About the Artist
Gerard Black is a proud Worimi Man. After a 10-year career as a tattoo artist, Gerard is now focusing on his painting, drawing and digital art. His work reflects his Indigenous background, storytelling and love of nature and draws on his strong design background from tattooing to produce a unique style of art. This together connects ancient Indigenous art with modern design and medium, bringing them into the future, and creating a new modern style promoting reconciliation and connection.

Gerard’s work establishes a link between landscapes, reality and the spirit within, as Gerard often uses actual topographic maps as the basis for his artwork. He uses the physical colours, shapes and landmarks as a jumping-off point. He then uses ancient designs and patterns to symbolise the different aspects of his art, tapping into his indigenous heritage with designs, shapes, colours and themes.

Every single work of art that Gerard produces has a story connecting the art to a specific place, area or theme, every stroke has meaning, and nothing is random. Gerard's highly detailed and meaningful tattoos and this award-winning skill have now translated into the incredibly intricate artwork he does today.

About the Artwork
My name is Gerard Black, and I am a Worimi man and artist, deeply connected to my culture and the stories of my people. The artwork I have created reflects the essence of our heritage, drawing from the ancient traditions of the Worimi, particularly the role of the fisherwomen.

At the heart of my piece is a black background, symbolising the depth of our connection to the land, the water, and the unseen forces that bind us. In the center, I’ve used red ochre to represent the act of the Worimi fisherwoman dropping her little finger into the Bathu (water), a sacred gesture marking her connection to the Makurr (fish) and the natural world. This practice, known as 'Gatjiwuy,' is a powerful part of our cultural identity. Worimi women, dedicated to fishing, would sacrifice the first joint of their little finger. This offering was believed to connect them with the waters and fish, ensuring abundance and skill in their practice.

Surrounding the red ochre centre are white circles made up of three rows of small white dots. These circles represent the ripples created by the fisherwoman’s sacrifice but also reflect the interconnectedness of our people, past, present, and future, through the dreaming. The ripples are not just disturbances in water; they are symbols of the unbroken chain that ties us to the land, the water, and the sacred knowledge passed down through generations.

The story of 'Gatjiwuy,' meaning "one with the little finger removed," goes beyond the physical act. It speaks to the resilience, dedication, and deep spiritual connection of the Worimi people to the natural world. This practice, once observed by colonialists with curiosity, was part of a much larger cultural narrative that recognised the sacred relationship between the people and the land, specifically through the act of fishing and providing for the community.

The artwork also honours the sacred Increase Sites (gayay) where Worimi women would go to give birth, surrounded by safety and protection, guided by Elder women. These places, much like the circles in my work, represent the cycle of life, the strength of women, and the connection to the waters and land that sustain us.

In every dot, every ripple, and every layer, this artwork reflects not only the traditions of the Worimi people but also the enduring power of culture, connection, and continuity. It is my tribute to our ancestors, our stories, and the ongoing journey of our people.