ABSTRACT
Exploring the influence of an art centre on the style and subject matter of the art being created is a complex and, sometimes, controversial issue. During the early 2000s, the majority of income for an Injalak Arts painter was generated by small paintings on paper. Their freedom, however, came in the choice of subject matter – from generic animals (e.g. fish) to complex cultural stories relating to land, creation of life, and ancestral beings. In this chapter, I focus on the subject-matter artists chose to depict and argue that Injalak Art's policies in 2002–2003 relating to medium and paper size influenced the ability of an artist to paint particular subjects.
