Deacon’s ‘commitment to socio-political dissidence is exemplified in the triptych Blak lik mi (1991–2003)’, a work with very deliberate spelling. Tired of hearing the c-word yelled at Black people, Deacon explained, ‘I just wanted to take the “c” out of “Black”.’
Destiny Deacon once described herself as ‘just an old-fashioned political artist’. The sardonic title of Deacon’s Daisy and Heather discuss race certainly winks at the idea of race ever being the subject of polite conversation, especially between people of different racial backgrounds.
Australia’s Art World is currently mourning the death of this amazing Indigenous Australian artist who, true to her name, blazed an unforgettable trail of witty and incisive explorations of Indigenous identity, political activism, and cultural resilience.
Born in Queensland in 1957 with Kuku (Cape York) and Erub/Mer (Torres Strait) ancestry, Vale Destiny Deacon began her career as a radio host and screenwriter before pursuing art seriously from the 1990s.
‘Destiny’s work, Blak Bay, at the Biennale of Sydney, stands as her final masterpiece—a testament to her resilience and immense contributions, created with tireless dedication even while she was ill,’
In her photographs, Deacon made use of a trove of toys and souvenirs she’d already collected, including boomerangs, teaspoons, ceramics, prints, and black dolls.
Waltzing With Matilda's 