Episode 3: Art in identity and healing: Designing for children, family and mob

Episode Description

In this episode of Kids, Culture, Community – SNAICC Yarns, proud Bunuba, Gija, Karajarri, Yawuru and Miriwoong woman Tovani Cox, Graphic Artist at SNAICC, joins host Michael Lynch on Wurundjeri Country in Narrm for a yarn about creating art and design for children, families and communities, and how art has a part to play in healing and therapy.

Tovani reflects on growing up on Yawuru Country in Broome and the Kimberley, where Country, colour and family shaped who she is today and her art; growing up in a family of artists with their sketchbooks that doubled as storybooks. Now a digital artist and graphic designer at SNAICC, living and working on Wurundjeri Country, she shares how she brings her life, culture and wellbeing into the storytelling of the pieces that go on to shape the visual identity of national plans, strategies and initiatives.

Michael and Tovani discuss how creativity is a strength, not a sidenote, and speak about healing through art, with Tovani explaining how she lets her liyan (spirit) guide her work, and how the support of family and mob keeps her grounded and inspired. They also reflect on the importance of Aboriginal and Torres Strait Islander Children’s Day, on 4 August, as we honour the journeys our children take as they grow, each step guided by culture, community and connection to Country.

Keep the conversation going—follow and share this podcast episode to amplify the voices of Aboriginal and Torres Strait Islander children, families, and communities.

This artwork was created to visually represent Kids, Culture, Community – SNAICC Yarns, a podcast by SNAICC – National Voice for our Children, dedicated to amplifying the voices and experiences of Aboriginal and Torres Strait Islander children, families, and communities.

At the heart of the artwork is a central motif drawn directly from the SNAICC Marulu design – a symbolic anchor that represents SNAICC’s identity, purpose, and vision. This central element grounds the piece, reflecting SNAICC’s leadership in advocating for the rights, wellbeing, and futures of our children.

Surrounding this are three figures, symbolising a community in conversation. These figures represent not only the act of yarning, but the diversity of voices – children, families, Elders, leaders, and community members – who will be heard through the podcast. The figures are encircled by layered soundwaves that ripple outward and inward, capturing both the expression of voice and the act of deep listening.

These soundwaves reflect how stories, knowledge, and lived experiences are shared, received, and echoed across communities – from grassroots voices to national conversations. The design intentionally shows sound as both something that travels outward to inform and inspire, and something that returns inward to strengthen identity, connection, and culture.

Content Warning: SNAICC advises Aboriginal and Torres Strait Islander people that this episode of Kids, Culture, Community – SNAICC Yarns contains references to topics that may be triggering to the community. Your social and emotional safety is important. If this recording has brought up any concerns or issues for you, please contact 13YARN on 13 92 76

Michael:

G’day and welcome to episode three of SNAICC’s podcast Kids, Culture, Community – SNAICC Yarns. My name is Michael Lynch, and I’m really excited. We’ve got a fantastic episode today where we are talking about Aboriginal and Torres Strait Islander art.

Before I introduce our very special guest, I wanted to kick off by acknowledging the Traditional Custodians of the lands on which we’re recording from today. We’re recording from beautiful Wurundjeri Country down in Narrm, and I’d like to pay my respects to Aboriginal Elders past and present.

Thanks so much for joining us, for tuning in to episode three, and I’d like to—drumroll—introduce our special guest, who is Tovani Cox. Tovani, thank you so much for joining us.

Tovani:

No worries, Michael. I’m glad to be here.

My name is Tovani Cox, and I was born and raised in Yawuru Country in Broome. But my family goes across from Bunuba, Gija, Yawuru, and Miriwoong and Karajarri Country.

Michael:

That is amazing. We can’t wait to hear all about it during this episode. Yeah, it’s lovely to have you. I guess on that note, could you tell us a little bit about—because it is just fascinating—about, I guess, your early years and your connections that you’ve just touched on, to Broome and the Kimberley community as well?

Tovani:

Yeah, so growing up in Broome and in the Kimberley’s was just such a huge part of who I am, really. Growing up with my family and, you know, them being the people that really influenced me the most with growing up and including with my art as well—just being around. Whether it’s, you know, good old family kind of catch-ups and hangouts at, you know, nighttime with the uncles and aunties, pulling out the guitars and stuff, having a drink, kids running amok everywhere. So, it kind of just really started with the family influence, and just being surrounded by Country was just such a big influence of who I am today.

I’m a visual learner, and I’ve always been one of those kids that, you know, you got to watch out—you know, if you do something, I’m going to copy. And being able to, yeah, have that, and always been interested in what is surrounded—what’s surrounding me—whether it’s the trees, whether it’s mangoes, all the different colours in Broome, especially with the red, orange sand. I’ve always kind of had an interest with colour and what’s surrounding me.

