Kamilya Lowana White
Kamilya Lowana White, a contemporary Aboriginal artist, has always had a passion for art that traces back to her earliest memories. Her journey is deeply rooted in her Kija Bardi heritage, a connection that profoundly influences the stories told in her vibrant paintings. Drawing inspiration from the land and oceans of her ancestral Kimberley region, Kamilya’s art fuses traditional elements with modern twists.
Kamilya’s artworks draws its inspiration from the beauty
of gum trees. They recreate the look of their bark and the layers in their trunks. Viewing the artwork, it’s like peering at the tree’s layers, which represent different stages of life.
The patterns and textures in the art carry deeper meanings, where you can relate to them in your own
way. Just like a gum tree’s bark has its own story, these artworks represent various life experiences, connecting nature with human stories.
Q: Can you tell us more about your Kija Bardi heritage
on your father’s side?
A: Kija is my grandmother’s Country, which is in the
eastern Kimberley region of Western Australia. She was born in 1927 in Derby, and she was a part of the Stolen Generations. Bardi is my grandfather’s Country, which is
on the Dampier Peninsula, also in the Kimberley region
in WA, just a couple of hours north of Broome and he was actually a Pearler.
Q: How do you envision the future of Aboriginal art,
and what role do you see yourself playing in shaping
that future?
A: I can see it will continue to grow rapidly. I’d like to continue to develop to grow my skill and knowledge. I’m still on my own cultural journey and still learning but I think voicing and sharing our stories through education and social media, collaborations with different companies big and small. The main thing is just being out there and being involved.
Q: Can you share a specific piece of art that holds a significant meaning to you?
A: This new collection is very special to me because it was
a tribute to my late grandfather, who recently passed away last year at the age of 100. He lived in country Victoria, and he’s property was lined with these massive, massive gum trees. And after he passed away, I realised that life is going be very different. He was gone, Nan was gone. So I wanted to paint this collection and it was part of my healing process. When I started painting them, I grieved for him. With these pieces, when I look at them, and when I painted them, I thought about him. And I remembered all the good times, the sad times and everything in between. My aim was for when people look at it, I hope it triggers a memory for them too, to take them back to a time and really reminisce and remember.
Q: How do you engage with your community or cultural traditions to gain inspiration and ensure your art remains connected to your Aboriginal roots?
A: I don’t put pressure on myself to have all the answers.
I just go with what feels right, and good at the time. I also like to chat to mob and family to get feedback and ideas on pieces. I quite like getting feedback and seeing what other people think. I’m really close with my family, and I will often ask them for advice and ideas.
Giving my artwork traditional language names, it’s a very small thing that I’ve done that keeps my culture alive. It’s estimated that only 100 people speak the language, so if naming my artwork keeps that language alive, and draws some focus to it, I think that’s pretty special.
