Lot 19

Waringarri Aboriginal Arts, Western Australia (accompanied by a copy of a certificate of authenticity)
Private collection, Brisbane

Born to a Wangkajunga father and Kukatja mother, Rover Thomas began his life's journey along the Canning Stock Route in the Great Sandy Desert of Western Australia. Embracing the life of a stockman and fencer, he crossed the rocky terrains of the eastern Kimberley, venturing into the Northern Territory and even going as far as Queensland. He was among the many Indigenous people from the south and southeast deserts who were displaced due to Cyclone Tracy and policy change, finding a new home among the Giji community in the 1970s. With this migration, Thomas and his people carried with them stories and spiritual practices that they would share and fuse with those of the Giji people inspiring the unique compositions and designs pioneered by the artist at the Warmun school. Thomas' legacy can be seen in the works of many east Kimberley artists including Queenie McKenzie, Jack Britten, Rusty Peters and Freddy Timms.

The narrative behind this painting, Crossroads c.1995, as explained by Waringarri Aboriginal Arts, "shows a crossroads, a favourite subject for the artist. Many traditional songs and stories deal with journeys and meetings by all kinds of beings in many circumstances". In the centre of this composition, a group of women meet in a central location, represented by the 'U' shapes over the markings dividing the soft pigmented ground. While his compositions often appear minimalistic, upon closer inspection, they reveal a profound depth of meaning. Embedded within his canvases are historical events, mythological knowledge and lived experiences with many narratives that intertwine the Kimberley and its deep history. Recurring themes and symbolism throughout Rover's works point to reconciliation, reflecting his belief in harmony between Indigenous and non-Indigenous people.

Thomas' compositions demonstrate a careful balance between landscape and narrative, using a blend of two-dimensional and aerial views. He meticulously maps out the land and its stories using earthy pigments and natural resins. Thomas' use of typical Kimberley palettes features deep red and brown ochre tones derived from the earth itself, evoking a strong connection to the land and the cultural identity of the region.

Rover Thomas has played a pivotal role in elevating Aboriginal art from its former categorisation in ethnographical study to the forefront of international contemporary art. His legacy stands as a testament to the transformative power of art in connecting cultures and bridging the gap between tradition and modernity. The art of Rover Thomas has had a profound impact on Australian art, earning him accolades and various opportunities including representing Australia with Trevor Nickolls as the first Indigenous artists at the Venice Biennale in 1990. This was further recognised when the National Gallery of Australia held his solo exhibition Road Cross in 1994, cementing his place as an iconic figure in the Australian art world and an essential contributor to the legacy of Indigenous art.

Lucy Foster
Senior Specialist, Fine Art


© Rover Thomas/Copyright Agency, 2023