Welcome to Redfern
ARTIST: Reno Rekkie and local artistsDATE: December 2012 - January 2013"The Redfern Terrace builds on a long tradition of sharing stories through art, and marks the beginning of the City of Sydney’s visionary Eora Journey program. The terrace on Caroline Street sits at the heart of a neighbourhood known for its Aboriginal history and activism, community life and cultural expression." – Hetti Perkins, Eora Journey Curatorial AdvisorWelcome to Redfern is a striking mural covering an entire terrace house in Redfern. The remaining end terrace at the corner of Caroline and Hugo Streets, Redfern, forms a landmark and monument to the neighbourhood’s Aboriginal history, activism, community and culture. Artist Reko Rennie and a group of local young Aboriginal artists transformed this Victorian-era terrace at The Block with vibrant graphic designs and murals of inspiring Aboriginal leaders.THE STREET ART CREATIVE PROCESSArtist Reko Rennie worked with a dedicated group of young Aboriginal artists from the local area in a series of street art workshops in December 2012 and January 2013.The project was inspired by a call from local communities to provide a place for young people and artists to practice their art. The City of Sydney’s Aboriginal and Torres Strait Islander Advisory Panel, along with curatorial advisor Hetti Perkins, oversaw the project.Rennie worked with the youth artists as a group and one-on-one to develop themes and ideas such as ‘local heroes’. On a practical level he provided workshop participants with the skills or ‘tricks of the trade’ to realise the work.The skills explored included stencilling, projection, freehand spraypainting, and paste-ups, and allowing time to consider their ideas and concepts for the work. Technology, such as scanning, was also used to realise ideas.The workshops were facilitated by the City of Sydney Youth Services, the Tribal Warrior Association, the Redfern Community Centre and other local youth facilities. The young artists were engaged through the Aboriginal Employment Services and paid for their contributions. The artwork was installed March 2013.ARTISTSReko Rennie is a Kamilaroi/Gamilaraay/Gummaroi man, born in Melbourne. Rennie received no formal artistic training, but as a teenager he discovered graffiti, which would become an all-consuming passion. He quickly began producing original art on the streets of Melbourne and matured into an interrogative and highly innovative artist.Through his art, Rennie explores what it means to be an urban Aboriginal in contemporary Australian society. His art and installations continually explore issues of identity, race, law and justice, land rights, stolen generations and other issues affecting Aboriginal and Torres Strait Islanders.Drawing inspiration from his Aboriginal heritage, he recreates traditional images in a contemporary context using neon, projection, installation and spray paint.Young artists drawn from the local community participated in workshops and worked together to create this public artwork. The artists were Nahdia Noter, Trae Campbell, Ji Duncan-Weatherby, Tyrrelle McGrath, Brandon Phillips, Isaac Phillips Josh Addo and Josh Nolan.Description from; http://www.cityartsydney.com.au/artwork/welcome-redfern/
Redfern Community Centre
ARTIST: Blak DouglasDATE: 2005This piece was painted by Blak Douglas on the side of the Redfern Community Centre after its establishment in 2005.The Redfern Community Centre, a focus for Aboriginal social and cultural activities in Sydney, is located in a refurbished former factory on The Block. It is surrounded by a landscaped park which is used for recreation and functions. Local Aboriginal elder, Auntie Joyce Ingram, cut the ribbon when the building was opened in March 2004 by NSW Governor Marie Bashir.Community groups involved in negotiations to establish the community centre for the local area included the Redfern Residents for Reconciliation, the Redfern Aboriginal Corporation, the Settlement, Renew, and the Chippendale Residents Wilson Bros Factory Site Action Group.Description from; http://www.sydneybarani.com.au/sites/redfern-community-centre/
Aboriginal Flag Mural
ARTIST: Alex Tui and Harold ThomasDATE: 2000Since 1971 the Aboriginal flag has grown to become one of the most powerful and iconic symbols for Aboriginal people across Australia.The flag was designed in 1971 by Harold Thomas, a Luritja man from central Australia, who at the time had recently graduated with honours from the South Australian School of Art in 1969. Thomas felt the need for a flag after attending the National Aborigines Day march in 1970.What do the colours of the Aboriginal flag mean? What do the colours of the Aboriginal flag represent? Those are some of the first questions asked by people learning about Aboriginal culture. There are only three colours; red, yellow and black. The flag consists of a red rectangle which sits below a black rectangle with a yellow circle in the middle.Red – The red symbolises the land we walk on and red ochre.Yellow – The yellow represents the sun which gives life.Black – The black represents Aboriginal people.In 2000, Redfern’s iconic Aboriginal flag was painted up by former Tongan born world champion kickboxer, Alex Tui at the Block. Tui choose a design the indigenous community ''would identify with and they'd be proud of''.''I thought it was something that would bring people together and [reaffirm] ownership of their part of Sydney,'' said Mr Tui, who raised his family on Eveleigh Street. ''At that time there was a lot of bad news, all negative, about the Block … but there's a lot of good things about the Block. I found I was accepted there more than anywhere else I lived in Sydney.''In 2014, Ilai Tui along with father Alex, manager of the Elouera-Tony Mundine Gym and kids from the local community, re-painted the Aboriginal flag on the back of the gym.Description from; https://www.welcometocountry.org/aboriginal-flag-history/https://www.smh.com.au/national/nsw/redfern-aboriginal-flag-mural-restored-before-pending-demolition-20140124-31e3l.html
Aboriginal Boxer
ARTIST: Anthony ListerDATE: TBCMost well known for his street art, Anthony Lister is a contemporary Australian-born painter and installation artist, best known for his merging of “high” and “low” cultural imagery in his work.Born in 1979 in Brisbane, Australia, he studied at the Queensland College of Art. Lister helped pioneer the street art movement in his home city as a teenager and is considered Australia’s premier street artist. His scrawling, figurative style employs charcoal, acrylic, spray paint, and oil. “The first rule of painting is to take everyone else out of the equation,” he has said. “I am the viewer, so I don’t underestimate my viewers. They see everything and I just have to assume that they are me. I can’t paint for anyone else.”His exhibitions include those held at the New Image Art Gallery in Los Angeles, Robert Fontaine Gallery in Miami, Jonathan Levine Gallery in New York and Black Art Projects in Melbourne. Lister currently lives and works in Sydney, Australia.Anthony Lister's Aboriginal boxer is located on Cleveland Street on the facade of Work-Shop. The mural is located a few streets behind the Tony Mundine Elouera Gymnasium at Redfern, which is currently closed. As such, it may pay homage to this place and it's role in the community. It may also be a reference more broadly to the role of boxing in Redfern, including in the Tribal Warrior's Clean Slate without Prejudice program.Description from; https://en.wikipedia.org/wiki/Anthony_Lister
Aboriginal Legal Service Childcare Mural
ARTIST: Guido van HeltenDATE: March 2015Painted from images from the archives of the Aboriginal Legal Service, first started in a shopfront in Redfern in 1970 providing free legal advice and services to Indigenous Australians. This was a vital step for Indigenous Australia who continue to fight discrimination to this day. This image relates to the Aboriginal Legal service childcare in Moree.Guido van Helten is an Australian artist, known for his photorealistic murals.Van Helten was raised in Brisbane and was a graffiti artist in his youth. He moved to Lismore, New South Wales to study visual arts at Southern Cross University, majoring in printmaking.Description from; http://www.guidovanhelten.com/2015/03/redfern-sydney/
Greg Inglis Rabbitohs Mural
ARTIST: Sid TapiaDATE: February 2018The mural of Greg Inglis was painted by aerosol artist, Sid Tapia and commemorates the role of Indigenous sports people in Australia.ARTISTSid was born Tuesday September 25th 1973 on Crown St in the city of Sydney, Australia to Ecuadorian immigrants Tito and Graciela Tapia.Currently, Sid is working as a full time artist, an ambassador / influencer for international brands RVCA, Adidas, Sony, G-Shock, Copic Markers & MTN Colors, husband to Anna-Mei and father to his beloved daughters, Skylar-Lovelle & Sianna-Lovelle.PLAYERGregory Paul Inglis (born 15 January 1987) is an Australian professional rugby league footballer who plays for the South Sydney Rabbitohs in the National Rugby League. A Queensland State of Origin and Australian international representative outside back, he previously played for the Melbourne Storm, with whom he won two grand finals, a Clive Churchill Medal and the Golden Boot Award; he is an indigenous Australian. He has also played for the Indigenous All Stars team.Details from; http://sidneytapia.com/
Welcome to the Block
ARTIST: Danny Eastwood and James SimonDATE: February 1994The recently completed mural along the wall between Pemulwuy Park and Redfern railway can only be described as 'community owned'. Although Council-funded and sponsored, the mural began with the establishment of a working party which included representatives of Council, Aboriginal elders, organisations and other residents. The working party consulted widely, selected the artists and developed the design brief. The mural was designed by Danny Eastwood [NAIDOC Aboriginal Artist of the Year in 1993] and local artist James Simon. Local residents contributed significantly to the final product, which is now a source of pride not only for the Aboriginal community but all of South Sydney.Description from; http://redfernoralhistory.org/Peopleandplaces/ART/Mural1990ishWelcometoTheBlock/tabid/314/Default.aspx
