Ryan Presley’s Paradise Won is a striking and powerful mural that invites audiences to confront the legacies of colonialism while celebrating First Nations survival and autonomy. On display at the Gallery, this new commission by the Marri Ngarr artist transforms traditional notions of portraiture into a profound commentary on power, resistance, and the ongoing impact of colonisation.
Born in Mparntwe/Alice Springs and based in Meanjin/Brisbane, Presley’s work challenges conventional power structures, particularly in the context of colonial history and its lasting effects on Indigenous communities. Paradise Won builds on narratives and imagery Presley has explored since 2020, drawing from the lived experiences of his friends, family, and community. The mural reflects key social and political issues such as youth incarceration, deaths in custody, urban displacement, and the exploitation of Traditional Lands.
In Paradise Won, Presley reinterprets religious iconography, channeling the grandeur of saints and archangels in Christian art to present heroic First Nations figures engaged in acts of defiance and resistance. These figures are placed within elaborate gold arches, a visual reference to the work of English artist Ernest William Tristram and his Reconstruction of Medieval Mural Painting, Two Angels (c. 1927). The arches create a sense of awe and reverence, transforming these figures into icons of strength and resilience.
The narrative in the mural is rich with symbolism. One panel features a young woman in a hot-rod with the number plate BLK PWR, evoking the Old Testament story of the prophet Elijah ascending to heaven on a chariot of fire. Another panel depicts a determined young man preparing to launch boomerangs in defense of Country. Both figures are adorned with gold halos, symbolising their courage, resilience, and the sacredness of their resistance.
By using these iconic images of religious heroism, Presley elevates his subjects, positioning them as symbols of strength in the face of ongoing adversity. The golden halos, typically reserved for saints, challenge the conventional use of portraiture, transforming traditional representations of conquest and Empire into a powerful statement of Indigenous survival and resistance.
Presley’s mural also incorporates references to Australian flora such as pandanus and wattle, further grounding the work in a sense of place and connection to Country. The combination of contemporary and traditional elements creates a dynamic and visually striking piece that speaks to the strength and endurance of First Nations peoples.
Paradise Won is prominently displayed at the entrance of the Gallery, inviting viewers to engage in a conversation about colonial histories, Indigenous resilience, and the ongoing struggle for justice and autonomy. This ambitious work not only challenges the viewer to reconsider how colonial narratives have been historically reinforced through art, but it also celebrates the strength and defiance of First Nations peoples, transforming the language of portraiture into a tool for cultural resistance.
Ryan Presley’s Paradise Won offers a compelling vision of the future—a future where the power of art, storytelling, and resistance combines to honor the survival and strength of First Nations communities. In this monumental work, Presley reclaims the space of portraiture to create a legacy of cultural autonomy and resilience that continues to inspire and challenge audiences.
Source: National Portrait Gallery