That, you know, anytime I find anything that I could put my hands on to draw and sketch and paint on, I’m there. And especially with growing up with my Nans, they are artists themselves, and so their sketchbooks were my reading books. They were my books that I would look in and, you know, create my own stories—or let them tell me their stories of what their sketchbooks—what’s, you know, the sketch that they’ve done—what that represents, what that means. And so that was my little storybooks growing up.

And it’s just been a thing that I knew from the get-go, that I was like, no, I want to do art. I want to do something that’s centred around my community and my culture, and kind of bring that with me. And so, yeah, I’m really glad that SNAICC has given me that opportunity to be able to be a digital artist and a graphic designer. Glad that I can do the things that I have always loved and having that as a profession.

Michael:

That’s just so amazing to hear, especially about the impacts of your family, of your Nan and their art pieces. I actually was curious—because you’ve touched on Country there—but I know something that I hear a lot about up in Broome and up in the Kimberley… it’s the seafood.

Tovani:

My mouth… drooling. I’m really thinking about—I’m already missing the seafood. You know, I’ve been yuljing up in my, you know, my language that—you know, I’ve been missing mud crab the most. That’s the one thing I’ve been craving the most.

People from home—they can always, you know, freeze up and send us over some, you know, barramundi and all those, you know, fish and stuff. But mud crabs are something that’s a little bit more difficult. And barnis. If anyone—if anyone knows what a barni tail tastes like, you know what I’m talking about. Because you think about it.

Michael:

For those that are tuning in, we’re actually recording not too far away from the Victoria Markets, and we did wander through the seafood section this morning. The selection was quite impressive—but definitely nothing like up in Broome.

Tovani:

There’s just—there’s nothing compared. And you know, that’s the one thing that my mum and I, and you know, my family, that—you know, since we moved here eight years ago—it’s one of those things that we look at seafood and we’re like, we could just get that for free back home.

Like, why waste $100 for, you know, a crab down over here when we can just go catch ourselves? But we—yeah, we try not to spend money on seafood when it’s not really needed. Until, you know, it’s necessary. When we’re like, nah, we craving seafood. We’re craving fish. We’re craving something.

So then, yeah, we’ll end up, you know, splurging a little bit—but definitely not on crab. Crab’s too expensive for us. We like, nah, we’ll just—we’d rather spend that same amount going to Broome, going back home, and catching mud crab ourselves.

Michael:

That’s—that… I mean, that is amazing, Tovani. So, can we just say a bit of a shout-out to anyone that’s listening? Look, anyone up Broome way—if there’s any mud crab… I don’t know if Express Post does mud crab or if there’s any way to ethically do that, but we just want to put a shout out. Get it down here! Send it over.

Tovani:

Yeah, I’ll be waiting for any comments or anyone that sends us an email through about mud crabs, I’ll be there.

Michael:

That is outstanding. Now you did touch on your work with SNAICC, and we’re incredibly lucky for you to be part of the team. It’s just amazing. Could you tell us about some of your key art pieces that you’ve delivered during your time at SNAICC?

Tovani:

Yeah, so at SNAICC, you know, I work a lot with the visual communication and design for a lot of different campaigns that, you know, SNAICC does—like Children’s Day is one that’s, you know, massive, that I always love to be a part of. You know, it includes creating the amazing activity books that the kids can do and have a chance to explore their own little brains, you know, with the things that I can put on there. Also creating what the poster looks like. And that wouldn’t be without the amazing photographers that we get to be able to get those photos done. And I just simply, you know, add on from those beautiful photos that we get.

A lot of the resources as well that go out—like for the early years services that we have—and that’s, you know, whether that’s doing PowerPoint slides, whether that’s making a deadly-looking flyer. I just love, you know, putting a little touch into all of those things that typically are very professional. And I like to kind of add that bit of fun, that colour, that pop, that culture and community and stories into those.

Michael:

See, that’s really important—what you’ve just mentioned—because you’ve mentioned the fun. Obviously, a big part of SNAICC’s work is engaging with children and families. So, when you’re putting together art pieces with that audience in mind—of, you know, kids aged anywhere between two and eighteen, I suppose—are there any extra kind of considerations you take as an artist? Is it kind of that… do you just focus on it being fun?

Tovani:

Yeah, so I definitely do. I think I definitely start with Community and identity is what comes in mind. And I always just love for, you know, to get that brief of what the project—what I’m designing for—I love having a read of those and kind of putting more into my own creative brain of what does this visually look like? What does this look like, but for mob?

