The Southern Cross YaraandooThe Place of the White Gum Tree

In the time of Baiame, the first man died beneath a great white gum tree, Yaraan. The Spirit of Death, Yowi, lifted him into the hollow trunk, and with thunder the tree was carried into the sky. Two white cockatoos, Mooyi, followed as it planted itself beside the Warrambool — the Milky Way.
From earth, the people saw four fiery eyes shining: two of Yowi, and two of the first man. So death
came into the world, and sorrow spread through the Country. The gum trees wept red tears, and the swamp oaks sighed with grief.
To this day, the Southern Cross is Yaraan-doo, the spirit tree in the sky, and the two pointer stars are Mooyi, the white cockatoos — a reminder of the first passing and the bond between earth and sky.
Discover the Mystical World of Aboriginal Art
Uncover the Secrets of Aboriginal Art - Rich in Symbolism and Storytelling.
Experience the Colourful Visions of Ancient Australia. The painting is densely packed with concentric circles and dot clusters, which create a rhythmic, almost pulsating visual effect across the canvas.
Exceptionally rich and diverse, including:
Bold primary colors (red, blue, yellow)
Pastels (pink, mint, peach)
Metallics (gold, bronze tones)
Neon/bright accents (lime, cyan, magenta)
The dot painting style is dominant, with carefully placed raised dots forming complex patterns.
The texture is tactile — the dots are thick, like acrylic or enamel applied with precision tools
There’s a cosmic or cellular energy to the structure, with the circles resembling Galaxies.
Microscopic cell formations
Portals or energy fields
The black space transitions into hues of purple, red, blue, and green — suggesting a deep space or dreamtime feel, punctuated by tiny white and colored dots, like stars or atoms.
The painting conveys a sense of interconnectedness and movement, almost like a map of the universe or a dreamtime story — every circle feels like it could be a location or moment in time.
There's also an organic feel to it — some circles seem cellular or biological, as if you’re looking at life through a microscope.
The symmetry in some areas contrasts with the chaos in others, giving a feeling of balance within disorder.
This acrylic painting on canvas is finished with a high-gloss varnish

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Artist Statement
I was born in Cunnamulla, a small town in southwestern Queensland, on the edge of Barunggam Country. My yumba—my traditional home—is the land of the Barunggam people, who, for thousands of years, have walked gently on this Country as part of the Wakka Wakka language group. Our connection to the Darling Downs runs deep, shared with neighbouring clans like the Keinjan, Giabal, Jarowair, Bigambal, Kambuwal, and Jagara—each with their own sacred stories, songs, and traditions.

As an Aboriginal artist, my work is more than a visual experience—it is a spiritual practice, a cultural responsibility, and a personal journey. My inspiration comes from the land, from our Dreaming, and from the teachings of my wise grandad. Through him, I learned that painting is not about aesthetics—it’s about storytelling. Every line, every dot, every colour carries emotion, memory, and meaning.

I do not paint to follow trends or fit into boxes. I paint from feeling and truth. My art is a language—spoken through ochre tones, deep blues, and patterns shaped by the rhythm of Country. It is how I honour my ancestors, how I keep our stories alive, and how I share our culture with the world.

Each piece I create is a declaration:
This is who I am. This is where I come from. This is my story.

Through my work, I hope to offer a glimpse into the soul of Barunggam Country, to connect others with the strength, beauty, and resilience of Aboriginal culture. My art is a tribute to the generations who walked before me—and a message to the generations still to come.