Blak: A Tribute to Destiny Deacon
Being There Light jet print from Polaroid Original, 67 x 100 cm Destiny Deacon 1998
The term "Blak" holds deep significance. Coined by Aunty Destiny Deacon, a pioneering artist of Kuku (Cape York) and Erub/Mer (Torres Strait) descent, it stands as a reclamation of Aboriginal identity. By reshaping a term once tied to colonialism, Destiny asserted space for us to define who we are. Her work, primarily through Polaroids and the use of everyday objects like dolls, transformed these items into symbols of Blakness—reclaiming stories, images, and voices that had been misrepresented or silenced.
Destiny's art was an act of resistance. She took objects that once degraded Aboriginal people—dolls, kitsch, and symbols used by white Australia—and imbued them with new meaning. These items became stories of resilience, humour, and defiance through her lens. They challenged and confronted how colonialism distorted our realities, using humour as a shield and a weapon. In Destiny's hands, these objects spoke with a new authority, reframing narratives that had long been imposed on us.
The decision to remove the "c" from Black, creating "Blak," was more than just a change in spelling—it was a shift in meaning. "Blak" represents an identity distinct from colonial labels, one that speaks directly to our experiences as Aboriginal people. It's an act of self-determination that carries the weight of history, culture, and the ongoing fight for our sovereignty. Destiny's work, often using intimate portrayals of family and friends, reflected the complexities of Indigenous identity and resistance. Blak creates a cultural space that honors our past while actively shaping our present and future.
Guided by the Wiradjuri concept of yindyamarra—emphasizing respect, honour, and thoughtful engagement—I carry this understanding of Blak. Yindyamarra is about careful, respectful engagement with our culture and each other, ensuring that Blak is carried forward with integrity. Destiny's legacy and the use of Blak honour the Elders and ancient ones by embracing this respectful engagement. It reflects the strength and pride that continues to sustain our communities.
Destiny Deacon was the first Aboriginal artist I encountered in contemporary art, and her work has stayed with me ever since. Her use of Polaroids and dolls resonated deeply—not just as visual elements but as acts of reclamation. Destiny's art showed that Aboriginal artists could engage with contemporary spaces on our terms, as creators of our narratives, not as subjects to be observed. Her influence shaped my creative direction and deepened my understanding of identity and the role of art in reclaiming it. Even today, her work grounds my practice, reminding me of the importance of humour and resistance in confronting continued marginalization.
Through art, language, and action, Blak remains a powerful symbol of self-determination. It honours the resilience of the past while embracing the ongoing transformation of identity and culture. Destiny Deacon's legacy urges us to continually reflect on and reshape our stories, ensuring they remain vibrant and evolving as they respond to the present and future.
Clinton Hayden is a Wiradjuri Blak queer artist and writer based in Melbourne. His practice spans photography, AI image creation, print media, drawing, and bricolage, exploring the intersections of personal and collective histories. Clinton’s work is deeply informed by his commitment to preserving and promoting Wiradjuri language and engaging with Indigenous Queer Futurism.
