final draft

Indeed, the works themselves are just as impactful and thought-provoking as the intent behind their
creation. Blak’s distinctive painting style is one that amalgamates traditional Aboriginal dot painting
with 90s-inspired, vibrant colours and popular culture references. His works, at their core, act as tools
of education about Australia’s dark past, whether this means recontextualising White King bleach to
make a statement about white colonialism, or hanging up 130 red, black and yellow rope nooses in an
exhibition with Adam Geczy titled The Most Goaled Race on Earth. The concerns that Blak has about the
high incarceration rates of Aboriginal and Torres Strait Islander people (where they represent only 3%
of the total population, yet more than 27% of Australia’s prison population) are prevalent in other works
too, such as the framed graphic in his studio of the “Go to Jail” monopoly square, except it says “Go to
hell” and the print features an Aboriginal figure in the centre.
What does this incarceration statistic tell us about the Australian political landscape? How can we, as
citizens, contribute to social critiques of such racism? Blak Douglas says: “Spread that message. Hang
it on your wall and make it public, as public as you can. Invite all the bogans in your family to Christmas
dinner and explain to them the Blak Douglas that you’ve purchased and why you’ve purchased that
artwork. It’s a little reminder of what we all need to take under our belt being an Australian citizen,
especially in the plight of what we’re trying to achieve with Indigenous recognition and sovereignty for
Aboriginal people. It’s all about spreading the word, getting it out there, and sharing that as much as
you can. Optimistically, at the end of the day, that will permeate through society.”
In 2015, Blak submitted Smoke and Mirrors (Uncle Max Eulo) to the Archibald Prize and became the
first identified Dhungatti Aboriginal artist to have been selected as a finalist in the Archibald. While
portraits of Indigenous subjects have won the prize in previous years, Blak says that no Indigenous
painter has won as of yet. “You can strive to win an award but they’re monitoring you very carefully,
because it’s a great risk to them to give an Aboriginal artist the microphone and lectern at a major art
event in Australia.” Still, with a great grin, he says that he wants to win the Archibald within ten years,
as well have secured galleries in New York, Beijing, Berlin and Mexico – cities where the epicentre of
art excitement are.
Blak’s first large solo exhibition since 2009 will feature powerful new bodies of work, opening on 20
April in Bangalow, NSW. His recent submissions for the Archibald, the Wynne, and the Sulman at the
Art Gallery of NSW documents the first time he’s participated in all three. He says, smiling: “I’ve also
been selected as a finalist in the Blake Prize this year so, things are progressing favourably.”
www.blakdouglas.com.au
carissa@polkadotcomms.com.au
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