Lin Onus

In comparison to the previous artist I reviewed, I found another one that is more contemporary and creates artworks using appropriation and a mixture of Aboriginal paintings techniques as well as Western imagery to bring forth his position on Identity. This artist is Lin Onus who was born in Melbourne 1948. Unlike Emily he was exposed from a young age to the art world as he worked in his fathers arts and crafts shop. It wasn't until later in his life did he embrace his Aboriginal heritage by travelling to an Aborignal community where he met a man named Jack Wunuwun in Maningrida. Jack was concerned that there wasn't enough awareness or exposure to Indigenous art in the South and therefore adopted Lin as a son and began to teach him their culture and traditions. In his art Lin combines Western and Aboriginal imagery to play with stereotypes and art history. This technique is displayed in his piece 'Michael and I are jsut slipping down the pub for a minute' 1993

Lin Onus has appropriated from a few different sources in this image. Firstly the dog is created realistically - influenced by Western art, but the wave was originally from the Japanese artwork 'The Great Wave' by Hokusai in 1800. He has inlcuded tradiontal Aboriginal motifs over the dog and the stingray in which is surfs upon, also making reference to the popular Australian sport. He is combining different contexts surrounding art in order to express his own views on stereotyping and his Aborignal heritage but in a very light-hearted manner.
After looking at Emily in the previous post it is clear to see how Aboriginal art has developed through the years. Artists still appear to be using the techinques of the ancient Aboringal art but the context is moving from culture and spritiuality to their fight to find their Identity in a Western dominant society.

Emily Kame Kngwarreye

Whilst researching for an assignment I came across an Indigenous artist I had never really heard about but was apparently one of the most pronowned Aboriginal artists of her time. Emily Kame Kngwarre was born in an isolated area of Australia named Alhalkere in 1910. She worked most of her life working on pastorial properties as a stockhand. She had very little exposure to Western society, especially the artworld. It wasn't until late in her life that she discovered her passion for painting, having a career spanning over 8 years. It is believed that during this short period Emily completed over 3000 paintings, which averages to at least one painting per day. Unlike many professional artists her studio was situated under a piece of corrugated steal leaning against a tree, producing artworks based around her cultural life and her own personal Dreamtime. Through her paintings it is evident to see her connection to the community, country and ancestral history of her region. It appeared that her art and life was completely inseperable. Emily had a very unique way of creating artworks as seen in her painting 'Emu woman' 1988. She appares to use a technique of layering with the traditional style of batik but with tranluscent colours done over and over again creating the illusion of depth. Emily describes the subject matter of her artworks as;
"Whole lot, thats the whole lot. Awelye (my dreamings), Alatyeye (pencil yam), Arkerrthe (mountain devil, lizard), Ntange (grass seed), Tingu (a Dreamtime pup), Ankerre (emu), Intekwe (a favourite food of emu's, small plant), Atnwele (green bean), and Kame (yam seed). That's what I paint, the whole lot."
Its amazing to see an artist that had no proffessional training and no exposure to the art world can be considered one of the masters of fine arts. It shows how art can come naturally through spirituality in their societies. It doesn't need any critical review or praise it is purely for her community to display the dreaming and their cultural life. I am amazed that I had not previously heard about this artist as she appears to be one of the dominant artists in Indigenous art.