Journal
18.09.2024
Solid Lines & ENOKi Commission
We had the pleasure of designing a cutting-edge remote sensing lab and two innovative BYOD (bring your own device) super labs for RMIT’s School of Computing Technologies.
These contemporary learning spaces were creatively repurposed from three existing spaces across two buildings to foster an inclusive and high-tech learning environment. We engaged Solid Lines, a First Nations-led illustration agency, and collaborated with Melbourne artist ENOKi, a proud Dja Dja Wurrung and Yorta Yorta artist. ENOKi’s work adorns the glazed dividing walls between the super labs and breakout spaces, incorporating visual elements inspired by First Nations craftsmanship and science. This included both historic and recent depictions of trees used to make wooden tools, eel traps, native grasses used in weaving, and an abstract depiction of sheep shears developed by Indigenous inventor David Unaipon and patented in 1909. We strive to maximise opportunities for Indigenous knowledge and engagement in projects. This aligns with RMIT’s values and guiding principles for inclusion, diversity, equity, and access. This project celebrates First Nations culture and illustrates ways in which we can collaborate with First Nations artists, we continue to advocate for First Nations opportunities in all our projects and within the industry as whole.
Elevation 1 – Eel Traps, Waterway, and Fencing Structure
ENOKI’s expression of an eel trap in situ, depicts this object from three different views. Eel and fish traps are typically constructed from biodegradable materials such as sticks, natural fibers, and plants (2). In 2019, Budj Bim Cultural Landscape on Gunditjmara Country, was inscribed on UNESCO’s World Heritage List (1). This is the first world Heritage site to be awarded purely for its Indigenous value (2). These structures exemplify First Nations people as the first inventors and engineers and their attitude to sustainable fishing practice, using technology to manipulate plants to act like filters, and only taking what you need (2). ENOKI explains they were part of an Indigenous Youth Leadership Scholarship Program at school, where they visited this site. They question, why this isn’t more widely taught?
The left panel shows an elevation view of the eel trap itself, made with woven native grasses and a stick fencing structure extending outwards on both sides. The central panel depicts an abstracted aerial map of a waterway on Country, where eel and fish traps would be placed. The waterway itself is shown in pink, surrounded by woven green native grasses. The right-side panel shows a close-up detailed elevation view of the stick fencing structure, as referenced in the first panel.
Unburnt Gum Leaves
Gum leaves are widely used in Welcome to Country and smoking ceremonies. In Dja Dja Wurrung Culture, participating in a Smoking Ceremony is a sign of good intentions and respect. The purpose of a Smoking Ceremony is to cleanse – we cleanse ourselves of the bad spirits and open up to good spirit, or murrup (1).
ENOKI’s gum leaf composition explores the idea of un-burntleaves as an opportunity for all people to come into the space and learn on Country. They express a journey of subconsciously taking in knowledge; a symbol of growing. Additionally, the leaves are widely used medicinally, such as tea tree and eucalyptus oils for burns and bug bites, further connecting them to STEM systems.
The colours were selected specifically as a homage to aspects of our local landscape. The green, pink/purple references local flora found on Dja Dja Wurrung Country and throughout the Kulin Nation more broadly. ENOKI identified that the Australian stereotypical landscape is often depicted as the bush and beach, a dry, sunburnt landscape. Therefore, their work gives reference to more subtle elements of the beautiful local flora and silhouettes, which they utilise across their art practice.
Elevation 2 – Unburnt Gum Leaves
Elevation 3 – Scar Tree, Gum Leaves, and Rockwells
Scar Tree with Gum Leaves
A Scar Tree is a native tree with part of its bark removed to expose the sapwood on the trunk or branch by an Indigenous community. The bark from the body of the tree is used to make shields and canoes, whilst the branches are used to make various tools. Symbolically, the bark is connected to the branches and leaves which have other important cultural value and uses (1).
Trees are important culturally and environmentally and are intrinsically connected to the quality of the soil. For example, if you are located on a flood plain, and you take away the trees, you destroy homes, ecosystems, and risk flooding. By carefully utilising pieces of the tree for its intended purpose, rather than fully cutting it down, you ensure it can live on to the next generation.
The stories of each panel are connected through curvaceous, coloured lines, their stories connected to each other and their culture. So many aspects of Indigenous culture are connected, if you can use one thing it can be used for something else.