Sydney Opera House at Night
ARTIST: Emily CrockfordDATE: 2014, installed in 2018This piece of art was included in the tour for a number of reasons. It is not Aboriginal street art, but then a number of these pieces were not painted by Aboriginal artists either. It was included as it is a beautiful, eye-catching piece of art, but also because it surrounds the site which once housed the Aboriginal Housing Company. The AHC has relocated to Waterloo whilst the controversial redevelopment of The Block takes place. Emily's artwork, Sydney Opera House at Night, waslicensed by the City of Sydney to be displayed on construction hoardings around the city.
40,000 Years Mural
ARTIST: Carol Ruff, alongside artists Tracey Moffat, Emu Nugent, Avril Quaill, and in close collaboration with Redfern’s Aboriginal communityDATE: 1983, restored in 2018The landmark 40,000 Years mural on Lawson Street, opposite Redfern Station, was painted in 1983. Mural artist Carol Ruff led a team of artists who collaborated with the local community to create a mural to recognise the importance of Redfern as a living and meeting place for Aboriginal and Torres Strait Islander people. Many community members, past and present, were involved in the creation of the mural. The core group of artists were Carol Ruff, Colin Nugent, Tracey Moffatt, Joe Geia, Avril Quill, Kristina Nehm and Charlie Aarons, as well as people from The Settlement and students from the Eora Centre.The mural’s title comes from a song by the same name by Joe Geia which featured on his 1988 album Yil Lull. The song is a tribute to Aboriginal people’s continuous presence and cultural connection to country.The mural presents an historic storyline that acknowledges Redfern’s Aboriginal cultural heritage, collective community spirit, resilience and pride. The mural was a community inspired and collaboratively created public artwork that enabled the desires of the Redfern community to be expressed, giving the mural its particular context and significance to the location.The mural includes scenes from Aboriginal life and culture, past and present. Footprints symbolise the journeys Aboriginal people have taken across the land before and after British invasion and colonisation. Throughout the mural are the curves of the Rainbow Serpent, the creator being. The mural also features portraits of local community members including Aunty Mona Donnelly and the Redfern All Blacks rugby league team who won the 1979 NSW Aboriginal Rugby League Knockout. There are scenes taken from historical photographs to represent traditional and contemporary lives of Aboriginal and Torres Strait Islander peoples.The 40,000 Years mural is a historically significant public artwork for the local and broader community and is one of the few remaining original community murals in Sydney dating from the early 1980s.After 35 years, the mural was in a deteriorated condition. There had been extensive consultation with the local community including two community meetings in September 2013, followed by the inspiring Mural Gathering Day in November 2015. At all three events, the majority decision was that funding should be raised to restore the mural to its original excellence.In 2018 the mural was successfully restored as the result of a $38,000 grant from the City of Sydney. The restoration was done in consulation with Carol Ruff, but completed by local artists including Danny Eastman! You can see the restored mural on the tour. Description from; http://www.sydneybarani.com.au/sites/40000-years-mural/
The Mob Project
ARTIST: The Tribes Mob Project DATE: 1998This project targeted young people who may have been at risk of contracting blood borne viruses such as Hep C. The project aimed to provide a space where the Tribe could and discuss issues relevant to their experiences, especially with regards to Hep C, HIV and/or injecting drug use. There were a series of workshops, which ultimately led to the production of a 30 metre mural on the wall next to Redfern railway station.Six core Tribe members met twice a week between September 1997 and May 1998. They were in control of the final decisions and process. After the decision to produce a public mural of education the Tribe then began to breakdown the procedure into achievable parts. Discussions were held about where the mural should be, what it should entail and whom it should be aimed towards.Finally it was decided that the railway station wall would be the most appropriate. The Tribe felt strongly that it should be located somewhere of high profile and in an area, which was seen by many people from different backgrounds and life experiences. They did not only want the community of Redfern to have access to their message.The next phase of the project saw the employment of two community artists