Mervyn Street: Stolen Wages

There is much to take in whilst immersing yourself in acclaimed artist and Gooniyandi Elder Mervyn Street’s first solo exhibition which is being shown at Fremantle Arts Centre as part of the Perth Festival. It follows the moment Street couldn’t believe himself, the $180 million class action settlement over stolen Aboriginal wages in Western Australia in October just last year.

Credit Roel Loopers

The works span the time from when Street first made marks to more recent works depicting the stories he ensured were told as part of his leading role in a class action against the Western Australian State Government over historic stolen wages to Aboriginal people.

​Mervyn Street with Perth Festival Artistic Director Anna Reece and Curator Emilia Galatis. Credit Madeleine Cox

But that is just the first part to take in. Some of the works are of a time now lost to living memory, and are beyond Street’s activism. They tell the story of a way of life and a powerful connection to Kimberley Country. In his case, traditional Gooiyandi country stretched from Fitzroy Crossing to around 250 kilometres to the east. The early stories are of a time in the bush before white people arrived. Street’s parents told stories to him of coming out of the bush when Country was all that they knew and all that there was. The stories that follow show the arrival of white people with their cattle and horses, their need for water tanks, yards and housing, and then the arrival of trucks and other machinery.

Credit Roel Loopers

There is an ethereal and spiritual quality to the paintings which invite deep reflection. They capture vivid memories of a life lived on the land, as well as the light, the rains, the land and movement. Stories are told which do not exist in history books, and are an important historical record for the State of Western Australia.

Credit Roel Loopers

The works are also deeply personal. Street told of how his parents called him ‘Marvin’ and it is Marvin who created the early works which depict the building of a water tank and his mum’s kitchen. The later works which tell the story of the era of stolen wages were painted by ‘Mervyn’, the name white people gave Street.

Credit Roel Loopers

I was fortunate to chat with Street at the unveiling of the exhibition, and he spoke with so much light and playfulness. Street takes great pride in being able to share the stories the works depict. He spoke with warmth and love about passing on his knowledge and sharing his art with children at Muludja and Yiyili School. Street is also very happy to be able to share the works and stories with city people.

Mervyn Street and Madeleine Cox.Credit Isabella Ercleve

There was a deeply personal moment for me at this exhibition when I encountered Street’s carving of a bush turkey. Home was once Coolup and last year I learned that Coolup is the Noongar word for place of bush turkey. Bush turkeys have been extinct to Coolup for some time, so I have never encountered one. Yet at Street’s exhibition, there was a wood carving Street had made of a bush turkey many moons ago. Street informed me they are good to eat.

Street’s work sinks in, like the soil soaking up the water of the first rain. If you go, you will hold the stories told deep inside for evermore, and you will transcend time.

Exhibition details : Mervyn Street: Stolen Wages can now be viewed at Fremantle Arts Centre, 1 Finnerty St, Fremantle and runs until 20 April 2025.

* By Madeleine Cox. Madeleine Cox was raised on a farm on Binjareb Noongar country and now, together with her New Zealand / Aotearoa husband, lives with her children in Fremantle / Walyalup. She loves exploring places and ideas, and connecting with people and nature. This has prompted Madeleine to start writing independently, after many years work as a corporate and government lawyer, and service on not-for-profit boards in the health and education sectors. For more articles on Fremantle Shipping News by Madeleine, look here.

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