Latest news with #BrandiSalmon
Herald Sun
08-07-2025
- Entertainment
- Herald Sun
'Blak art is so much more than dot painting - we just don't get to see it'
If you were handed a piece of paper and asked to create an artwork inspired by Indigenous culture, what would you draw? Chances are, you said dots. But for Australian artist Brandi Salmon, she hopes to one day see a world where that's no longer the automatic answer. Image: Supplied RELATED: 'Invisible': Aussie mum's mission to shield her baby from harsh truth "It's not all just whip out the cotton buds and start doing dot painting" 'I just don't like the stereotype. I obviously love dot painting.' the Tasmanian mum told Kidspot. This NAIDOC Week, Brandi is urging teachers to go beyond what's easy, familiar or expected — and instead focus on authentic, localised learning when introducing Aboriginal art in the classroom. 'Even if they could just say, 'this is what this region does that we're standing on right now. Like, this is what we do. It's not all just you whip out the cotton buds and start doing dot painting,'' Brandi said. Dot painting is one of the most recognisable styles of Aboriginal art and also one of the most misunderstood. The contemporary dot painting movement began in the 1970s in the Central and Western Desert, when senior men began transferring traditional sand and body designs onto canvas. Dots were often used to obscure sacred symbols, protecting cultural knowledge from outsiders. Want to join the family? Sign up to our Kidspot newsletter for more stories like this. But over time, dot painting became the default art project in Australian classrooms, often taught without context, permission or connection to the Country it came from. 'It's the stereotype. The mainstream idea that Aboriginal people just do dot painting,' Brandi said. 'Even if I was to do a dot painting, I would find that offensive because I'm not even from that mob.' In Aboriginal culture, specific art styles and stories belong to particular mobs or regions — and painting in a style that's not yours can be seen as culturally inappropriate. For Brandi, a Wiradjuri woman now based in Tasmania, the dominant focus on dot painting throughout her own school years felt alienating and inaccurate. Like many young Aboriginal people, she didn't have access to the passing down of traditional art knowledge. 'I didn't get to grow up around my own mob,' she said. 'A lot of us young people, or just a lot of Aboriginal people in general, we didn't grow up with the passing down of that knowledge 'cause a lot of it was just spoken word.' Her culture, like so many others, is rooted in completely different styles. 'We do lots of different line work and things like that,' she said. Despite her success as an artist, known for reimagining classical Western portraits by replacing their subjects with strong Indigenous women, Brandi says she's never felt comfortable using traditional Aboriginal painting techniques. 'I don't know my own traditional style of painting and that's like a goal of mine,' she said. 'But I don't want to half-ass it.' Brandi paints in a style that blends Western fine art techniques, like oil portraiture, with Blak identity and storytelling. 'It's kind of uncanny because it'll look really like 'fine art'. Like a traditional style of painting, but then it's a Blackfella,' she said. Brandi says she's part of a growing wave of Aboriginal artists pushing the boundaries of what Indigenous art can look like and she believes this is what schools should be showcasing to students. 'We're all individuals. We all have our own interests,' she said. 'Like I know a lot of Blackfellas who just do digital art… I know people who created their own video games, things like that.' Brandi says that teachers shouldn't be afraid to ask questions. Image: Supplied "They can tell when you really care" RELATED: Indigenous craft to do with your kids She believes that by exposing students to modern Indigenous artists, schools can challenge narrow stereotypes and show young people the full spectrum of what Aboriginal identity looks like today. 'Even if they could just show them [young artists] to the kids, I think that could really change people's opinion on what Blak art is today. Because we're not all doing one thing,' Brandi explained 'I never saw that growing up.' Her advice to teachers who want to do better? Start early, do the work, and don't be afraid to ask, even if you're worried about getting it wrong. 'It is kind of scary. Like, you don't want to offend by doing the wrong thing,' Brandi said. 'But I think as long as Blackfellas know when you've done your due diligence and they can tell when you really care.' She encourages schools to reach out to local Aboriginal artists or Elders, and where possible, budget for workshops or talks so students can learn directly from community. 'We've already had so much taken away. It's like all we, I guess, kind of ask for is just understanding,' she said. And to those who are still unsure where to start? 'If you could just do a little Google search, even just that… I would be happy.' Brandi says getting it right isn't about perfection. It's about care, respect, and moving beyond checking off a curriculum box. Check out some of Brandi's favourite Indigenous artists on Instagram: Download and colour in the NAIDOC Week poster. Originally published as 'Blak art is so much more than dot painting - we just don't get to see it'
