If the 1980s proved to be instrumental for the revival of indigenous art - in India, J. Swaminathan's Bharat Bhawan paved the way for more such engagements - it was at the turn of the 21st century that we saw artists practising these forms - Warli, Gond, Kalighat, to name just a few - selling works at prices comparable with some contemporary art. Australia has been seeing a parallel - if a somewhat more accelerated - movement in the indigenous arts space. Case in point: the Queensland Art Gallery has an entire collection devoted to indigenous Australian art. As the India Art Fair 2025 opens, some of this indigenous Australian art will be available for visitors to see at booth K07 of the Delhi fair.
Of course, parallels between Indian and Australian indigenous art don't end there. There is a wealth of similarities in where the artists find inspiration, even though the specific stories may differ. So, myths, folklore, farming, fishing, local customs are common sources of inspiration. Consider the Western Australian story of Aalingoon, the rainbow serpent, also called the lore-giver. The belief is that the serpent comes to the surface of the ocean and sheds scales/oyster shells which contain stories that shell-carvers can then work out of the luminescent mother of pearl. Of course, fantastic beasts - including serpents with supernatural features - are observed in Indian myths, too.
Or the story of Galalan, the first "Bard Creator Ancestor" who was so concerned about man's greed that he created the rivers and streams to carry the water away from the lakes and into the sea, to make the overuse of resources that much harder. Agitated by this, the people hunted him down, speared him and threw him into the water which he then roamed as a hammerhead shark man or Loolool till he became part of the Milky Way through another mythical intervention.
Geometric patterns, dots, dashes, symbols, too, appear across these practices. Natural materials - both surfaces and paints - are common. As is the preference for earthy colours - rust red, ochre yellow.
One of Australia most successful contemporary indigenous artists, Darrell Sibosado is in India for the first time, for the India Art Fair. This is also the first time he's showing his works outside of Australia. Sibosado's art is interesting for a few reasons. One, he straddles the world of the ancient and the contemporary with a style statement that is difficult to ignore. Consider his use of LED lights for large wall-mounted installations that nonetheless draw on stories passed down generations in Western Australia.
"Traditionally, we are pearl-shell (riji) carvers," he said in an email interview to Moneycontrol. "I am drawn to use of light in my attempt to replicate the iridescence of the mother of pearl we carve. The geometric nature of our designs and motifs, are evidence of the way we "see" or "observe", this coupled with the contemporary material gives the impression of contrived abstract work but it is not, it is deeply grounded in our authentic and ancient symbolism."
A lot of what Sibosado has to say about his practice seems relevant for indigenous art worldwide as well. For instance, in his interview to Moneycontrol, he said one of the biggest challenges for indigenous artists today "is to be accepted and acknowledged as contemporary artists in their own right and not be forced to into an 'anthropological' display case."
Read the full interview below:
You seem to draw your themes from tradition, but your expression – especially the large light installations – looks quite futuristic.
Traditionally, we are pearl-shell carvers - the style and designs I use are what has been passed down to my brothers and myself. I utilize whatever materials and media that makeup the world around me, as our ancestors have done since the beginning. I started with corten steel because the rust reminded me of the ochre we use in our etchings and I am drawn to use of light in my attempt to replicate the iridescence of the mother of pearl we carve. The geometric nature of our designs and motifs, are evidence of the way we "see" or "observe", this coupled with the contemporary material gives the impression of contrived abstract work but it is not, it is deeply grounded in our authentic and ancient symbolism.
You work with both prints and installation – how did you become an artist, and why these mediums?
I have always dreamt of presenting our visual language in its contemporary space, on a large scale, utilizing robust materials - the printmaking was my first step toward realizing this.
One story that keeps coming up in your art – perhaps the one about the Rainbow Snake – and why it resonates with you...
Arlingoon - the rainbow serpent - is our lore giver. Our spiritual connection to mother of pearl comes directly from him - the mother of pearl are his scales which he sheds on the full moon when he comes to rest on the surface of the ocean. We collect the oyster (scales) on the big todes when the reef is exposed. The stories and lore are embodied in the shell - we must then carve the shell to get the story/lore and add ochre to bring it forward.
Indigenous art seems have been on the rise these past 40-50 years in India. Do you see this happening in Australia as well, especially Western Australia, where you are from?
Indigenous art has probably been the most dominant arts movement in Australia since the late 70s. This continues today and in western Australia other forms and styles are now being acknowledged and appreciated. The world is realizing we are not just dots and boomerangs but speak many different visual languages and methods.
What are the biggest challenges for indigenous art today?
I think the biggest challenge for indigenous artists is to be accepted and acknowledged as contemporary artists in their own right and not be forced to into an "anthropological" display case. Indigenous art, like all arts is commentary; it is as relevant today as it was thousands of years ago - the challenge is to be accepted as contemporary whilst also being celebrated as ancient.
You are going to be showing your works in India, at the India Art Fair 2025. Please tell us about the works, and their selection. Also, is this your first trip to India as well as your first show outside of Australia?
We, my gallerist - Nick Smith and I - chose these works because they are representative of my practice to date - they show where my practice originated and where I’m taking it. This is my first trip to India and my first show outside of Australia. I have done bigger scale and larger light works but unfortunately the logistics of bringing them to India was out of the question. I arrived last night (February 5) so haven't been anywhere except my hotel and the art fair venue in Delhi. I would love to see more of India, but I will have to come back to do that as I am only here for a short time, specifically for the art fair. I have every intention of coming back with more time and freedom to immerse myself in your culture - to get to know your people and your lands.
Your works are now in the collections of the biggest museums in Australia – this, compared with the earlier sidelining of indigenous art, not just in Australia but worldwide...
There are great indigenous artists, in Australia and the world, who have already beaten down doors and changed perceptions. I hope I am doing them justice and doing my part in giving indigenous art its due respect and rightful place in contemporary spaces.
