The Reconciler

In the late 1980's the concept of reconciliation landed in the lap of Australia's political and legal arena. The vision of a united Australia, for the right of all people to pursue their lifestyles and culture in accordance to their own traditions was a vision shared by many Australians; but was the central motivating force behind the work of Lin Onus.

For most of his artistic life, contemporary Australian artist, Lin Onus demonstrated his commitment to bridging the gap between urban and traditional, indigenous and white Australia in his multi layered and humorous works, by use of diverse but uniquely Australian images. urban Dingo: The Art of Lin Onus 1948 -1996 travelling exhibition covers the last three decades of Lin Onus' life. Comprising of 58 paintings, prints and sculptures, animated film as well as accompanying documentary. Including representation of all styles of his work, each piece blends traditional European and Aboriginal art forms to create its own narrative, arresting and subliminally challenging its audience.

Born in Victoria in 1948, the only child of a Scottish mother and an Aboriginal farther, Onus's passion for art developed during his childhood. Brought up surrounded by classical art and music in a home built by his maternal grandfather, and working alongside his father in the business of making Aboriginal artefacts and souvenirs, he was subjected to both cultural traditions. His father, a well-known political activist from the 1930's -1970's, was largely responsible for the survival of the Koori's people's culture and traditions.

As both his parents were politically active in campaigning for acknowledgments of Aboriginal rights in Australia a strong social conscience was instilled in the young Onus. Training as a mechanic in his early adulthood, Onus went on to modify techniques of spray painting and fibreglass moulding and later incorporated these into his works. His visits to Arnhem land, spanning fourteen years from 1986, deeply influenced his life and art both spiritually and emotionally. During this time he formed a unique friendship with artist and elder Jack Wunuwun who became his mentor. This friendship not only strengthened his links with his Aboriginal heritage but also gained him the right to incorporate "rrark", a traditional cross hatching design, particular to the Arnhem region, into his work. "Fruit Bats" 1991, fibreglass sculptures, featuring rrark, hanging from an urban washing line, typical illustration of this method and urban and traditional.

Onus' accomplishments included his appointment to the Australian Council as Chairman of the Aboriginal Artists Management Association in 1990. Awarded with an Order of Australia for his contribution as an arts practitioner and ambassador for Aboriginal artists in 1993 and in 1994, he received the Australian Heritage Commission Aboriginal Art award, and the RAAKA Award for his sculpture, "Taking the Children Away".

Onus started painting in 1970, coinciding with both the acknowledgment of Aboriginal Art in Australia and the emergence of the political voice of Aboriginal people on land rights and equal opportunity. Onus's works found their footing in this environment by adopting a hybrid art form, drawing on his personal experiences and his mixed heritage that had the effect of not alienating either audience. By using Western art forms and asserting the lifeforce of Aboriginal culture, storytelling, he is able to comment on issues faced by both indigenous and white Australians alike.

Australians traditionally fed on a diet of European styles of art, are used to a more decorative purpose. Traditionally painted on natural surfaces, with natural pigments, Aboriginal art became more mainstream once their art styles were adapted to canvas and were made more accessible. Onus's background and his Aboriginal Heritage that pass down all their knowledge, their traditions, culture and history by storytelling through their illustrations. "Weekend at Garmedi II" 1998, is only one example. Drawn from an experience he had while visiting Garmedi, he had bent over to tie up his shoelace, and hearing shouts from the Garmedi women he sees,(while still bent over), between his legs a big angry bull heading for him. The painting is divided in three and is seen from the perspective of being upside down. Dealt with humour it works on many levels, one that subliminally alters the viewer's perspective and disorientates them. Onus incorporates a diverse range of mediums, methods and styles in his work, often quoted as saying that he belonged to the "Bowerbird" school of arts by adopting bits from everywhere. He uses painting, printmaking, linocuts, comic illustration, murals, poster design and political sculptures.

His work often demonstrates a rich humour. A sculpture, a household appliance adapted into a goanna hole cleaner, a painting entitled "Ground Lice" 1990, the "Super Duck" toilet cleaner featuring in several of his works, all serve to make a serious point.

Sheep, described by Onus, as "the worst of all British imports"1 ravaged Aboriginal bushlands, making living off the land impossible. The use of the toilet duck in several works, used to illustrate "preoccupation of Australian with unimportant things".2 The use of motif and metaphor are prevalent features of Onus's work.

The title of the exhibition, urban Dingo arose from his own identification with the dingo. Featuring a variety of sculptues, and as an animated figure "The Continuing Adventures of X and Ray" ,and in other works, the dingo is used a metaphor for the underdog, for survival and adaptation.3 Onus believed that art should be accessible to all, and enjoyed on many levels. His versatility and adaptation as an artist, allowed him to reach across generations of different audience. His use of comic style for his hero, "Kaptn Koori" 1985 and "The Continuing Adventures of X and Ray" meant that he caught the attention of a young audience. In Lin Onus's work, there's something for everyone.

A moving and refreshing exhibition, Urban Dingo: The Art of Lin Onus 1948 - 1996 is well worth your time and effort.

"For Lin, art was a tool, a weapon and a shelter and his work spanned many dimensions and many audiences. For someone that carried so much responsibility on his shoulders there was no distinction between the political and the beautiful. His art reflects this."
Michael Eather Director, Fireworks Art Gallery

Amanda Ladds

Notes:
1. Margo Neale URBAN DINGO
2 Margo Neale URBAN DINGO
3 Queensland Art Gallery

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Lin Onus

Note: This article, while covering Lin Onus' life and work, also makes reference to the exhibition "Urban Dingo". The exhibition is not currently showing in Australia as at publication date (1 January 2007).

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