John Prince Siddon
Born & Lives in:
Australia
Walmajarri
Location
- White Bay Power Station
John Prince Siddon draws inspiration from the traditional Kimberley art form of boab nut carving, blending this craft with his own distinctive mark-making, influenced by eclectic and psychedelic styles. He works in boab nut carving and painting, acrylic paint on canvas, acrylic on carved or found objects, and printmaking. Recently, Prince has turned his hand at large scale installations including wallpaper, LED artworks, painted 44-gallon drums and kangaroo hides. Known for his striking compositions and intricate line work, which he calls ‘All Mixed Up’, John Prince Siddon’s practice reflects a unique artistic voice that is gaining widespread recognition.
Commissioned by the Biennale of Sydney and the Fondation Cartier pour l’art contemporain with generous support from the WA Government.
John Prince Siddon
Born 1964, Australia
Lives and works in Fitzroy Crossing, Australia Walmajarri
Mean Were Our Ancestor 2025
acrylic on canvas
Bringing Everyone Together 2025
acrylic on canvas
No Second Chance 2025
acrylic on canvas
My Thought 2025
acrylic on tanned cow leather
Mother Nature 2025
acrylic on tanned cow leather
Is It True 2025
acrylic on canvas
Untitled 2025
44 gallon drums, bull skulls, acrylic on bull skull, plywood
Commissioned by the Biennale of Sydney and the Fondation Cartier pour l’art contemporain with generous support from the WA Government
Courtesy of the artist and Mangkaja Arts Resource Agency Aboriginal Corporation, Western Australia
John Prince Siddon is a Walmajarri artist from the Great Sandy Desert whose work blends traditional Kimberley art-making and ancestral creation stories with colonial histories and contemporary media. His psychedelic, surreal style, marked by blurred lines and restless spirits, is what he calls ‘all mixed up’. This approach creates a distinctive artistic voice that bridges ancestral techniques with contemporary visual languages.
In this series, Siddon engages with familiar Australian icons, including the Harbour Bridge, reimagining them as both inviting and unsettling. As audiences move among totemic drum poles, they encounter the intricate detail of his paintings, drifting between fragments of reality and memory. The histories of Fitzroy Crossing pulse beneath the surfaces, guiding audience across Country and city, past and present, where ancestral stories, colonial histories, and contemporary life intersect.
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