to coordinate tutorials with the Tribe about mural production and painting techniques. Karla and Dallas related well to the Tribe members and a strong rapport very quickly developed between all involved.A practice mural was painted within the Settlement Neighbourhood Centre; this allowed each member of the Tribe to experience the process involved in mural production; for most it was the first time they had created a public art form. After this, each week the Tribe members would search through magazines, books, newspapers etc. to gain inspirational ideas for their own designs. The two tutors taught them about composing portraits, lettering and producing a design from their ideas. Each member worked on their own design which together provided stories about harm minimisation, community, safety, health, crime, loneliness and strength.South Sydney Council provided the financial assistance to have the wall high pressure cleaned and the Tribe was off! Many passers by stopped to provide positive comments to the painters. The design was left on show during the long painting process and supporters signed a petition to show the extent of their support for the strong and positive message emerging in the mural. The Tribe, tutors and all involved were overwhelmed by the public and community support provided to them.The final stage was to organise the launch of their mural. A letter was written to Archie Roach and Ruby Hunter to ask them if they would perform at the launch and at a performance night afterwards. They accepted and the Tribe members and community swelled with pride and excitement. The Launch was held on Saturday 21st June and was a great success. The whole community and many people from outside of the Block came to witness the Tribe members be rewarded with the pride of their community. [Kerrie McGrath]Six core Tribe members met twice a week between September 1997 and May 1998. They were in control of the final decisions and process. After the decision to produce a public mural of education the Tribe then began to breakdown the procedure into achievable parts. Discussions were held about where the mural should be, what it should entail and whom it should be aimed towards.Finally it was decided that the railway station wall would be the most appropriate. The Tribe felt strongly that it should be located somewhere of high profile and in an area, which was seen by many people from different backgrounds and life experiences. They did not only want the community of Redfern to have access to their message.The next phase of the project saw the employment of two community artists to coordinate tutorials with the Tribe about mural production and painting techniques. Karla and Dallas related well to the Tribe members and a strong rapport very quickly developed between all involved.A practice mural was painted within the Settlement Neighbourhood Centre; this allowed each member of the Tribe to experience the process involved in mural production; for most it was the first time they had created a public art form. After this, each week the Tribe members would search through magazines, books, newspapers etc. to gain inspirational ideas for their own designs. The two tutors taught them about composing portraits, lettering and producing a design from their ideas. Each member worked on their own design which together provided stories about harm minimisation, community, safety, health, crime, loneliness and strength.South Sydney Council provided the financial assistance to have the wall high pressure cleaned and the Tribe was off! Many passers by stopped to provide positive comments to the painters. The design was left on show during the long painting process and supporters signed a petition to show the extent of their support for the strong and positive message emerging in the mural. The Tribe, tutors and all involved were overwhelmed by the public and community support provided to them.The final stage was to organise the launch of their mural. A letter was written to Archie Roach and Ruby Hunter to ask them if they would perform at the launch and at a performance night afterwards. They accepted and the Tribe members and community swelled with pride and excitement. The Launch was held on Saturday 21st June and was a great success. The whole community and many people from outside of the Block came to witness the Tribe members be rewarded with the pride of their community. [Kerrie McGrath]Description from; http://redfernoralhistory.org/Peopleandplaces/ART/Mural1998SaykNOw/tabid/316/Default.aspx<font 3"="" "letter-spacing:="" 0.55pt;"="" style="text-align: -webkit-center; background-color: rgb(0, 0, 0);">
The Aboriginal
ARTIST: TBCDATE: TBCWhilst the original painted of this work is currently unknown, we are continuing to look into it. The Aboriginal mural has become a Redfern icon, used in the marketing of Koori Radio and other promotions. It is also a popular photo location (hint, hint). This mural is more in the traditional graffiti style, and appears to be spray painted over existing tags.
