Renae Lamb
the artist behind
Midnight Dreaming
Renae Lamb’s artwork represents her identity and reflects a deep connection to her heritage – driven by bold dreams of cultural preservation and innovation and with a profound understanding of her ancestry and its stories. Through her art, she aims to spark generational change and inspire a new wave of understanding and respect for Indigenous cultures worldwide.
As an artist rooted in traditional cultural practices, she recognises the immense value of storytelling. The stories Renae shares are inherently tied to the land, culture, language, ceremony, and kin, forming a dynamic tapestry that transcends time and space. Her work is a celebration of these stories and their enduring relevance in shaping the present and future.
In Renae’s practice, she uses traditional materials and techniques – ochre, emu feathers, weaving, lomandra, stringybark, and twining – to create contemporary pieces that reflect ancient practices alive in community today. Each piece she crafts is a testament to the wisdom of ancestors preserved through art, and something that speaks to the strength of their teachings – a reminder of the importance of maintaining a deep connection to Country.
Through this fusion of past and present, Renae is committed to nurturing a respectful and harmonious relationship with Country and to leading by example in telling our stories, fostering unity, and uplifting future generations.
Renae is a descendant of the Wiradjuri and Wongaibon people of Central West NSW.
Renae holds a Bachelor of Arts (Major in Global Indigenous Studies / Minor in Education) from the University of Newcastle and is an alumnus of the Ma and Morley Scholars Program. She is an artist, educator, entrepreneur, dancer, and cultural mentor.
Artist In Residency
Exhibition
The Curator Incubator 2024–2025.
Curatorial Statement for ‘Gilli Watta’ by Artist and Curator Renae Lamb
‘Gilli Watta’ is a word from the local Gathang language meaning ‘sparking the flame.’
In the context of Aboriginal women, this term symbolises a powerful and sacred practice of lighting the flame within – of igniting the fire in the mind, body, and soul. It is a term often used when a woman is pregnant, signifying that the fire, the sacred light within, is already alive inside her. This fire is not only a representation of life but also our duty to protect and nurture it for our ongoing growth and success through life. As women, we are the keepers of this fire, a role that extends across generations and is marked by our cultural practices, such as the smoking of babies with coolamons, to ensure our connection to Mother Country.
In this NAIDOC exhibition, I am proud to present Gilli Watta as a reflection of my journey as a Wiradjuri, Wongaibon woman, and mother of three proud Worimi, Wiradjuri, and Wongaibon children. It is important for me to showcase the significance of cultural building in our communities, especially for future generations.
This exhibition marks my first time in the Innovator series, and I want to share with you all the act of lighting the Gilli Watta – the flame that will be carefully nurtured and kept burning. This flame represents the continuation of cultural growth, integrity, and the living practices of the longest-continuing culture in the world. By nurturing this fire, we honour our traditions and ensure they remain alive for the future.
On this land, never ceded and forever stolen. Always was, always will be Aboriginal land.
Curatorial
Renae has curated two impactful exhibitions: Barry Uncle Jim Ridgeway: Story Country at Lake Macquarie Arts and Cultural Centre, and Useful Objects at Watt Space Gallery, The University of Newcastle’s City Campus Art Gallery.
Barry Uncle Jim Ridgeway: Story Country showcased the work of the late Uncle Jim Ridgeway, a respected Aboriginal Elder and artist, whose paintings and ceramics reflect his deep connection to Birpai and Awabakal Country. Ridgeway, known for his earlier career as a celebrated country and western singer, turned to art following a life-changing accident. His works resonate with the stories of his people, echoing ancient petroglyphs and the rich cultural legacy of his land. The exhibition honoured Uncle Jim’s life and his role in preserving and sharing Aboriginal culture.
Useful Objects at Newcastle Galleries, Watt Space Student Gallery highlights a unique collection of ancient and rare artefacts from the Laut Collection, held by the Wollotuka Institute. This exhibition intertwines the past with the present by presenting contemporary works from First Nations artists who reinterpret traditional methods and mediums, breathing new meaning into these objects. Co-curated with Jessica Tobin, Useful Objects interrogates the intersection of ceremony, culture, and ancestral knowledge, inviting audiences to reflect on the evolving relationship between people and their Country.
