Arts Business: First Nations Development Fund

Common Ground First Nations is a 100% First Nations-led and operated not-for-profit organisation changing systems through storytelling. We work on unique and impactful content and projects that centre First Nations storytellers and communities in innovative ways – bringing knowledge as old as time into new spaces.

They first launched in 2019 as a small collection of curated and original content found on their website. They have continued to evolve as a place of storytelling and education, to create opportunities for First Nations people to be authors and artists on their terms.

Through projects like Dreamy, First Nations Bedtime Stories and the Creators Circle, they back early-stage and established First Nations artists, storytellers and changemakers. Their vision is for a society that centres First Nations people, Country, truth-telling and in everything.

A fashion entrepreneur and proud Wiradjuri woman with over 25 years’ experience in the industry; Denni Francisco has created a number of unique clothing business models that have made an impact not only to the industry, but to community at large.

Her latest endeavour, Ngali, brings the artwork of talented Indigenous Australians to the world through premium-quality clothing and collectibles. She works with remote artists to expand their reach, honour their stories and help promote understanding between First Nation communities and others.

As a First Nation Australian, Denni strives to live and work, guided by Blak Ethics – a way of being founded in cultural principles, that as a First Nations’ business, Ngali holds itself accountable.

Ikuntji Artists is renowned for its diverse artistic practices, including painting, textile production and printing, and clothing design. The centre operates a vibrant painting studio and an onsite gallery, showcasing its work to a global audience. In addition to its fine art, Ikuntji Artists has gained recognition as one of the leading Indigenous art centres in textile design and fashion, blending traditional techniques with contemporary creativity.

Established in 1992, Ikuntji Artists was the first art centre founded by women in the Western Desert Art Movement. The roots of the centre trace back to the 1980s, when women in Haasts Bluff, initially taught by their husbands and fathers, began painting in the local aged care facility.  In the early 1990s, these women decided to create their own art centre, with the support of community leaders like Esther Jugadai.

Originally set up to serve as a women’s centre providing community services, Ikuntji Artists shifted focus to fine art production after experimenting with t-shirt printing. The centre gained international recognition for its bold acrylic paintings on linen and handmade paper. In 2005, Ikuntji Artists became an incorporated Aboriginal corporation. Today, the centre is renowned for its distinctive style, characterized by bold colours and brushstrokes, and is represented in galleries worldwide.

A part of the current renaissance of the cultures of the First Peoples of the South-east of this continent, Joel Bray’s contemporary choreographies breathe new life into ancient ceremonial practices. His works invite audiences to genuinely consider colonisation and create spaces for play, conversation and, ultimately, healing.

Established in 2017, Joel Bray Dance creates, presents and tours high calibre works of immersive dance-theatre for metropolitan, regional and international venues and festivals. They deliver workshops, paid internships, work-in-progress showings/sharings and eldership consultation with First Nations communities in Melbourne, Regional Victoria and on Wiradjuri Country (Western NSW). In this way, audience and community engagement is embedded into their creative philosophy and processes.

Joel Bray Dance’s vision is to innovate in artmaking, starting from the body. To make contemporary dance that breaks forms and creates ‘new culture’, distinct from making ‘art works’. To tell stories through dance, with high calibre artists and collaborators, all with the oversight of Elders/using shared cultural property of Wiradjuri people.

Jonathon Saunders is a Darwin based Indigenous illustrator and animator. While born and raised in Darwin, Jonathon is a member of the Woppaburra Indigenous people, from the Kanomie clan of Keppel Island in Queensland. Jonathon’s artwork focuses strongly on comic book and superhero iconography and re-contextualising those images within an Australian urban setting. Jonathon explores themes of morality, heroism and identity. Jonathon is the creator of the award winning animated mini series Zero-Point Season Zero.

Jonathon is a remote animator and storyboard artist, and has worked for clients like Zuru Toys, Jetstar, ReachOut Australia, Studio Gilay, Arnhem Land Progress Aboriginal Corporation (ALPA) and many other. He is also the co-creator of Wild North Comics, an anthology comic that features comics from artists around NT and beyond. Jonathon regularly publishes new Zero-Point stories in Wild North Comics.

Kinya Lerrk (Wemba Wemba for ‘women coming together’) was established in July 2019 and is the collaboration of Aboriginal visual artists Emma Bamblett (Wemba Wemba, Gunditjmara, Ngadjonji and Taungurung) and Megan Van Den Berg (Dja Dja Wurrung, Yorta Yorta and Boon Wurrung) who have a strong history of collaboration on design/arts based projects.  After being approached to create an acknowledgement of country plaque for a hotel, they established their first samples then launched their first range of 10 acknowledgement of country plaques.