Koori Radio Building
ARTIST: Blak DouglasDATE: 2008This mural, designed by Blak Douglas who also painted the Redfern Community Centre and is based in Redfern, is on the Gadigal Information Service Aboriginal Corporation (GIS) building which houses the Koori Radio station. iThe artwork is intended to pay homage to the important history of the site. The design is inspired by the story of Kevin Gilbert and his writing of the play, The Cherry Pickers. It was written whilst Gilbert was serving time in prison and was scribed on to toilet paper and smuggled outside, where it became the first Aboriginal play to be published.Gadigal Information Service Aboriginal Corporation (GIS) recognises 25 years of survival in 2018 as an Aboriginal and Torres Strait Islander community organisation, securing spaces for our mobs across the airwaves. GIS was incorporated in 1993 as an not-for-profit Aboriginal and Torres Strait Islanders community organisation. GIS was invited to return to its home community in 2008 when the Indigenous Land Corporation ("ILC") built a new office block on the site of the original National Black Theatre on Cope Street, Redfern. The state-of-the -art recording and broadcasting studios on the third floor were equipped through government funding. GIS obtained ownership of this top floor from the ILC on 22 January 2015. Description from; https://www.kooriradio.com/history.html
Misson Boy Dreams
ARTIST: Roy KennedyDATE: 2005This piece, by Roy Kennedy, is based on his etching by the same name. The original etching was printed in black and white and only 30 copies exist. The mural reads "From far back I can remember I've always been wondering when we would have our own homes and 70 years on I am still wondering."It was painted on the Wyanga Aboriginal Aged Care building wall.Wyanga Aboriginal Aged Care was established by Sylvia Scott and Mary Silva in 1996 to provide a community aged care service for Aboriginal people in Inner Sydney and La Perouse. The service, which today provides home care and residential accommodation, was initially based in Waterloo.In 2005, a former hardware shop on Cope Street was converted into a permanent home for Wyanga and its residents. The southern wall of the building features the distinctive mural Mission Boy Dreams, which is based on an etching by Wiradjuri artist Roy Kennedy. It depicts his memories of the Warangesda Mission in the Riverina where his family is from.Kennedy was born in 1932 at Darlington Point near Griffith. He studied print making at the Eora Centre in the 1990s, and later joined the Boomalli Aboriginal Artists Cooperative. He was the winner of the Parliament of NSW Aboriginal Art Prize in 2009 for his Mission Series 2.Description from; http://www.sydneybarani.com.au/sites/wyanga-aboriginal-aged-care/
Blak Douglas Mural
ARTIST: Blak Douglas DATE: TBCThis piece marks the location of Blak Douglas' residence, who also painted the mural on the Redfern Community Centre and designed the mural on the GIS building. He has a small studio space here, but works from the Duckrabbit Gallery in Redfern (which you might like to visit after the walking tour).
Colonial Power Stencil
ARTIST: TBCDATE: TBCThis piece is still being investigated, however it has a strong decolonial message. There are a number of stencils by this artist around Redfern, including near the Duckrabbit Gallery. This stencil may have disappeared by the time you take this tour as they often get painted over, but see if you can find any others around Redfern.