Both exhibitions were celebrations of First Nations art and culture, offering deep, reflective journeys into the stories that shape and define these artists' worlds.
Commissioned Artist: Newcastle University 60 Year Anniversary Artwork.
Renae was commissioned to create an artwork for the University of Newcastle’s 60th Anniversary in 2025.
Artist Statement for "Bulaguy Miranggul" (Salt Bush) in Wiradjuri Language
‘Bulaguy Miranggul’ means Salt Bush in Wiradjuri language, a plant that holds deep cultural significance to my people. Salt Bush is not only a vital part of the landscape, but it also represents resilience, survival, and connection to land. The salt bush is often found in the harshest environments, thriving where other plants might struggle – much like the strength of our communities and culture.
Through this artwork, I honor the teachings of my ancestors, who understood the land as a living entity that provides, sustains, and nurtures. The Salt Bush, with its ability to withstand the harshness of the environment, mirrors the enduring strength of the Wiradjuri people – resilient, proud, and ever-present.
As I create this piece, I reflect on the importance of maintaining a strong connection to both culture and country. The Salt Bush is a symbol of survival, not just physically, but spiritually and culturally. It reminds us of the importance of understanding our relationship to the land, and how we must care for it as it cares for us.
‘Bulaguy Miranggul’ is a celebration of that enduring bond, a recognition of the strength of our past and its continuous presence in our future.
Newcastle Public School.
Acknowledgment of Country
I acknowledge and pay my deepest respects to the Awabakal people, the traditional custodians of the land upon which this work is grounded, and to all Aboriginal and Torres Strait Islander peoples across this vast continent—past, present, and emerging.
I honour Biraban, the spirit of the eagle—the one who flies high as protector and guide over Awabakal Country. Biraban watches from above, carrying the wisdom of the old people, soaring between earth and sky, reminding us of our responsibilities to land, to each other, and to spirit.
This land holds the ancient tracks of our sacred animals—the kangaroo, the echidna, the goanna, and the emu. Their footprints are not just imprints on soil—they are stories, teachings, and paths of life that connect us to Dreaming, to Country, and to each other.
I pay tribute to our women, who gather with children by their sides—strong and wise—teaching through story, ceremony, and song. They pass on knowledge of how to care for and utilise the gifts of Mother Earth, sharing and collaborating, raising our babies up with strength and purpose. As our men move through Country—hunting, preparing for ceremony, and carrying the sacred law—our women move across the land, keeping the cycles of life strong, nurturing our culture from the ground up.
This artwork speaks to all directions of Country—North, South, East, and West—and honours the shared lineages, trade routes, and spiritual connections among our neighbouring Nations: Worimi, Darkinjung, Wonnarua, and all surrounding and connected nations and language groups. Through these lines of kinship and care, we continue to protect and honour Mother Country and Father Sky, as they in turn nourish us.
This piece is a tribute to the sacred relationship between land and sea, between spirit and story, and to the resilience and wisdom of our Aboriginal and Torres Strait Islander peoples. It is through Country that we find our purpose, our gotcha lang, and the meaning of life itself.
“Country is not just where we walk—it is who we are, where we come from, and where our spirit always returns.”
Artist Statement
This artwork is a visual story of connection—to land, to spirit, to sky, and to the sacred cycles of life that continue to guide us as First Nations people. Every element in this piece is drawn from deep cultural knowledge and inherited wisdom, passed down through generations.
The symbols reflect the balance between men’s ceremony and hunting, and women’s roles in gathering, teaching, and raising children. The animal tracks of the kangaroo, echidna, goanna, and emu represent the presence of ancestors and the paths we follow, each footprint carrying a story, a lesson, and a responsibility to Country.
Central to this work is Biraban, the eagle spirit—a protector soaring high above Awabakal Country. Biraban reminds us to see the bigger picture, to rise above, and to act with strength and vision in our care for land and each other.
This piece also honours the extended reach of Mother Country, from Worimi, Darkinjung, Wonnarua, and all connected nations. The lines and patterns symbolise how we are all tied together—through ceremony, storylines, and our duty to preserve and respect what has always been sacred.
This is not just art—it is a statement of survival, a declaration of culture, and a celebration of knowledge that continues to thrive. It invites viewers to walk gently, to listen with open hearts, and to understand that Country is alive, and we are a living part of it.
