Queenie McKenzie and the Spirit of Mary MacKillop
Art in our churches is generally quite static. The way art is used in aboriginal communities is often very different. The Creation or Gospel story will be painted and then the work of art is used in the liturgy or in the classroom to proclaim the scriptures. The artist holds the painting and tells the story as shown in the painting. For this example we return to Warmun (see George Mung Mung, Mary of Warmun on this website). We turn to one of Australia’s most well-known and respected aboriginal artists, Queenie McKenzie (c. 1915–1988). This work was painted in 1994 at the time of Mary MacKillop’s beatification.
The Religious Art of Jan Hynes
The traditional art of making an icon is an exacting process requiring much skill and knowledge that can only be acquired over a long period of dedicated commitment to the art. The method that aligns best with the essence of the icon is classical painting with egg tempera, a technique of unknown origins from deep within the ancient world. Adopted and perfected by the icon painters of the early church in Byzantium, the technique has been passed down almost without change to be employed by the few icon painters in our age whose practice remains true to the tradition. 
The Art of William Robinson
My name is Olga Bakhtina. Once in a while, people ask me why I paint Christian scenes. Every time the question comes up it surprises me. What does make a mostly self-taught contemporary artist like me paint Christian stories when so few people do? 
Dr Rebekah Pryor is a visual artist and writer living and working on Boonwurrung/Bunurong Country southeast of Melbourne, Australia. She was a finalist in the 2018 Blake Prize and, from 2015-2018, the curator of Lamppost Gallery, a space dedicated to exploring contemporary art and Christian spirituality. She is an honorary postdoctoral associate at Pilgrim Theological College, University of Divinity. In 2021 she coedited Contemporary Feminist Theologies: Power, Authority, Love (Routledge) and her forthcoming book Motherly: Reimagining the Maternal Body in Feminist Theology and Contemporary Art is due for publication in early 2022. 
Arthur Boyd’s wife, Yvonne, commented that Arthur was very fond of Saint Francis. This was undoubtedly true and yet in his perceptive and idiosyncratic way our artist turns the medieval legend on its head. The saint’s values of human brotherhood, non-materialism and engagement with nature are preserved, while the proselytising and, in Boyd’s eyes, control over others is sternly rejected. The medieval Francis felt himself to be divinely inspired while Boyd in the 20th century was alone with his fragile yet dogged sense of his own humanity. 
I acknowledge the Traditional Owners who have walked and cared for this land for thousands of years and their descendants who maintain these spiritual connections and traditions … 
CLIFTON PUGH (1924-1990) was an Australian landscape and portrait painter. His engagement with the bush, however, stands in sharp contrast to the familiar landscapes of artists such as Arthur Streeton and Frederick McCubbin. 
This set of Stations of the Cross was commissioned by the Aboriginal Catholic Ministry of Victoria in 2017 and are arranged along the main wall of their chapel in Thornbury, Melbourne. They were imagined, dreamed and painted by John Dunn, an Olkola/Djabaguy man from Far North Queensland.