Australian artist Peter Drew is using his provocative poster series to challenge perceptions about what it means to be Australian, particularly in the wake of anti-immigration protests where he witnessed one of his works being torn down. The Adelaide-based artist has spent the past decade plastering walls across the country with his distinctive "Aussie" posters, which feature photographs of Australians from the early 1900s with the word "Aussie" displayed prominently below their faces.
The poster series was specifically designed to confront stereotypes about Australian identity and appearance. Drew's most recognizable work features Monga Khan, an Afghan cameleer wearing a turban, but the artist is now preparing to release new posters showcasing additional historical figures. Among the upcoming releases are images of a Jewish boy who would later serve in World War II, as well as a photograph of a politician's grandparent.
Drew's project is evolving beyond its original concept, which he summarizes as demonstrating that "brown people can be Australians." The artist believes the term "Aussie" has been co-opted by certain groups and aims to spark meaningful conversations about national identity. His latest initiative involves reaching out to anti-immigration supporters to engage in dialogue, potentially creating new artwork based on these conversations.
The inspiration for the poster series emerged in 2016 during a period of heightened anti-immigration sentiment and xenophobia in Australia. ISIS dominated news headlines, the 2014 Lindt Cafe siege remained fresh in public memory, and the Coalition government's "Stop The Boats" campaign was still actively running. Additionally, groups like One Nation and Reclaim Australia were gaining political momentum and public attention.
All individuals featured in Drew's posters were subject to Australia's discriminatory White Australia Policy. Despite being Australian citizens, many of whom were actually born in the country, people of color were required to obtain special exemptions to travel overseas. Drew discovered these historical figures and their exemption requests by extensively researching the National Archives of Australia, where photographs were taken as part of the application process.
The artist acknowledges that his project is evolving over time, becoming "less subversive and more representative." He envisions future iterations of the poster series that will also include white faces, expressing his desire to "see people of all backgrounds standing shoulder to shoulder." Drew believes many white Australians feel alienated from the term "Aussie" because they struggle with the moral and ethical contradictions present in Australia's historical record.
According to Drew, the desire to redefine the word "Aussie" is as much about helping white Australians renew their own sense of belonging as it is about extending that belonging to immigrants. The posters promise to reinvent the term while offering a renewed connection to both the word itself and the community it represents.
During anti-immigration demonstrations in October, Drew witnessed a protester physically removing one of his posters from a wall in Adelaide's central business district. This marked the first time he had observed such an extreme reaction to his work in person, though he regularly receives negative feedback online. Recognizing that social media can create echo chambers, Drew has invited people from the opposing side of the immigration debate to contact him and explain their perspectives.
The artist emphasizes that a significant component of his work involves direct communication with people, explaining his motivations while trying to help critics avoid viewing him in simplistic terms. He aims to avoid being perceived as someone who talks down to others or merely criticizes their viewpoints. Drew hopes to respond to opposition in ways that both challenge his audience and reach out to those with different perspectives.
Drew believes it's possible to separate genuinely racist individuals from those who have legitimate concerns about how immigration affects their daily lives. By making this distinction, he argues, more productive discussions can occur without demonizing immigrants. He notes that nuance and subtlety are often lost in these debates, a phenomenon occurring globally as political discourse becomes increasingly polarized and each side appeals primarily to its base supporters.
The poster project provides Drew with a deep sense of purpose and meaning. Each January, he distributes the posters to school teachers across the country, providing them with educational tools to help students explore complex issues of identity and belonging. Many of his posters are now held in permanent collections at prestigious galleries throughout Australia, including the National Gallery of Victoria and the Art Gallery of New South Wales.
Since launching the project in 2016, Drew and his wife Julie White have welcomed two children into their family. This personal change has influenced his approach to promoting the posters, as he now travels to install them in shorter bursts rather than extended trips away from home. His upcoming installation schedule begins in Adelaide, followed by Melbourne in January, and then Sydney and other cities beyond.
