In The art that made me, artists discuss works in the Art Gallery of NSW collection that either inspire, influence or simply delight them. This selection by Tony Albert first appeared in Look – the Gallery’s members magazine.

‘I try to unearth hidden histories,’ artist Tony Albert has said of his work. Through artworks which combine text, video, drawing, painting and three-dimensional objects, the Art Gallery of NSW trustee and chair of the Gallery’s Indigenous Advisory Group examines the legacy of racial and cultural misrepresentation of Aboriginal people in Australia, inviting viewers to reconsider historical mistruths and injustices. ‘I also try to challenge the idea of what Aboriginal art is,’ Albert has noted. ‘There’s this perception of dot art being [pan-] Aboriginal. Even in a traditional concept, my people never ever did dot paintings’.

The great diversity of Aboriginal art practice runs throughout the four Gallery collection works which have a special resonance for the artist.

Ricky Maynard Wik Elder, Arthur

Ricky Maynard’s delicate portraits of senior Wik Elders resonate deep within my heart. I know all the sitters personally and have travelled to the small community of Aurukun (Wik Country) multiple times.

Senior artist and Lore man Arthur Pambegan is no longer with us. He was a dear friend. I can stare at this portrait for hours. I sat with him for many hours whilst he was sick in hospital. I have studied his face. I feel I know each line in his skin, the scars, his piercing gaze. I am so grateful to Ricky because this magical photo exists.

Destiny Deacon Waiting for Goddess

My first encounter with Destiny was at the re-creation of her living room that was a part of the 2nd Asia Pacific Triennial of Contemporary Art at the Queensland Art Gallery in 1996. I was struck by the implications of placing someone’s home within such a context, and by her vast collection of Aboriginalia – something that I, too, have collected and continue to use in my own work. The installation designated the home as a nexus for creativity, and the personal as inherently political. As an artist I found it significant to see the conceptual lens of the work fall onto the collector. Destiny acted as a kind of conduit for these ‘rescued’ items, allowing them a new voice and agency.

The politics in this country dictate that Aboriginal people are meant to be seen but not heard. Through Destiny’s love, generosity and cunning wit, she not only challenges but changes this trope.

Gordon Bennett Myth of the Western man (White man’s burden)

Gordon Bennett is my hero. I met him but didn’t know him. His exhibition History and Memory in the Art of Gordon Bennett at the Brisbane City Gallery was the first exhibition I ever saw and it changed my life forever. It set me on the road to becoming an artist, and while I had always been interested in making art, I had not understood how to express the way I experienced the world. Gordon gave me insight into that. Prior to that moment, my experience of art had been making beautiful pictures, whereas Gordon’s work had really strong theory and a real power behind it. It helped me understand how best to express how I felt about my life, family and community, and transformed the way I thought about art.

Kaylene Whiskey Dolly visits Indulkana

Kaylene and I share a love affiliation with Dolly Parton. In 2015 my dreams came true when I got to go to Dollywood in Tennessee. It would be deadly if Dolly visited Indulkana. It’s a great community. I would also like to take Kaylene to Dollywood. There is a gift shop there and we could buy everything. Kaylene is a future star of the Australian art world.