Redfern Fire Station Protect Your Mob Poster
ARTIST: Four children who entered the Aboriginal Fire Safety CompetitionDATE: 2011Fire and Rescue NSW (FRNSW) Commissioner Greg Mullins launched an Aboriginal Fire Safety campaign at Redfern Fire Station in 2011, aimed at reducing Aboriginal deaths and injuries from residential fires.At the launch, a large mural with the theme of fire safety was unveiled, after a statewide art competition for children held last year.The new mural on the northern wall of Redfern Fire Station was unveiled, showing the four colourful artworks that were chosen from 160 entries in the statewide art competition. The judges included representatives from local Aboriginal organisations.The winners, aged between nine and 13 years, live in the towns of Lambton and West Wallsend near Newcastle, and in the Sydney suburb of Fairfield. Two of the winners are Aboriginal. Each of the four winners received a digital camera package for their efforts."The Aboriginal Fire Safety campaign carries the same messages we tell the broader community – for example, maintaining your smoke alarms and taking care with candles and cigarettes – but in a way that will appeal to Aboriginal people," Commissioner Mullins said."These colourful artworks were chosen because of the engaging way they present important fire safety messages of 'stop, drop and roll', 'everyone needs a home escape plan', 'call triple zero', and 'don't smoke in bed'.The mural was supported by the City of Sydney Council which donated $10,000 in the form of a grant, which was matched by FRNSW. It was also supported by the Department of Education and Training, Redfern Waterloo Authority, the TAFE Eora Centre, Redfern Community Centre, Redfern Aboriginal Medical Service, the Metropolitan Local Aboriginal Land Council and the Redfern Aboriginal Housing Company.Description from; https://www.fire.nsw.gov.au/news.php?news=1938
Bibles and Bullets
ARTIST: Fiona FoleyDATE: 2008In Bibles & Bullets artist Fiona Foley communicates history with three significant artworks in Redfern Park. There are several components to this artwork including an intuitive play scape for young children, a fountain and water play environment and a skate park for older children.The various sections stimulate the senses, inviting imaginative play rather than giving prescriptive cues for structured activity. They simultaneously provide sophisticated sculptural additions to the public space, rich in associative and sensual appeal.The natural forms and seed pods of plants inspired the group of sculptural play elements and the water play environment. The artist gathered reference material from walks throughout the local area and themed the play elements around native flora. Oversized seed pods are scattered amongst ancient fig trees, and the fig itself played an important part in the Aboriginal diet.Intuitive Play is a play space for young children aged 3-7 years. The constructed seed pods include Wrinkly Nut (cast bronze), Mangrove Seed (fabricated aluminium frame / cast bronze pod) and Yam Seeds (fabricated aluminium frame). Other elements providing play opportunities include Spring Boat (cast aluminium with hardwood timber platform) and the bright red, three dimensional, text work Biami (fabricated aluminium), which refers to one of the most important Aboriginal male ancestor creator figures in South Eastern Australia.Lotus Line is a fountain and water play environment in the form of a crucifix. Cast stainless steel and bronze lotus flowers emerge from the ground line, representing the strength of the colonised culture to survive.Two nearby inscriptions are central to the concept of this work. One inscription includes an extract from the speech delivered by Paul Keating in Redfern Park in 1992. Delivered to a crowd of predominantly indigenous people, the speech dealt with the challenges faced by Aboriginal people. Although not given a lot of media attention at the time, it became known as the ‘Redfern Speech’ and is now regarded as one of the greatest Australian speeches. Keating was the first Australian Prime Minister to publicly acknowledge to Indigenous Australians that European settlers were responsible for the difficulties Australian Aboriginal communities continued to face.Another nearby inscription commemorates artist Michael Riley (1960-2004) with a text written by Aboriginal curator, writer, artist and activist, Djon Mundine OAM.Fiona Foley, a Brisbane-based artist, stands at the forefront of cultural discourse in Australian contemporary art. Her site-specific sculptural installations are satirical, engaging and interactive.Description from; http://www.cityartsydney.com.au/artwork/bibles-and-bullets/