They thought this would be a side hustle but over 5 years later their business has become a prominent Victorian Aboriginal business/company with successful revenue streams through their online store, physical shop, art commissions, acknowledgement of country plaques & decals, meeting room plaques and decals, artwork including prints and paintings, homewares & stationary. Megan and Emma’s ethos collectively is using their individual art and collectively bringing spaces alive with their colourful designs that celebrate their connections to culture, community and family.

Kinya Lerrk has had several key achievements, including major acknowledgment of country and art commission projects with Toyota Motor Group, ASICS, Broadmeadows Children’s Court, Drake International, Nine Network, RANZCOG, MCG/MCC, Bunurong Land Council and Coleman Rail. They were also commissioned by Village Cinemas to create acknowledgement of country artwork and statement.  This is now played at the beginning of every movie played across every Village Cinema across Australia.

Other significant achievements include the launch their children’s wear range in collaboration with Amber days.  The range features Kinya Lerrk designs by Megan and Emma titled ‘‘Bush Tucker and Baby Totems’.  The range was launched at Melbourne fashion week in October 2022.  Another major artistic achievement was the release of Megan & Emma’s book 12 Days of Bush Christmas, that they wrote and illustrated and released in 2024.

With all that Kinya Lerrk has been involved in their most significant achievement: the opening of their shop & gallery that has allowed them to mentor and support other Aboriginal artists to showcase their work and Aboriginal designs.

Haus of Dizzy, a vibrant jewellery brand led by Wiradjuri woman Kristy Dickinson, is dedicated to celebrating and honouring First Nations culture through bold and statement-making accessories. Founded in 2014, the company operates from its studio in Fitzroy, Naarm, where each piece is meticulously designed, laser-cut, hand-painted, and assembled.

Beyond creating eye-catching accessories, Haus of Dizzy actively participates in social and political action. Collaborations with non-profit organisations such as AYCC (Stop Adani Movement), SEED MOB (Water is life), Sydney Mardi Gras, Djirra, NAIDOC, and the YWCA demonstrate their commitment to supporting Indigenous cultures and causes.

Their jewellery serves as a catalyst for meaningful conversations and draws attention for all the right reasons. The extensive range of designs, including neon “Cool Aunty” earrings, sparkly Aboriginal flag hairpins, glossy Bamboo Hoops, Sunflowers, Spaceships, Lightning Bolts, and more, appeals to a diverse audience, bridging the gap between fashion and advocacy.

Haus of Dizzy invites potential clients to experience the essence of Indigenous culture through their empowering and vibrant jewellery. The brand seeks to celebrate, support, and drive positive change in the world through collaborations, partnerships, and inquiries.

Maddy Hope-Hodgetts is a multidisciplinary artist, practicing in Cultural art, fashion, weaving and dance. She is the owner and designer for her brand Yapa Mali, launching her first collection in 2023. She is currently working on her third collection that will focus on the Bunggan river and its importance to Wangaaypuwan Country. Printed on linen and silk, the collection also incorporates natural dyed silks, using native plants from Country.

Unfortunately, the word Bunggan has now been culturally appropriated and referred to as “Bogan”. So, the collection will also focus on revitalisation and reclamation of traditional Ngiyampaa Language while sharing stories of Country and Culture through fashion.

mili mili specialises in public art led by Continuing Custodians, bringing together Aboriginal artists, designers, landscapers, and curators committed to creating meaningful public spaces. Their work begins with Country+Community, centring creative practice around designing with Country and elevating local Communities’ stories, collaborating and co-creating public art, with engagement that honours Aboriginal culture and philosophy. They aim to create inclusive spaces that speak to the past, present, and future, welcoming all cultures to experience place.

With over 10 years of experience in delivering public art projects from concept to completion, they create artworks of any scale for commercial, government, and industry sectors. They are proud to be the first Aboriginal-led public art company, and their practice brings visibility to First Nations creativity and stories.

They work closely with Aboriginal artists, Elders, and Communities to ensure these narratives are respectfully represented in public spaces. Some of their latest examples include Footprints on Gadigal Nura at Waterloo Station, breathe at Yeo Park and Signal Fire at freshwater. They have recently won 2x Good design awards and Designers Australia Award – Place.

Mim Cole, also known artistically as Mimmim, hails from Darwin, Northern Territory, Australia, and is a proud Larrakia, Wardaman, and Karajarri woman. Immersed in art from a young age, she honed her skills by observing and learning from her artistic family and experimenting with traditional and abstract compositions across various media such as painting, printmaking, and design work.

Mim’s creative practice is deeply rooted in identity, family, community, country, unity, and healing. Through her business Mimmim, she endeavours to push artistic boundaries by infusing vibrant colours with a traditional palette to convey dynamic movement in her creations.