The Advertiser
05-07-2025
- Entertainment
- The Advertiser
This artist wants culture valued beyond NAIDOC Week
Each year the history, culture and achievements of Aboriginal and Torres Strait people are recognised during NAIDOC Week. This year marks 50 years of the national celebration and features the theme The next generation: strength, vision and legacy. Awards and flag-raising ceremonies, community events and art exhibitions are held across the country during each edition of NAIDOC, with local councils, businesses and popular brand names taking the opportunity to showcase First Nations culture. For Wiradjuri artist Brandi Salmon, the uptick in commercial and community interest ahead of NAIDOC Week is something she braces for each year. She's grateful for the platform this attention can provide for her and fellow artists but Salmon says it can also be disheartening. "A lot of businesses come right at NAIDOC when they need something done or need an Aboriginal artist to come and paint for them or teach their staff," she told AAP "But it's very inauthentic." "They'll come maybe three or four days or a week before NAIDOC and it feels like it's an afterthought, like a tokenistic thing." After teaching herself how to paint 10 years ago, Salmon has made her name as an artist with her work featured at Hobart Airport and painting for musicians Olivia Rodrigo and Lorde. She started painting portraits of Aboriginal women as a way to express herself and connect to her culture while living off-Country in Victoria. Now Hobart-based, she's embraced many opportunities but has also found herself having to make the difficult decision to turn down jobs that don't feel right. "In the past I've been asked at NAIDOC to sit in the foyer and do dot paintings with staff, with earbuds," she said. "That's not even the art that I do. I don't do dot paintings." Salmon says many artists have similar stories, with some asked to create work or speak at events for free or asked to recommend another artist for a collaboration. As NAIDOC Week 2025 kicks off on Sunday, Salmon encourages businesses to do the right thing by artists, saying Aboriginal culture should be valued at all times of the year. But for those who want to make meaningful engagements with First Nations artists she has some pointers. She says using the Australian Indigenous Design Charter as a framework for approaching an artist would be a "green flag" for her. The charter outlines 10 points for working on projects representing First Nations culture, including ensuring the process is Indigenous-led, respecting community protocols and ensuring respectful, culturally-specific and personal engagement. "Approaching (artists) more than a week before NAIDOC is important- you need to make it a few months - and also ask what their rates are," she said. "Don't underpay them." Each year the history, culture and achievements of Aboriginal and Torres Strait people are recognised during NAIDOC Week. This year marks 50 years of the national celebration and features the theme The next generation: strength, vision and legacy. Awards and flag-raising ceremonies, community events and art exhibitions are held across the country during each edition of NAIDOC, with local councils, businesses and popular brand names taking the opportunity to showcase First Nations culture. For Wiradjuri artist Brandi Salmon, the uptick in commercial and community interest ahead of NAIDOC Week is something she braces for each year. She's grateful for the platform this attention can provide for her and fellow artists but Salmon says it can also be disheartening. "A lot of businesses come right at NAIDOC when they need something done or need an Aboriginal artist to come and paint for them or teach their staff," she told AAP "But it's very inauthentic." "They'll come maybe three or four days or a week before NAIDOC and it feels like it's an afterthought, like a tokenistic thing." After teaching herself how to paint 10 years ago, Salmon has made her name as an artist with her work featured at Hobart Airport and painting for musicians Olivia Rodrigo and Lorde. She started painting portraits of Aboriginal women as a way to express herself and connect to