Elevation 3- Weaving & Eel Trap, Scar Tree, Tingle – Emu
Tingle – Emu
Barramul or Tingle (1) the emu is a star constellation in the Warring (milky way), that has a significant ancestral spiritual connection for Dja Dja Wurrung people (2). Enoki tells a mountain story from Djaara Country, about the connection to Tingle at night through the stars, and when the sun comes up, Tingle hides in it’s nest Lalgambuk – the Mount Franklin volcanic crater. The foot of the mountain is called as Larne-ne-Barramul – Place of the Emu (3).
The stars are used for navigation and as a way to tell the time of year and season changes. ENOKI describes the first frost on the grass as the biggest symbol for yabbying season in Echuca – where they grew up. “The first frost is on the grass, that means me and my uncle are going to go yabbying.” It’s about picking up on subtle changes in nature, and paying closer attention, rather than relying on the colonised four-season identifiers of what it means for the seasons to change.
Most Indigenous Countries have six seasons, which tend to have different names. Learning about common stories between language groups is important in understanding the differences between First Nations cultures. Similarities are bound to pop up with 65,000 plus years of interactions. We can all be very different but have similarities within our cultures. For example, Northern Victoria to Naarm has very different ways of living, and language can change significantly between the two.
Elevation 3- Eel Trap, Waterway, Rockwells
Rockwells on Djaara Country
ENOKI generously brings their own culture to this abstracted artwork, by depicting the Rockwells that can be found on Djaara Country. The pink bulbous shapes show the rocks in the ground, whilst the connecting tubes represent the water found inside them.
The Rockwells form a lid that pops off and leads to clean drinking water in hilly parts of Country. This rock lid stops debris, insects and animals getting in and polluting the water. It can also be used as a grinding stone, used to sharpen stone tools and axes. These grinding stones can take 1-2 generations to create a stone axe. Pre colonisation it was typical to make a tool with your father, and pass it onto your own child. Rockwells are an important intergenerational component of the artwork, and another example of using one material for many purposes.
Elevation 3 – Fence Structure, Weaving, Sheep Sheers, Gum Leaves
Weaving & Eel Trap
This depiction of an eel trap shows a different perspective of similar structures shown on the alternate panels and celebrates weaving as a STEM technology. ENOKI connected their love for science and art in this piece, by melding the two together and describing how art is often present in First Nations science. The native grasses can be used for weaving and to create structures such as eel traps and other items. Weaving is still used in practice today as both an art form, and method of healing for First Nations women and femmes. Weaving circles generate healing by sitting together, creating art. The lower portion of the panel shows the grasses being pulled out and spun into the circular, woven structure above.
Sheap Shears
This is an abstract depiction of sheep shears developed by Indigenous inventor David Unaipon and patented in 1909. It is a very old science and forms part of the 65,000 years of Indigenous STEM stories, shown side by side with comparatively very recent history. The sheep shears are very influential in Australia’s history, as they helped create the boom in the sheep sheering industry. We have a First Nations person to thank for that.
ENOKI explains that every time they get a new brief, they research elements of Indigenous history, to find out more about why and how they might be important. Unaipon was a prolific inventor, but this isn’t historically something that’s taught in schools, despite his presence on Australian bank notes.
“Why don’t we learn more about him? Why isn’t he talked about enough?” ENOKI experienced no in-depth learning in school about First Nations Culture, just a very basic understanding that anyone in the world might know. They would have to learn about the realistic side of colonisation from their family, and experience being depicted through the lens of “we didn’t invent the wheel, we didn’t have these white colonial inventions therefore we weren’t an advanced society.” Enoki goes on to say –
“but if you look into First Nations STEM, you can see how amazing it is, and how much of an understanding they had of the Country they were on.”“You never step in the same river twice. If you go out of the city, out of a controlled environment, the landscape changes so much. There are always small to large changes in the landscape, like which birds will be around when, bugs, plants, fish, eels – and where they travel from. In the city we just have seagulls and pigeons. It’s about sitting and listening, connecting and understanding the legacy of First Nations STEM, and how it all bleeds together.”
In the artwork, the curved lines bleed into sheers and Tingle, whilst also depicting the perpetual motion of wool that has been cut off the sheep. It explores this double meaning – connection and change.
Elevation 4 – Tingle – Emu, and Sheep Shears
Darcy McConnell, ENOKi