Peter Gooloou Thomas / Gilbun – Mabel Downs Station (19742)

Peter Gooloou Thomas was born in 1975 in Wyndham, Western Australia, and grew up on Gija Country in the East Kimberley. His father, Paddy Thomas, passed away when Peter was still a young boy, and much of his upbringing was guided by his mother, Mary Thomas, and by the respected Warmun elders Madigan and Sandy Thomas.

Peter’s mother, Mary, was renowned in the community as a gifted bush medicine expert and healer. She carried an extraordinary depth of knowledge of Gija Country – every plant, its name, its medicinal properties, and its preparation and use. Her wisdom and cultural teachings left a profound impression on Peter and continue to inspire his life and art.

As a child, Peter and his brothers were often taken out bush by the old people. These trips sometimes lasted weeks and were a vital part of their education. They learned language, Dreaming stories, songs and dance, as well as the skills needed to live on country – tracking, reading the land, survival skills, and traditional bush medicine. Peter’s cultural journey began early; at just five years old, he performed the Joonba dance for the first time during the celebrations for the opening of the Warmun school.

Today, Peter is a cultural leader in his community, committed to passing on the knowledge, traditions and stories that were entrusted to him. He continues to guide younger generations, ensuring the strength and continuity of Gija culture and law.

Peter and two of his brothers also served their country as part of the all-Gija Kimberley Squadron in the Australian Army. In 2019, the service of Gija men in the military was formally recognised in a special medal ceremony at Warmun, presented by war hero Mr Keith Payne VC AM and Major Mac Jensen OAM RFD JP – a moving moment for Peter and his community.

Peter began painting in March 2024 and has quickly established himself as an exciting new voice in contemporary Gija art. His work has a raw, naïve energy that feels immediate and unfiltered, with bold ochre colours, strong silhouettes and dotted borders that speak to both tradition and personal storytelling. His paintings draw on Joonba stories, Juwari (Devil Spirit) figures, ancestral narratives and the rugged landscapes of his country. He also honours the memory of his late mother by depicting the stories she shared with him. Peter’s innovative style has resonated strongly with collectors, and his works have been in high demand since his debut.

In his first year as an artist, Peter achieved remarkable recognition:

• 2024 – Finalist, Lester Prize
• 2024 – Honourable Mention, Napier Waller Art Prize

In 2025, Peter was selected as one of the Rising Stars at the prestigious Outstation Gallery exhibition in Darwin, further cementing his reputation as one of the most exciting new voices in contemporary Aboriginal art.

Beyond painting, Peter has created a line of wearable art showcasing his creativity and connection to culture in new ways.

This painting by Peter Thomas depicts Gilbun (Mabel Downs Station), a place closely connected to his early life and upbringing on Gija Country in the East Kimberley.

Peter was raised in part by Madigan and Sandy Thomas, who played a significant role in his childhood. Madigan was a senior Gija Law woman, a respected cultural leader, and one of the first generation of ochre artists from Warmun. Together with Sandy, she lived and worked across the region, including at Mabel Downs, while maintaining strong cultural ties to her ancestral Country at Violet Valley (Baulu Wah).

As a young boy, Peter spent time travelling with Madigan and Sandy out on Country around Mabel Downs and beyond. These experiences were formative, offering a way of learning through being present on the land — observing, listening and developing an understanding of place and culture through lived experience.

In this work, the landscape is expressed through bold, simplified forms, with strong contrasts between light and dark ochre. The dotted outlines trace the contours of the hills and ground, suggesting movement and connection across the Country.

This painting is a reflection of those early years — a tribute to Madigan and Sandy Thomas, and to the place where Peter’s connection to Country, culture and painting began to take shape.