her culture while living off-Country in Victoria. Now Hobart-based, she's embraced many opportunities but has also found herself having to make the difficult decision to turn down jobs that don't feel right. "In the past I've been asked at NAIDOC to sit in the foyer and do dot paintings with staff, with earbuds," she said. "That's not even the art that I do. I don't do dot paintings." Salmon says many artists have similar stories, with some asked to create work or speak at events for free or asked to recommend another artist for a collaboration. As NAIDOC Week 2025 kicks off on Sunday, Salmon encourages businesses to do the right thing by artists, saying Aboriginal culture should be valued at all times of the year. But for those who want to make meaningful engagements with First Nations artists she has some pointers. She says using the Australian Indigenous Design Charter as a framework for approaching an artist would be a "green flag" for her. The charter outlines 10 points for working on projects representing First Nations culture, including ensuring the process is Indigenous-led, respecting community protocols and ensuring respectful, culturally-specific and personal engagement. "Approaching (artists) more than a week before NAIDOC is important- you need to make it a few months - and also ask what their rates are," she said. "Don't underpay them." Each year the history, culture and achievements of Aboriginal and Torres Strait people are recognised during NAIDOC Week. This year marks 50 years of the national celebration and features the theme The next generation: strength, vision and legacy. Awards and flag-raising ceremonies, community events and art exhibitions are held across the country during each edition of NAIDOC, with local councils, businesses and popular brand names taking the opportunity to showcase First Nations culture. For Wiradjuri artist Brandi Salmon, the uptick in commercial and community interest ahead of NAIDOC Week is something she braces for each year. She's grateful for the platform this attention can provide for her and fellow artists but Salmon says it can also be disheartening. "A lot of businesses come right at NAIDOC when they need something done or need an Aboriginal artist to come and paint for them or teach their staff," she told AAP "But it's very inauthentic." "They'll come maybe three or four days or a week before NAIDOC and it feels like it's an afterthought, like a tokenistic thing." After teaching herself how to paint 10 years ago, Salmon has made her name as an artist with her work featured at Hobart Airport and painting for musicians Olivia Rodrigo and Lorde. She started painting portraits of Aboriginal women as a way to express herself and connect to her culture while living off-Country in Victoria. Now Hobart-based, she's embraced many opportunities but has also found herself having to make the difficult decision to turn down jobs that don't feel right. "In the past I've been asked at NAIDOC to sit in the foyer and do dot paintings with staff, with earbuds," she said. "That's not even the art that I do. I don't do dot paintings." Salmon says many artists have similar stories, with some asked to create work or speak at events for free or asked to recommend another artist for a collaboration. As NAIDOC Week 2025 kicks off on Sunday, Salmon encourages businesses to do the right thing by artists, saying Aboriginal culture should be valued at all times of the year. But for those who want to make meaningful engagements with First Nations artists she has some pointers. She says using the Australian Indigenous Design Charter as a framework for approaching an artist would be a "green flag" for her. The charter outlines 10 points for working on projects representing First Nations culture, including ensuring the process is Indigenous-led, respecting community protocols and ensuring respectful, culturally-specific and personal engagement. "Approaching (artists) more than a week before NAIDOC is important- you need to make it a few months - and also ask what their rates are," she said. "Don't underpay them." Each year the history, culture and achievements of Aboriginal and Torres Strait people are recognised during NAIDOC Week. This year marks 50 years of the national celebration and features the theme The next generation: strength, vision and legacy. Awards and flag-raising ceremonies, community events and art exhibitions are held across the country during each edition of NAIDOC, with local councils, businesses and popular brand names taking the opportunity to showcase First Nations culture. For Wiradjuri artist Brandi Salmon, the uptick in commercial and community interest ahead of NAIDOC Week is something she braces for each year. She's grateful for the platform this attention can provide for her and fellow artists but Salmon