With a vision to share the beauty of Aboriginal art in unique ways and foster conversations that promote healing and unity, Mim aims to use her talents to bring financial independence and cultural pride to herself, her family, and her community.

Mob In Fashion is a fresh new step towards the type of fashion industry First Nations people want – inclusive – and with a safe space to create behind the curtain. As a fully First Nations-owned and led business, Mob In Fashion is committed to maintaining best practice principles and fostering partnerships within the community and the broader fashion industry.

Mob In Fashion operates as a pathway to opportunities designed to open doors for First Nations people wanting to work in the industry. As a place where emerging First Nations talent can bloom, Mob In Fashion works closely with partners to offer a range of professional engagement, career development, and capacity building opportunities.

Over the past three years, Mob In Fashion has grown significantly, branching into various aspects of the fashion industry including runway productions, fashion films, editorial and campaign shoots, content creations, and collaborations with leading Australian brands and media outlets.

Kimberley Aboriginal Fashion Textiles Art (KAFTA) is a program facilitated by a collective group of Kimberley designers, artists, creatives and communities from across the Kimberley region, supported by Nagula Jarndu Designs. KAFTA grew from the need for Kimberley based creative and fashion industry pathways. It began as a runway event in 2022 and has quickly grown into a program of events and workshops, reaching youth and creatives in their communities around the Kimberley.

KAFTA provides a much-needed platform for Kimberley designers, artists, and young people to develop and present their fashion and textiles to a regional audience. The program prioritises inclusivity, supporting Kimberley people of all ages, abilities, and experience levels to get involved in a safe and supportive environment that celebrates the depth and diversity of Kimberley Culture and identity.

Conceived in Brisbane in 2003, proppaNOW is one of Australia’s leading Aboriginal Artist Collectives, challenging the politics of Aboriginal art and culture. The collective is focused on generating Contemporary Art that is thought provoking, subversive and re-thinking what it means to be a ‘Contemporary artist’. proppaNOW takes working-class frameworks, which surrounded most of the artists growing up, of impoverished and oppressed peoples, and drives it into the art world.

This has spurred the composition of contemporary liberation art, talking about the daily struggles of coming against the forces of modernism and capitalism. The focus and support for each other has also allowed the collective to foster the projection of our individual careers. Members include Vernon Ah Kee, Tony Albert, Richard Bell, Megan Cope, Jennifer Herd, Gordon Hookey, the late Laurie Nilsen—all established and well respected artists in their own right. The collective as of 2023 has invited and received acceptance from three new members—Shannon Brett, Lily Eather, and Warraba Weatherall.

Tahnee Edwards (she/her) is a proud Yorta Yorta & Taungurung woman, designer, business owner and community worker based in Naarm/Melbourne.

Gammin threads is her creative outlet from her part-time job at Aboriginal family violence prevention service Djirra, where she works in Comms and Community Engagement.

Inspired by a love of typography, pop culture and celebrating everyday blackfullas, Gammin threads is a staunch aunty label that likes good design and being cheeky. The use of bold colours, cheeky ‘IYKYK humour’ and messages that speak to issues impacting community mean Gammin threads represents much more than just clothing. It speaks to pride, women’s empowerment and community.

Troy John Russell is of the Biripi people of the Greater Manning area near Taree, and the Gamillaroi people of the New England area.

Troy’s journey with music began at 11, when a neighbour offered to teach him the fundamentals of music. As a young man Troy discovered his father played a banjo in a Christian band. Troy realised that his family from Taree was a musical one.

Troy is a Graduate of the Ngarra-Burria First Nations composers initiative, thanks to Chris Sainsbury and John Davis. Troy was commissioned by Sydney Living Museums for a piece of music for their “Songs of Home” exhibition.

In 2020 Troy was commissioned by River City Voices to write a choral piece. This year Troy was commissioned to write music for a gaming app and a brass quintet from Melbourne Conservatorium of Music. He was also commissioned by Elysian Fields to write a musical “Acknowledgement of Country” that is performed by Elysian Fields before each performance and he also wrote a piece of music for Bach Akademie lead by Madeleine Easton.

Troy worked at NAISDA where he taught DanceFilm to the Developing Artists there. He continues to write music in collaboration with his band GiiMusic and plays guitar with Green Hand Band.

Troy wrote a theatre piece called The Last Shot, a work that was developed and workshopped by Moogahlin Performing Arts through their Yellamundie Playwrights Festival and was performed at Sydney Festival 2021 as part of Moogahlin’s showcase.

Troy is currently collaborating with a team he organised to produce Mixed Reality Theatre.