Rover Thomas: Pioneering Aboriginal Artist

Rover Thomas was a highly influential artist

Thomas' distinctive style helped shape contemporary Aboriginal art. His paintings, deeply connected to traditional lore and culture, played a vital role in preserving the heritage of the Gija people while revolutionising perceptions of Indigenous artistry.

Born in 1926 near Gunawaggi, Thomas grew up immersed in the traditions and knowledge of his ancestors. His art was influenced by the oral storytelling and mythology of his totemic ancestry. Through his paintings, he explored themes of cultural change, displacement, conflict with white settlers, and the resilience of his people.

Thomas began painting later in life, with his artistic journey starting in 1980 after a vision inspired him to create paintings for the Krill Krill ceremony. His initial works were painted on wooden boards and were integral to the ceremony, featuring sacred symbols essential to its execution. Over time, his style developed into a distinctive representation of the landscape as both a physical place and a spiritual realm. His works, often portraying aerial, map-like perspectives adorned with symbolic imagery, reflected his deep connection to the land.

In the early years, Thomas sourced pigments directly from the land, resulting in richly textured, luminous finishes. However, these early works exhibited stability issues, as the pigments would often lift from the surface. This was later resolved with the introduction of water-soluble pigments, which improved adhesion and durability, allowing him to achieve the earthy ochre tones and matte finishes he desired.

His artistic breakthrough occurred in the 1980s, when his paintings gained national and international recognition. His deceptively simple yet profoundly powerful works brought a modernist, abstract sensibility to Aboriginal art, reinterpreting the traditional storytelling techniques of the Kimberley region.

A major event that influenced Thomas and other Aboriginal artists of the time was Cyclone Tracy in 1974. The storm devastated Darwin, destroying over 70 percent of the city and displacing thousands. For the Indigenous people of the Kimberley, Darwin symbolised European culture, and the cyclone was interpreted as a warning from ancestral spirits to remain strong in their traditions. In response, ceremonies were performed publicly to demonstrate that their language and customs remained intact, despite the destruction. This event also inspired a wave of artwork reflecting themes of resilience and cultural strength.

During this period, Thomas created works that documented historical events, including frontier conflicts and the forced displacement of Aboriginal communities. His paintings, such as Ruby Plains Massacre and Camp at Mistake Creek, stand as visual testimonies to these tragic moments in history.

Ruby Plains Massacre 1, ©Rover Thomas, 1985

Thomas' legacy extended beyond his own work, influencing many East Kimberley artists, including Queenie McKenzie, Freddie Timms, and Paddy Bedford. His ability to fuse traditional storytelling with modern artistic expression positioned him as a key innovator in Australian Aboriginal art.

In 1990, Thomas became one of the first Aboriginal artists to represent Australia at the Venice Biennale, a milestone that signified the increasing recognition of Aboriginal art on the global stage. His work was even compared to that of abstract expressionist Mark Rothko. Upon viewing Rothko’s paintings at the National Gallery, Thomas famously remarked, “That bugger paints like me!”

His legacy

His work continues to be admired for its powerful simplicity and cultural depth. Today, Rover Thomas remains one of the most significant figures in Australian Aboriginal art, with his legacy carried forward by generations of artists from the Kimberley region.