimes these threads unravel. It is often that campsite and a Nans love that weaves those threads back together. People have fond memories of this, like me. As the artist, I am proud to share my maternal family briefly through this story. Nan was Elsie Kennedy born near White Cliffs NSW and the story she frequently told us was that she was born at the butt of a tree. She met and married my grandfather Fred Gibson, an Aboriginal drover on country like both their fathers before them. The family’s droving life led them to eventually settle near local landmark Dundullimal, on the outskirts of Dubbo NSW. Nan later lived in town in a tiny “commission” house, she didn’t have much but had walls that stretched to fit us all and more, food would also stretch, and no one was left hungry. I have many fond memories finding refuge and sense with Nan, like sleeping top and tail with Cousin Tess before finding my place in the world. This piece will represent anyone’s own story, to dedicate their own “campsite” of individual and sometimes complex threads, I hope it depicts those times most dear to our hearts. Until we meet again in that special place beyond, love you Nan
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