REKO RENNIE___ INTERDISCIPLINARY ARTIST
Reko Rennie is an interdisciplinary artist whose art explores the powerful connections between heritage, strength, and the fight for Indigenous representation and equality in today’s world. Raised in Footscray, Melbourne, Australia, he is deeply connected to the Kamilaroi people of northern New South Wales.
Fluoro’s Editor Nancy Bugeja interviewed Rennie who shares his reflections on the evolution of his work and identity, exploring powerful themes of reclaiming Indigenous space, challenging stereotypes, and asserting Aboriginal identity in urban contexts. Rennie discusses defining works like OA_RR, and Urban Rite, his latest collection that challenges romanticised notions of Aboriginal identity and supports the aspirations of urban Indigenous communities.
Fluoro (F): What’s changed since the last time we spoke with you in 2014 and how has your work impacted your life? Has there been a defining work that you’ve made?
Reko Rennie (RR): The first major turning point that comes to mind is my video work OA_RR, which was an idea I’d conceived of after hearing stories about pastoralists in the Pilbara and Riverina driving Rolls Royce cars, while at the same time having a group of Aboriginal men and women enslaved on their stations. For me, that struck a chord in terms of my own personal narrative and my grandmother’s story, but also the fact that this was happening right up until the 1970s for many Aboriginal people in Australia who have lost family members as a result of former government policies that took children away because of their identity.
The Rolls is a symbol of wealth, power, colonialism and royalty, and in my work I want to reclaim that. For OA_RR, I painted the car in camouflage, then took it back up to Country and did these doughnuts, which were my western suburbs initiation in a way. I used to steal cars and go for joyrides as a kid on the streets in the west. I don’t have the traditional experience of being on Country because my family was removed, so I tell my story from a different viewpoint — one that I share with the majority of Aboriginal people who are living in an urban environment.
F: How has your understanding of identity evolved since we last spoke, and how does Urban Rite reflect that evolution?
RR: Urban Rite is a play on smashing the romanticised notions of Aboriginal identity that have been cultivated by a white perspective. Through these new paintings, I’m declaring that we all aspire to have nice things for our children and our families. It’s about resisting stereotypes and reclaiming space, demanding that we have a right to a seat at the table, wherever that is. Why can’t we be the director of a company, own a house, or go to university? My sister and I were the first in our family to ever go to university, so for our generation, there’s a real obligation to use our voice.
These faceless individuals in ‘Urban Rite’ represent wanting to occupy that space, blending urban aspirations with a rich spiritual identity that is part of the world’s oldest living and continuing culture. In many of these portraits, I also wanted to combine elements of my Kamilaroi heritage with contemporary car culture and tap into the complex historical and political associations of these vehicles.
F: Your work blends Indigenous motifs with urban culture, a fusion we saw in pieces like Initiation. How does Urban Rite push this fusion forward, and what new stories are you telling through these abstract figurative paintings?
RR: My works have continued to evolve over the years, starting with abstract text pieces that riff off graffiti tags to reclaim language and symbolism. For Urban Rite, I wanted to shift to figurative works and make a statement about my position and where I see First Nations individuals within society today. I’m also finally comfortable putting these works out into the world and unapologetically holding that space.
F: Your geometric patterns, particularly the diamond symbol, represent your connection to Kamilaroi heritage. How do these symbols continue to inform your work today, and how do they relate to the broader narrative of Indigenous sovereignty in urban spaces?
RR: The use of geometric Kamilaroi symbols in the works is a reclamation of imagery that is also a kind of family crest. My family was once denied the use of these symbols and prohibited from practicing their culture and language, so I see it as an important cultural statement to use these symbols in a contemporary format. I’m acknowledging my connection to Country, family and the past, and affirming that I’m a survivor due to my grandmother and my family. I’m not trying to rehash or recreate work from the past, that’s not me. What I’m doing is using that age-old culture and identity with a contemporary perspective informed by my life, my experiences and those of my generation.
F: You’ve spoken before about using your art to reclaim Indigenous space in contemporary society. What role do you think art plays in fostering conversations around Indigenous identity in urban environments today?
RR: Art has been used as an important tool by countless artists both now and over the centuries to raise awareness about politics, identity, gender and history. I feel I’ve always had more of a voice through my art than I ever did as a journalist. For instance, a lot of people perceive Aboriginal identity monoculturally, and the reality is that there are over 250 different language groups with different cultural and artistic practices. Those people might have seen Urban Rite at Ames Yavuz and the survey at the NGV and think that this isn’t what First Nations art should look like. I’m interested in shifting that perspective and in using my voice, remembering that First Nations voices were so often silenced in the past.
F: Looking back on your upbringing and the decisions that led you to where you are today, how do you think those experiences continue to influence your work and the messages you want to share through your art?
RR: I grew up in a very working-class environment and I got into trouble. I lived in an area where there was a lot of crime, and I’d see the worst in some people. My experiences growing up informed my perspectives on working hard and they gave me a sharp understanding of society. I’m lucky that I made the decision to go to university, the journalism degree helped me create a life for myself and gave me access to fundamental skills that still guide me today.
I’m a big advocate of education as it is life changing. There’s also just hustling and sheer determination. I had to bring that westie attitude to my practice and say who the fuck are you to tell me what I can and can’t do?
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Urban Rite is a new series of figurative paintings that mark a dynamic new direction for Reko Rennie. Marking his first exhibition with Ames Yavuz and coinciding with the major survey exhibition, REKOSPECTIVE, at the National Gallery of Victoria, Urban Rite expands upon his pursuits to reclaim Indigenous ownership over space and place within the urban landscape.
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Interview by Nancy Bugeja.
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