Empire Builder (Private William Wickham), 2024
acrylic paint on xuan paper
(H) 75 x (W) 50 cm
Racism's roots in imperial colonialism are starkly examined in this series, where the pith helmet—historically worn by colonial soldiers to shield against the tropical sun—is re imagined to evoke the menacing imagery of Klu Klux Klan headwear. This deliberate subversion interrogates the dark undercurrents of colonial history, revealing how symbols of protection and authority were intertwined with racial violence and subjugation. The pith helmet, a relic of imperialism, becomes a visual metaphor for the brutality and oppression often concealed beneath the veneer of civilising missions.
Additionally, the balaclava-like helmets draw from Jack van Tongeren, a notorious Boorloo-based white supremacist known for his violent attacks and arsons in Western Australia. As a teenager growing up in Boorloo, I would mentally envision him in balaclavas committing these acts of violence and inciting fear. By merging historical and fictitious soldiers in this unsettling depiction, the series challenges viewers to confront the ongoing implications of colonialism and racism. These helmets, once symbols of colonial power, now expose the disturbing intersections between imperialism and white supremacy. The work prompts a critical reflection on how these legacies persist in contemporary society, urging a re-evaluation of the narratives that have shaped our understanding of history.
Additionally, the balaclava-like helmets draw from Jack van Tongeren, a notorious Boorloo-based white supremacist known for his violent attacks and arsons in Western Australia. As a teenager growing up in Boorloo, I would mentally envision him in balaclavas committing these acts of violence and inciting fear. By merging historical and fictitious soldiers in this unsettling depiction, the series challenges viewers to confront the ongoing implications of colonialism and racism. These helmets, once symbols of colonial power, now expose the disturbing intersections between imperialism and white supremacy. The work prompts a critical reflection on how these legacies persist in contemporary society, urging a re-evaluation of the narratives that have shaped our understanding of history.