Peter Gooloou Thomas / Gurrir Gurrir Ceremony (19864)

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 honours the Gurrir Gurrir ceremony, an important cultural tradition of the East Kimberley that was revealed to the late Rover Thomas through a series of dreams in 1975. The ceremony traces the journey of a spirit across Country, connecting significant places, ancestral beings and communities throughout the Kimberley.

Peter has based this work on a ceremonial board painted by the late Hector Jandany in 1994. Hector was one of the founding figures of the Warmun art movement and an important participant in the Gurrir Gurrir ceremony. By revisiting this image, Peter acknowledges both Hector’s artistic legacy and the continuing importance of ceremonial knowledge within Gija culture.

The painting depicts a Magpie Goose, a bird commonly found throughout the river systems of the Kimberley. Rendered in Peter’s distinctive style, the bird is framed by bold ochre forms inspired by the traditional painted boards used during ceremonial performances.

Peter has a strong personal connection to Gurrir Gurrir, having participated in the ceremony himself and carried painted boards during performances. Through this work, he pays tribute to the senior artists and cultural leaders who came before him while continuing to share the stories and traditions of Gija Country through his own art.