With no written language, Aboriginal cultures have maintained their customs, myths, and legends through ceremony and a deeply seated verbal tradition. Tribal lore is passed on by storytelling, and important stories are memorized and handed down to new generations by clan elders. As young men mature and gain prestige within their clan, they are entrusted with specific tales known as “dreamings”, and are considered to be the guardian of these stories until they pass them on to the next generation. This holds true for artwork as well. Artists “inherit” stories, themes, and characters from their tribal group, which can be illustrated by no-one else. These inherited characters and stories strongly influence an artist’s work, and are repeated and embellished throughout the artist’s life.

As well as painting on stone, Aboriginal artists also painted on Eucalyptus bark, dried and flattened over an open fire. This tradition began before the European settlement of Australia in the 1700s. Due to their temporary nature, most early works have been destroyed by age and weather, and the date the style began is unknown. Painting on bark may have begun with Aboriginal artists painting the interiors of their bark shelters in a manner similar to painting in caves, or with the painting of shields, weapons, and other personal objects. The use of flattened bark increased in the 1920s with requests from outsiders for work that could be easily transported. This technique worked, but the bark paintings often warp or crack from drying and stress.

Since the 1960s the introduction of oil and acrylic paints, canvas, printmaking techniques, and high quality papers has caused a revolution in Aboriginal art, providing Aboriginal artists with powerful tools to visualize their rich culture and tradition. In 1990 high quality rag paper and archival watercolors were introduced to artists working at Injalak. The paper was quickly accepted as an alternative to painting on bark, and a technique was developed using watercolors to create rich, layered backgrounds. Despite the availability of modern materials, artists chose to continue to use traditional ochre pigments to create the detailed drawings that are the focal point of each piece.

The new materials introduced at Injalak were part of an attempt to create a visual record of rapidly disappearing Aboriginal traditions. The European colonization of Australia that began with the exile of English prisoners in the 1700s, decimated the indigenous population through warfare, forced enculturation, and disease, and reduced the population from an estimated 3 million in 1700 to a quarter of a million today. Modern Australian culture continues to change Aboriginal life, with many young people leaving their clans and traditional lands to find work in the cities. As a result many “dreamings” are in danger of being lost forever. Organizations like the Injalak Art Center are working hard to enable Aboriginal artists to take pride in their heritage, to recognize the value of their culture, and to preserve one of the world’s oldest and most unique artistic traditions.

While in Oenpelli, Bock and Garland acquired a select grouping of original works from the artists working at Injalak. These works, along with original photography documenting their journey and the ancient rock art of the region, are available for viewing at the Williams Gallery West in Oakhurst.

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To view our catalog of Aboriginal Art