The National Picture by Geoff Parr, an appropriation of Benjamin Duterrau’s The Conciliation, depicts the disastrous relationship between Aborigines and white colonists, in contrast to Duterrau’s purpose to show harmonious and understanding relations. Parr’s painting is a more realistic depiction, full of symbols that highlight the forceful taking of tribal land, injustice and genocide leading to the destruction of nature and a native culture and people. It also explores the loss of Truganini’s world through the superimposition of her face onto an Aboriginal figure and her part in it.
The presence of ghost-figures behind the corrugated iron fence represents the fading of Aboriginality into history. They symbolise the dissatisfaction of the Aboriginal tribe in the destruction of their land, because Aborigines believed ghosts would haunt the land if they had been angered. They also represent the unchanging, stubborn resistance toward white culture through their depiction with traditional items. The lack of colour or suggestion of action shows that the Aborigines no longer have the power or authority over the land and their culture, and are only silent watchers without a voice. The reversal of the two large males suggests that history is uncertain, and there are different ways of interpreting events.
Truganini’s portrait is fused with a Byzantine painting of Christ, to represent the imposition of the Christian religion upon the Aborigines, and implies that Truganini was attempting to be a saviour for her people. The white clothing suggests that Truganini was trying to become white by abandoning her own culture to accept white culture and doing white man’s work. Parr suggests that this attitude has led to the ability of the whites to destroy the land and people, and despite the strong statement of Aboriginality represented by the scarf, contemporary Aboriginal representatives have lost their culture and are betraying their people by trying to become white. The reversal of the racial identity of the foreground figures symbolises the death of a people and their attempt at survival by changing to accept white culture and values, their hands pointing towards Truganini as though trying to draw others in to follow Truganini’s example.
This is contrasted by the young man behind the fence. His position suggests he is an Aborigine, trying to return to the old culture and embrace the values of his ancestors, and the look of concern on his face as he is touching the female shows he is trying to attract other people to the rediscovery of their Aboriginality. His modern clothing and the modern accessory of the radio, however, suggests that there can be a blend between the two cultures, but both must be recognised and have an equally important in a person’s identity. His presence represents the need for the whites to cross the fence and learn about and understand the Aboriginal culture, rather than simply advocate their support of reconciliation through wearing or having Aboriginal symbols.
The National Picture is a painting that explores both past and present, investigating the complex relations between Aborigines and whites and the uncertain history that led to the current situation. Parr’s rich use of symbols allow him to subtly communicate a message that supports reconciliation, but also the problems hindering it and a possible solution.
