About the Artist Born in 1962 in Melbourne, Richard’s work draws deeply from his cultural heritage and personal experiences. He identifies first as a husband, father, and grandfather, and he draws inspiration from his ancestors. Richard’s work explores themes of pain, healing, and regeneration, with a strong focus on connection to Country. His dynamic painting process - layering, scraping, and reworking - mirrors the cyclical nature of destruction and renewal in the land and within himself. His use of traditional geometric designs and rich colour palettes reflects the natural beauty and cultural significance of his traditional land and waterways. Richard has exhibited widely across Victoria, including solo exhibitions such as *RE: (2024)* at Lennox Street Gallery, Richmond, *Wealthy Wurruk (2022)* at Metro Gallery, Armadale, *Gunnai Vibrations* at Gippsland Art Gallery, Sale, and *Peace, Strength and Recognition (2018)* at No Vacancy Gallery, Melbourne. He was also selected as a finalist for the prestigious *John Leslie Art Prize* in 2022. His work has been included in group exhibitions at Borun & Tuk Gallery, Manningham Gallery, and Njernda Art Gallery. Richard's art is held in permanent collections at Gippsland Art Gallery and Manningham Art Gallery, as well as several prominent private collections. About the Artwork My piece is to be referred to as Gunditjmarra art, not Aboriginal art. I reject the imposed colonial artistic narratives and the self-serving authority of those who claim expertise over our culture without respect and depth of understanding. Gunditjmarra markings are much older than the dot art forms on canvas which have long been dictated as what is "authentic" through a white-dominated lens. The 1872 Gunditjmarra possum skin is an expression of Gunditjmarra data sovereignty. I’ve recreated one marking on this canvas, but its meaning belongs to the wearer, reflecting just one story in our cultural tapestry.