'Australiana: Designing a Nation' Exhibition

The 'Australiana: Designing a Nation' exhibition at Bendigo Gallery is truly one of my favourite art exhibitions I've had the pleasure of experiencing in a while. From the moment I saw the large Ken Done painting used to promote the exhibition, I was instantly interested and saw the potential to be transported back to a time I hold dear in my memories - the 80s.

Being a youth in Australia during that era was an unparalleled privilege that I believe won't be replicated for quite some time. It was a pinnacle period, and I was fully aware of its fabulousness. Living in Australia during the 80s meant being safe, free, prosperous, and discovering our national identity while confidently standing on the world stage.

Although I didn't fully appreciate Ken Done's work at the time, I admired how he transformed our flora and fauna into cool and iconic representations through his simple illustrations. My life back then revolved around music, sunshine, surfing, friendships, fluorescent zinc on our noses, outrageously vibrant Okinawa surf shorts, and a vivid colour palette that became ingrained in my soul.

Midnight Oil and The Cure were the soundtracks to my life. The 80s neon and colour combinations have stayed with me, and whenever I paint with those hues, they bring back the vibrancy and joy of that era.

Interestingly, the 80s weren't all rosy for me. There were struggles and painful moments in my home life. However, when I look back, the fun and memorable experiences stand out. The ocean, the beach, the endless summers, and even the sea in the winter months. The shopping, the food, the lifestyle, the naughtiness. Well, I was a bit naughty. We, the children of the 70s and 80s, had a tremendous amount of freedom, as our parents were often preoccupied with whatever their pursuits were during that time.

Perhaps the reason Generation X is overlooked is because the era we grew up in was so remarkable that we were simply content. It wasn't an easy time, as our parents often lacked responsibility towards us, but it was an era of abundance, freedom, and vibrant popular culture that seems to be missing today. We, as a generation, maybe were satisfied that we lived and don't feel the need for the unnecessary culturally created dramas that currently permeate society.

The exhibition itself begins with the early days of European settlement and showcases the iconic images we all grew up with. It gradually progresses until it reaches the 80s room. Naturally, Tom Roberts' "Shearing the Rams" was on display, and according to my grandmother, it holds a family story. The tar boy depicted in the painting wasn't a boy at all; it was a girl, specifically my great-aunt or some distant relative from generations past.

Another family-related story tied to the exhibition involved the room dedicated to the Heidelberg School of Artists. Although another aunt wasn't famous or represented there, she was part of the Heidelberg School. It may mean nothing to others, but in a family that completely disregarded my childhood desire to become an artist, I find great joy in knowing that I had a family member who was a fully-fledged artist. It's a little personal flex for me, and I enjoy sharing it whenever it feels fabulously interesting to do so.

Standing in the 80s room surrounded by the works of Ken Done, Jenny Kee, Prue Acton, Reg Mombassa, and other incredibly cool Australians of the time, with the sounds of Midnight Oil and INXS playing in the adjacent room, it all came rushing back to me. It was a complete sensory experience, and I felt pure delight.

The exhibition exuded a strong sense of national pride through art, evoking a time of hope, growth, and a celebration of creativity. It truly was a wonderful exhibition and a must-see for everyone, especially at present.

As I embarked on the long drive back to Melton, I found myself contemplating the glory days, so Bruce Springsteen of me, and the valuable insights I gained from the exhibition. It was a celebration of unity and identity, something that seems to be increasingly challenged and rapidly changing nowadays. It revealed a key aspect to me: in the 80s, regardless of our backgrounds, we all shared a sense of togetherness and commonality, a oneness. This oneness was found in our land, us all celebrating the beauty and uniqueness of this land.

What will it take to reunite us? How can we celebrate the land, its beauty, colours, flora, and fauna in a way that brings us all together? The answer lies in recognising that the land itself holds the key. As we grapple with the complexities of multiculturalism and navigate the ever-changing political and economic landscape, we must revere and embrace the glorious nature of our land as a whole.

By doing so, we can move away from the misguided preoccupation with self-identity that currently divides us. This perspective extends beyond personal journeys, as we learn in a good yoga practice, and applies to society as a whole. If only we could collectively embrace the spiritual laws and teachings and make a concerted effort to unite freshly and inclusively.

It feels as though we are engaged in an invisible war, a war against one another. Everyone seems to be pointing fingers, engaging in a subtle battle without tangible weapons, which makes it difficult to identify and address. It's a war fueled by blame, victimhood, and self-justification.

Instead of thriving, we find ourselves sinking deeper into the abyss of anger and suffering. Yet, there is always a way out, and that involves shifting our focus away from ourselves and back to the collective. It requires relinquishing self-entitled narratives.

Suffering is something we create within ourselves.

Similarly, celebration is also self-created. We have a choice.

I hope that in another thirty years or so, they will run this exhibition again, allowing me to discover new rooms filled with incredible Australians and their contributions to our evolving identity and celebration of Australiana.

I eagerly anticipate a time when we have emerged from this extraordinary period of transformation in humanity, leaving behind the fears of the unknown. The future will undoubtedly be unlike anything we have ever experienced, as everything will be reinvented. However, I trust that the celebration of the arts, which truly shapes a nation, will endure.

Thank you, Ken, for your once-considered kitschy depictions of the Opera House, flowers, and sea creatures you hold dear. These images are not mere kitsch; they are vibrant and playful expressions of a remarkable country that I deeply cherish.

©MataKamaleshwari