Adam Hill, AKA Blak Douglas.

Review by Sofia Paul

This powerful documentary, produced and directed by Angelica Cristina Dio, is made in collaboration with Dhungatti artist Adam Hill, commonly known as Blak Douglas, who sets out to create a very personal artwork about his Indigenous grandmother, Nanna Chlorine Morthem. This is one of three pieces in his collection for the Defying Empire exhibition at The National Gallery of Australia’s Indigenous Art Triennial. 

Blak Douglas describes his artistic style as “pain through humour”, commenting on the injustices that Indigenous people have suffered for generations. 

In addition to feeling the effects of discrimination from White Australia, the artist shares that he also faces ‘blacklash’, in which Indigenous people deem him not black enough. 

He dives into his grandmother’s past, visiting the Cootamundra Girl’s Home, where she was taken to when she was forcibly removed as a child. As a viewer, it feels as though we are with him as he explores the disturbing scene and pictures the events that would have unfolded. 

The portrait that he creates in honour of her is titled Domestic Violets, drawing from cleaning products like Vanish, which promises ‘amazing stain removal’ and ‘whiter whites’. 

Adam Hill, AKA Blak Douglas.

The artist also highlights the relevance of the name his grandmother was given: “So, you chlorinated my grandmother and removed her tribal name from Dhungatti people and turned her into a bleached product.” 

The connection he has with Nanna Chlorine is strong and is reinforced through his art. As he gently brushes the canvas, he likens it to “caressing her face in a way that I never got to do.” 

Having this bond with someone he has never known but is in his blood is incredibly special and something the audience is bound to root for. 

The second piece is Lucky Country, a series which focuses on “colloquialisms of comfort”, yet is designed to provide great discomfort. Within each letter of phrases such as ‘All Good’ is an image showing the maltreatment of Indigenous people.  

The final part to this exhibit is titled Really Bins. With the underlying theme of ‘white trash’, the piece features weathered wheelie bins with words such as ‘SORRY’, ‘ANZAC DAY’ and ‘QUEEN’S BIRTHDAY’. 

The documentary not only showcases the impact of art, but is a necessary watch for all Australians, emphasising the intergenerational trauma that Indigenous people still feel today as a result of historical wrongdoings. 

Blak Douglas vs The Commonwealth will celebrate its world premiere at Revelation Perth International Film Festival on 7 July. Details here. 

Blak Douglas vs The Commonwealth will screen at the Melbourne Documentary Film Festival on Wednesday, 17 July. Details here.

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