says it can also be disheartening. "A lot of businesses come right at NAIDOC when they need something done or need an Aboriginal artist to come and paint for them or teach their staff," she told AAP "But it's very inauthentic." "They'll come maybe three or four days or a week before NAIDOC and it feels like it's an afterthought, like a tokenistic thing." After teaching herself how to paint 10 years ago, Salmon has made her name as an artist with her work featured at Hobart Airport and painting for musicians Olivia Rodrigo and Lorde. She started painting portraits of Aboriginal women as a way to express herself and connect to her culture while living off-Country in Victoria. Now Hobart-based, she's embraced many opportunities but has also found herself having to make the difficult decision to turn down jobs that don't feel right. "In the past I've been asked at NAIDOC to sit in the foyer and do dot paintings with staff, with earbuds," she said. "That's not even the art that I do. I don't do dot paintings." Salmon says many artists have similar stories, with some asked to create work or speak at events for free or asked to recommend another artist for a collaboration. As NAIDOC Week 2025 kicks off on Sunday, Salmon encourages businesses to do the right thing by artists, saying Aboriginal culture should be valued at all times of the year. But for those who want to make meaningful engagements with First Nations artists she has some pointers. She says using the Australian Indigenous Design Charter as a framework for approaching an artist would be a "green flag" for her. The charter outlines 10 points for working on projects representing First Nations culture, including ensuring the process is Indigenous-led, respecting community protocols and ensuring respectful, culturally-specific and personal engagement. "Approaching (artists) more than a week before NAIDOC is important- you need to make it a few months - and also ask what their rates are," she said. "Don't underpay them."
Perth Now
04-07-2025
- Entertainment
- Perth Now
This artist wants culture valued beyond NAIDOC Week
Each year the history, culture and achievements of Aboriginal and Torres Strait people are recognised during NAIDOC Week. This year marks 50 years of the national celebration and features the theme The next generation: strength, vision and legacy. Awards and flag-raising ceremonies, community events and art exhibitions are held across the country during each edition of NAIDOC, with local councils, businesses and popular brand names taking the opportunity to showcase First Nations culture. For Wiradjuri artist Brandi Salmon, the uptick in commercial and community interest ahead of NAIDOC Week is something she braces for each year. She's grateful for the platform this attention can provide for her and fellow artists but Salmon says it can also be disheartening. "A lot of businesses come right at NAIDOC when they need something done or need an Aboriginal artist to come and paint for them or teach their staff," she told AAP "But it's very inauthentic." "They'll come maybe three or four days or a week before NAIDOC and it feels like it's an afterthought, like a tokenistic thing." After teaching herself how to paint 10 years ago, Salmon has made her name as an artist with her work featured at Hobart Airport and painting for musicians Olivia Rodrigo and Lorde. She started painting portraits of Aboriginal women as a way to express herself and connect to her culture while living off-Country in Victoria. Now Hobart-based, she's embraced many opportunities but has also found herself having to make the difficult decision to turn down jobs that don't feel right. "In the past I've been asked at NAIDOC to sit in the foyer and do dot paintings with staff, with earbuds," she said. "That's not even the art that I do. I don't do dot paintings." Salmon says many artists have similar stories, with some asked to create work or speak at events for free or asked to recommend another artist for a collaboration. As NAIDOC Week 2025 kicks off on Sunday, Salmon encourages businesses to do the right thing by artists, saying Aboriginal culture should be valued at all times of the year. But for those who want to make meaningful engagements with First Nations artists she has some pointers. She says using the Australian Indigenous Design Charter as a framework for approaching an artist would be a "green flag" for her. The charter outlines 10 points for working on projects representing First Nations culture, including ensuring the process is Indigenous-led, respecting community protocols and ensuring respectful, culturally-specific and personal engagement. "Approaching (artists) more than a week before NAIDOC is important- you need to make it a few months - and also ask what their rates are," she said. "Don't underpay them."
