Gordon Syron is a soft-spoken man with a strong sense
of dignity, an obvious work ethic and persistence in his belief in the need for
Aboriginal self-respect and self-determination. In 1972 he was jailed for
killing a man over his family’s land, and during that stretch in prison he
taught himself to paint as a way of voicing his political stance, hopes and
dreams. Gordon’s name will be familiar to many. A well-known artist in his own
right, with his satirical paintings exhibited in Australia and overseas, he is
also credited with influencing the work of many of Australia’s most
internationally recognised young Indigenous artists, and he has, since his
release from prison, been instrumental in encouraging many new and struggling
artists.
Gordon and his photographer wife Elaine’s collection
offers a diverse snapshot of the changing culture of Indigenous Australia.
Works have been sourced from as far and wide as Arnhem Land,
Western Australia, the Northern
Territory and New South
Wales.
Gordon started the collection as a way of preserving
an urban art movement embodying Aboriginal protest, and the collection contains
examples of some of the most important contemporary Aboriginal artists working
today. Among artists represented are Gordon Hookey, Tracey Moffatt, Darren
Cooper, Michael Riley, Bronwyn
Bancroft, Emily Kngwarreye and her family, and Clifford Possum, and the works
range from oil and acrylic paintings to sculpture, body paintings, bark
paintings, and an extensive didgeridoo collection.
The collection features a moving retrospective of
Syron’s own work, including his controversial ‘Judgement By His Peers’ in which
a white defendant is convicted by black judges and lawyers. Syron’s work deals
with themes of freedom and reconciliation, and environmental issues are also
prominent. Many paintings look starkly at the degradation of Aboriginal people
in custody. Gordon’s own prison experience (where he was witness to terrible
beatings inflicted by prison guards on inmates), and his family stories (of
uncles and cousins caught up in war, fighting for Australia), inform many of the
works. Lately it’s these “coloured diggers” whose stories he remembers: the
thankless fighting of Aboriginal soldiers who returned to Australia only to suffer land loss
and racial segregation.
But it’s not all anger and disappointment. The idea of
reconciliation, of a time of peace and a return to nature are recurrent themes,
particularly in the beautiful Black
Fairies series, in which Syron returns to his land in northern New South Wales, and
remembers the gum forests as they were before mining destroyed the flora and
fauna. Here are softer, hopeful, fairytales, in which the flowers are returned
to the land and hidden among them are tiny black fairies. “We’ve got to believe
in magic,” Syron says.
When asked if he has a favourite, Gordon finds it hard
to choose, but points out a large Gordon Hookey that hangs prominently from the
rafters, a painting that depicts Canberra’s Parliament House and features a pun
on the word terra-ism. The painting dates back to the late ’80s, before
terrorism was so high on Australia’s
political agenda. “I like his straight-up messages. And Hookey uses bad
language in his painting,” Gordon says with a cheeky smile. “I thought that was
brave.”
As Gordon and Elaine look to retirement, what they now
want is a dedicated “keeping place” for the collection. The Syrons are calling
on museums, art galleries, Indigenous organisations, politicians, corporations
and philanthropists, to help. Gordon hopes that the new government might just
recognise the importance of such a keeping place. His dream would be to find a
big gallery space, somewhere prominent, and have the gallery run by Aboriginal
people, employing Aboriginal people. “It’s important that Aboriginal people
tell the stories of these paintings. These are stories that educate and keep
our political history alive,” he says.
One of the last works I look at is Gordon’s portrait
of an Aboriginal man who comes from the country to Redfern, seeking a better
life. “Over the years,” Gordon says, “this same Dreaming Man turns up in many
pictures. I always start with his eyes.” I look at the painting and see these
sharp, perceptive eyes staring out, but the man looks weary, overwhelmed. He
wears a T-shirt bearing the slogan: “New York,
London,
Redfern.” “No jobs, no money, hard times,” Gordon says. “Sometimes when he
turns up he looks defiant, sometimes angry, sometimes sad.” Maybe in a few
years time we’ll see him smile, I say. Gordon nods, “I hope so.”
The Syrons’ collection is available for viewing.
Contact Gordon on 04210 31392, or if you are interested in being part of a
working committee to support this valuable historical resource, contact Elaine
at elainesyron@hotmail.com .
Photo: Esther Turnbull
– Caption: Gordon Syron
Source:
South Sydney Herald May 2008 www.southsydneyherald.com.au