Djagats is a large-scale oil painting series that reinterprets Samuel Thomas Gill’s colonial watercolours The Newly Arrived (1840-1872) and Native Dignity (1840-1872). These original works depicted First Nations people from a Eurocentric perspective that reinforced the colonial narrative. In contrast, Djagats reimagines these portrayals to create a more empowering representation, addressing the history of clothing in colonial Australia and its use as a tool for assimilation. In this series, these garments are reclaimed and adorned with traditional patterns and possum fur, symbolising resilience, cultural pride, and identity. Inspired by the ‘sapeurs’ of Congo, a group known for transforming European fashion into a vibrant symbol of resistance and cultural expression, Djagats similarly redefines colonial attire as a powerful expression of Indigenous agency. The paintings subvert hyper-masculine tropes stained throughout colonising efforts, presenting an alternative that emphasises strength through joy and gentleness, rather than aggression or dominance.
