When Prime Minister Anthony Albanese visited Pope Leo XIV at the Vatican in May, he presented a painting by Ngarrindjeri artist Amanda Westley as a gift.
Barkindji artist Kent Morris, however, questions what message such a gift sends, given the deep inequality facing First Nations people: “I wonder if the Pope knew we make up 36 per cent of the prison population,” he says.
Morris is the curator and director of The Torch, a First Nations-led not-for-profit supporting incarcerated and formerly incarcerated Indigenous artists. He’s also the force behind Blak In-Justice: Incarceration and Resilience, a new exhibition at Melbourne’s Heide Museum of Modern Art.
Cultural Recognition vs. Systemic Disadvantage
Despite international admiration for Indigenous art and culture, Morris says the systemic issues facing First Nations people — especially incarceration — are routinely ignored at home.
“Since the 1991 Royal Commission into Aboriginal Deaths in Custody, incarceration rates have more than doubled,” he says. “It’s a national disgrace — but it’s accepted like it’s just the way things are.”
Frustration as Fuel for Change
Morris says the exhibition was born out of “sheer frustration.” His aim is not just to highlight injustice but to showcase the resilience and creativity of First Nations artists who confront these issues head-on through their work.
The statistics he points to are stark: Aboriginal and Torres Strait Islander people represent just 4 per cent of Australia’s population but make up 36 per cent of the adult prison population. Indigenous men are 17 times more likely to be incarcerated than non-Indigenous men; Indigenous women, 27 times more likely.
As visitors enter the exhibition, they are greeted by a powerful line from the Uluru Statement from the Heart: “We are not an innately criminal people.”
Truth-Telling Through Art
Blak In-Justice brings together works by some of Australia’s most respected First Nations artists — including Richard Bell, Reko Rennie, Gordon Bennett, Destiny Deacon, and Jimmie Pike — along with pieces from The Torch’s participants.
One room features striking, politically charged works. Richard Bell’s Walk On (Bell’s Theorem) references deaths in custody, while Reko Rennie’s Three Little Pigs depicts police violence. Gordon Bennett’s Bloodlines and Judy Watson’s Blood Tears viscerally reflect the trauma and loss Indigenous people endure in the justice system.
“These works are confronting — but they need to be,” says Morris. “This is truth-telling. These are lived experiences.”
From Pain to Possibility
The exhibition’s second section shifts in tone. The ochre-colored walls and nature-inspired artworks by The Torch participants create a sense of hope and healing.
Vivid paintings of emus and birds, like Banj Banj/nawnta by Thelma Beeton and Stacey Edwards, convey joy and connection to Country. In the center, Daniel Church’s Pelican Mudjin (Family) — now part of the National Gallery of Victoria’s collection — symbolizes unity and kinship.
Through The Torch, incarcerated and formerly incarcerated artists are reconnected with culture, gain economic independence, and rebuild their lives. All proceeds from art sales go directly to the artists.
“People come up to me and say, ‘This program saved my life,’” Morris says. “It’s more than just art — it’s about reclaiming identity, belonging, and dignity.”
Building Solutions from Within
Morris emphasizes that while change must be led by Indigenous communities, support from non-Indigenous Australia is essential.
“Solutions won’t come from outside. But they need backing — real investment and belief,” he says. “We’re still operating on limited resources, but imagine the impact with proper support.”
The program’s success is evident: participants have a recidivism rate less than half the national average, and many go on to win major awards or return as mentors in the program.
Ultimately, Morris sees Blak In-Justice as a message of hope — a demonstration of what happens when First Nations people are empowered to tell their stories and shape their futures.
“Only our communities can lead this change,” he says. “We have the most at stake, and the deepest commitment. This exhibition proves what’s possible.”
Blak In-Justice: Incarceration and Resilience runs at Heide Museum of Modern Art, Naarm/Melbourne, until July 20, 2025.