And that’s a thing that, you know, I always have a bit of a hard time, you know, in the very beginning of the process—of the starting of creating an art piece. It’s always kind of like, oh my god, I’ve done this many, I don’t know, you know, if I can squeeze another artwork out—another art piece out—and do all that. But then it, you know, at the end of the day, it comes out as a whole new thing, a whole new piece that I create. And, you know, everyone’s always amazed every time I put something out—that till this day, I’m still surprised that I’ve got—I got a different… got a lot of art still coming out of my brain.

But, you know, when I’m stuck, I think that’s when I use my family as a big influence for my brainstorming, my ideas. Because then I will talk to them about like, okay, this is what this is about, and what’s appropriate? What’s a thing that I can, you know, take from traditionally but put it and make it modernised, and, you know, put it into the digital world of things?

And some of the ideas that either I’ll get from either just my daily walks that I’m doing, or even, you know, going from work to home. You know, sometimes it will come to me. I will see something out in the world, and I’m just like—that, I need to remind myself. And so I always have a little book or a sketch—something with me—so that I can just easily draw some stuff and be like, this, some idea. I’ll work on that.

And sometimes, yeah, when I’m in the process of doing artwork, sometimes a whole new idea comes and it scratches that whole previous idea out. And it’s just—yeah, it’s amazing how sometimes I just let my spirit and, you know, my liyan do the artwork for me. And just—when it happens, it happens.

Michael:

That’s quite phenomenal. That’s amazing to hear. Now, can we unpack some specific pieces of art that you’ve done during your time at SNAICC? And there’s one in particular that springs to mind for me, and that’s your amazing piece that you put together for the Youth Voice team.

Tovani:

Yes, Youth Voice—it’s the most recent artwork that I’ve done, and I’m really happy with how it turned out. And especially, you know, what this project, Youth Voice, is for—it’s just amazing, and I’m so glad to be a part of it.

And so if anyone has seen it—especially by now, when the episode is out—the artwork itself is called Paths to Purpose. It’s definitely a little tongue twister of a lot of sounds.

And this artwork itself, I feel like a lot of people are going to be sick and tired of me talking about this artwork. I’ve been saying it a lot, but again, I love this artwork so much, so I’ll say it again.

And with SNAICC’s Youth Voice, it’s an initiative, and this artwork represents the strength, leadership, and unity of Aboriginal intellectuality at young mob.

And when you look at the piece itself, there are two specific silhouette figures, and that represents the youth—the young people—and they come from different places, different communities.

And it looks like they’re walking up a mountain. And when they meet up in the middle, that’s when they start this yarn of: what can we do for young mob? How can we advocate for ourselves? How can we start this process of looking out for one another?

And, you know, getting to this point is a journey, and so that’s why it looks like it’s a mountain or a hill, because they got to get from one side to the other side, to meet up in the middle to start this yarn, to start this, you know, huge conversation of: where do we go? Where do we go from here? What do we do?

And see this big, big, colourful, broad world out there. And that’s what the colourful background of the artwork represents—the scary world that’s out there. But it’s so beautiful that, you know, you want to touch it. You want to, you want to explore it. You want to, you know, put your own little signature, your own little, you know, kind of logo and thing out there. You want to be a part of it.

And I think when looking at it, it’s just—it really, like, the first thing I think about it was just, this represents Youth Voice. Like it even looks like the background is, you know, kind of the voice of all the colours, because, you know, voice can be visualised as that.

And I think it’s just yet such a beautiful piece that I’m really looking forward to, kind of what the Youth Voice team will do for this, and what, you know, what can get out there with all their conversations? I think it’ll be really good. Looking forward to it.

Michael:

Yeah, very much so. And that is—it is just, yeah—for those tuning in, you can see this beautiful artwork on the Youth Voice page on the SNAICC website. It is just so inspiring.

And as you mentioned there, Tovani, the colours—they just really stand out. Yeah, it really pops. So, yeah, it’s an amazing piece.

Tovani:

Yeah, it took some time figuring out those colours, but I’m glad how it turned out. I think, you know, I even got, you know, the youth themselves to have an opinion on that—to help really make that final decision of, you know, what? What do I do? Like I, you know, even, you know, I’m going to include myself as a youth. You know, I’m still young. I’m still part of that youth category, I would say.

But I think it’s different when you’re the person that’s creating the artwork, you know? I kind of, I’m like, like, I like this, I don’t know.

So I was really glad that, yeah, I got two young boys, actually, to, yeah, kind of pick which one they liked. And yeah, no, it turned out really well.

