Jandamarra Cadd’s art is a powerful blend of storytelling, culture and healing.
Through his vibrant, expressive paintings, he brings to life the deep spiritual and
emotional connection of First Nations people, making an impact that reaches far
beyond the artwork. He is a proud Yorta Yorta and Dja Dja Wurrung descendant,
inspirational speaker and acclaimed artist. The local artist has recently completed
two stunning murals: a First Nations mural at Noosa Christian College’s primary
campus, and another at the Noosa Aquatic Centre featuring tennis legend Evonne
Goolagong Cawley.
Jandamarra has been a finalist in every major portrait art prize in Australia, including
the Archibald Prize; his winning portrait of Uncle Archie Roach is displayed in the
NSW Art Gallery. In 2018, he was awarded an honorary doctorate in the creative
industries for his significant contributions to community and culture. Jandamarra is
the first and only Aboriginal artist in more than 100 years to be commissioned to
create a painting for Parliament House, depicting Nova Peris, the first Aboriginal
woman and senator in Parliament.
While he appreciates such accolades, he feels far more honour and worth when
working within communities. “My real achievement is going into communities …
whether it’s just up here at Gympie … or going out into the Central Desert … or
going to Western Australia, and being welcomed into communities,” he explained.
“Being able to achieve a level of artistry that people see the value in so much, they
wish to celebrate it – they wish to encompass it and invite you into their family, into
their communities with an open heart. That for me, means a lot more.”
Born in Melbourne, Jandamarra found solace in art from a young age. “Painting was
always a refuge for me. It was a way to process emotions and connect with
something bigger than myself,” he said. “I ran away from home at the age of 13, and
until the age of 17, I was living on the streets and I was locked in juvenile institutions
for stealing and multiple offences for stealing food and money and to live. I had a lot
of anger and a lot of frustration when I was younger.
“I was introduced to a paint brush while serving time at the age of 16 in a juvenile
facility, and it came with a beautiful, divine timing. If not, I probably would have kept
heading on that trajectory, I wasn’t given the tools how to deal with the underlying
emotions at that time. So a paint brush helped me to connect to a deeper part of me,
and then a byproduct of that was more peace in my world, more resolution of the
frustrations that were deeply impacting upon me at that time. Like a seed … that
grew into a bush, then a shrub, and then a tree. And now it’s a forest that sustains
me.”
His signature style, often featuring intricate dot work and striking portraiture, bridges
contemporary and traditional techniques. This unique approach allows him to tell
stories that resonate deeply with audiences. “Every piece I create is infused with the
stories of my ancestors, my community, and the resilience of our people,”
Jandamarra said. “I don’t paint fully traditional Aboriginal art; I don’t paint fully
European art. I merge and choose the two together.”
A significant part of Jandamarra’s work is his dedication to healing. “Art has the
power to heal both the artist and those who experience it,” he explained. “Often, I
have people come with tears in their eyes, experiencing something they never truly
understood before. It’s about more than just creating something visually striking: it’s
about honouring our history, celebrating our strength, and inspiring future
generations.”
“I believe that [art is] interwoven into the fabric of my being, that public art is a very
powerful catalyst,” he said. “Art in itself … is a powerful tool that reminds us that for
millions of years before we had the written word, [art was] the way we expressed
ourselves. So it’s deeply embedded in [our] subconscious roots.”
When asked about his vision for the future, Jandamarra is clear. “I want to continue
using art as a tool for connection, education and healing. If my work can spark
conversations, foster understanding, and bring people together, then I know I’m on
the right path,” he said.
Through every brushstroke, Jandamarra Cadd continues to shape a powerful
narrative: one of resilience, culture, and hope.
By Sarah-Jane Scott