Michael:

Yeah, that’s just phenomenal. That’s quite amazing to hear—to hear about that. And I guess, going from there, I’m really interested in, I guess, the role that not just your art, but Aboriginal and Torres Strait Islander art right across the continent plays in terms of therapy and healing. Is that something that you see as a big part of art as well?

Tovani:

Oh, 100%. I think art has always been—for me specifically—it’s always been a healing practice. And I 100%, you know, I’m not—I don’t shy away from my anxiety and my own kind of healing and mental health. I always kind of incorporate that into my art, because that is me. And it’s a space where I can kind of process, reflect and connect with either what I’m currently feeling or what even I feel about what the team is looking for.

And I will really put myself into that and dive down even deeper with, you know, creating my own little story and kind of thinking, okay, how do I feel? What is my healing? What is my kind of thing that I feel with this piece?

If this were to be a storybook, if this was to be something that, you know, someone was really talking to me—like, this is their problem, this is their issue, this is their target that they are wanting to have—and I kind of, yeah, really dive deep into that.

And I think that it’s—yeah—a healing process for us mob is huge with anything that we say and visually put out.

Michael:

Yeah, very much so. Very much so. And I guess—this is the exclusive for everyone listening right now—we’re going to ask an interesting question.

So what’s next for you as an artist? You’ve already achieved so much, and you’ve put together some phenomenal pieces. Do you have any special intel for the listeners on any pieces that you’re working on at the moment?

Tovani:

Right now, work-related—you know, you’ll have to see. Don’t know yet. But I do work, you know, on the side and do art here and there. But I think, personally, you know, I think I’ve got a whole sketchbook waiting, ready—but I’ve never really, yeah, put time and time into that.

But, you know, I think the future for me is: keep doing what I’m doing, keep putting my art out there and helping as much, you know, as I can for the organisation and for, you know, kids to kind of, you know, see this and be like—’wow, like, you know, I want to look more into this, what, you know, what’s this team putting out there that has this beautiful piece?’

And yeah, in the future I hope to, you know, put my name out there and, you know, see me eventually in stores and different franchises and whatnot. That’s the—that’s the end dream of, you know, being able to put myself really out there commercially and put myself in retail. And also, yeah, I want to go back to community and work with kids with my art—whether that’s, you know, doing art therapy, but for mob and community—and just putting myself out there.

Michael:

Yeah, that’s just sort of phenomenal—phenomenal to hear. And I guess, we do get a lot of engagement already from the podcast, from Aboriginal organisations, a lot of ACCOs tuning into the podcast…

Do you have any advice to Aboriginal-led organisations, but also, I guess, mainstream as well—organisations—about how they can kind of create space for more creative expression within their work and within their sector?

Tovani:

I would say—by trusting mob to lead the creative projects and valuing our storytelling as much as, you know, as our policy knowledge. Making sure that there’s time and budget for these creative processes—for mob to being able to let these artists be involved from the beginning, from the get-go—and, you know, not simply midway through or at the end of the process.

You know, start from the very beginning. Whether even it’s just an idea, I think that’s where you got to start. And creativity is a strength not a sidenote.

Michael:

That’s such a—yeah, so beautifully, beautifully said. Now, there’s a big, big event taking place that SNAICC’s heavily involved with next month—National Aboriginal and Torres Strait Islander Children’s Day. It’s a huge day—August 4. You’ve done some really exciting work around Children’s Day. Could you tell us a little bit about that?

Tovani:

I think this year—which, Michael, you got to remind me what the theme is again—

Michael:

Little Footsteps, Big Future. Yes, I’ve written it down—it’s actually tattooed on at this point.

Tovani:

I think it needs to be on my forehead. But no, that—yeah, reminding. It’s, you know, bringing out a lot more things to answer this question that you’ve kind of given me. But it’s really—the theme itself has guided me for designing all of this because I think it really reflects the journey of our kids growing into leaders.

And so, we already have, you know, deadly assets that we already use for Children’s Day, and I just kind of bring it out more. I explore it more and be able to kind of figure out, you know, what this year—what are we going to do with the same assets, but make it look different?

And so I think—yeah—this year, especially for the Children’s Day poster—mob, you gotta get it! Get your hands on one of them, because we got many to give out.

I think that especially really reflects, you know, what the whole idea for this year’s theme is. And the two kids, the two little ones—they’re absolutely gorgeous—and I think the photo is just absolutely, just really, really tells the theme.

And I am glad that I was able to kind of expand more of the little ones and put, you know, a pathway behind them to kind of show what the growth will be like for those little, you know, little footsteps for the big future, because it’s continuous.

I think, you know, the pathway needs to just—it will keep going. There’s no proper end to it, because they’re still learning. Like, especially the little one, the youngest one—they don’t even know what’s fully out there yet. They’ve only just entered the world, and there’s just, there’s so much for them to explore.

That, yeah, I think this photo itself really shows it off, and I definitely try my best to kind of explore more with that asset for all the other resources that I’ve made for this year’s Children’s Day, which is, yeah, looking forward to it.

Michael:

That’s such a—it is such a special—yeah, so this year’s Children’s Day poster, it is phenomenal. And for everyone listening, it is available for free download from the SNAICC website.

And you can see the SNAICC website just near where you’re tuning in—no matter what platform you’re tuning in from—you’ll be able to easily access the SNAICC website and the beautiful Children’s Day poster, which Tovani designed and a beautiful photograph captured by Jesse as well.

It’s, yeah, it’s quite an amazing and inspiring poster. And there’s a couple of other resources, as always this year for Children’s Day, we’ve got the bags—which you had a big part of with the activity sheets.

Tovani:

Yes, which I’m very glad of the outcome. You know, I’m looking forward to all the little kids, you know, having fun with that. There’s especially one—one activity that really, really gets your mind going. I think even some of the adults and parents will have a bit of a struggle on that. Even—how simple it is, it’s—it’s complex.

Michael:

There you go. Okay, the challenge. The challenge is on—there you go. You have to check that out—the Children’s Day bags—and they are very popular, so you’ve got to get in quick.

And they may have even sold out by the time this goes live, I will flag that. They’re very popular. But the activity sheets that Tovani is talking about—and Tovani designed this year with—this sounds like a very challenging activity. They are available also for free download, yeah, via the SNAICC website.

Well, Tovani, thanks so much for your time. I just—I just wanted to ask this last question. And it seems like an obvious one, but we have to ask it.

What would your message be? What would you say to any young mob out there, even young at heart mob, that want to get involved in art and design? What would your advice be? Would you have any tips for them?

Tovani:

I think one main thing is that, you know, our children are our future, and our culture is their strength.

And, you know, always, as much as you can be a part of the community, you know—even that’s simply going over to, you know, other family members’ houses, and having a yarn and just simply being there—I think is something that really has helped me.

And, you know, start from somewhere. Sometimes, you know, you might not have the best beginning of the process of what you know you want to do, but at the end, when you have family surrounding you, it’s a big difference.

And I think if you put your full focus on what your goal is—whether that’s I want to help my mob, I want to help my community, I want to do something—then start with that, just having a yarn, talking about what your ideas are, because it’s a huge difference if you really keep it in compared to if you actually speak it out and talk to someone.

Because then that’s putting it out to the world that, you know, you can actually start somewhere, and that’s just simply having a yarn with either your own siblings, whether that’s with your mum and your dad, whether that’s with your auntie, even if it’s with your own, you know, school teachers and stuff in community—like, just put it out there to the world, and it will manifest itself.

So that’s kind of my tip, because, you know, I’m a big yapper, I’m a big blabbermouth, and I think I’ve manifested a lot of things out there to everybody—even a good old Uber driver knows my business of what I want to do in my life. So I’ve definitely put it out there to the world.

Michael:

We could have another podcast episode with you and the Uber driver. There’s many drivers,

Tovani:

I think, a good, good, good lot know what I want to do in my life.

Michael:

What a note to end on.

Tovani Cox, thank you so much for joining us on episode three of Kids, Culture, Community — SNAICC Yarns. It was an absolute, absolute pleasure. As we close off this episode, did you have any final thoughts or messages that you wanted to share with the listeners—or Uber drivers out there?

Tovani:

I think, yeah, my final thoughts will just be like, you know, all the mob out there are deadly. I’m proud of you, and even if you ain’t got nobody, you know, there for you, there’s always someone there.

And just be—you don’t listen to any judgment or anything that anybody says. You know who you are, and so do your family members. And I think that’s the main thing—what can lead you to absolute greatness out there in this world.

And no matter, even if you grew up in a small town or huge town or the cities, that’s, yeah, important—of where, you know, where you’re from. But that’s, yeah, that’s it for me.

Michael:

Yeah. That was just—yeah, beautiful words. And yeah, I’ve got nothing. That was, yeah, quite inspiring and, yeah, really moving.

Thanks so much for your time. And a big shout out to the producer, Dan Hill, good old man doing an amazing job as well.

So yeah, a big thanks to everyone for tuning in, and we’ll catch you on the next episode—

Tovani:

I wonder who’s in the next episode?

Michael:

Oh, stay tuned.