Collaborating with First Nations Artists to Create Architectural Storytelling

Collaborating with First Nations Artists to Create Architectural Storytelling

At Decor Systems, we believe that architecture has the power to tell stories — none more powerful than those connected to Country. For architects looking to design with Country in mind, our Contours of Country range offers a meaningful and tangible way to embed cultural narratives into the built environment.

This range is the result of ongoing collaborations with four incredible First Nations artists: Jenna Lee, Keisha Leon, Toby Bishop, and Racheal Sarra. Each artist brings a unique perspective and deep cultural insight, with every design in the range telling a distinct story rooted in Country, identity, and heritage.

Through this collaboration, Contours of Country was born — an award-winning collection of acoustic panels that speak to the spirit of this land now called Australia. Importantly, 15% of every sale goes directly back to the artist, ensuring that the value of Indigenous knowledge and creativity is recognised and respected.

The range features Group 1 and 2 fire-rated acoustic products with exceptional sound performance, and is also available in a fibre cement substrate, making it non-combustible, moisture-resistant, and ideal for both interior and exterior applications.

In 2023, Contours of Country was honoured with a Good Design Award for Product Design in the Hardware and Building category, recognising its innovation, impact, and integrity.

Spotlight Project: Hymba Yumba

Hymba Yumba Independent School is a powerful example of how architecture, art, and acoustics can come together to create something truly meaningful.

Working alongside Deicke Richards, we were honoured to contribute to a project that places Indigenous culture and student wellbeing at its heart.

One standout feature from this project is Jenna Lee’s artwork ‘Seeds Reversed’. We spoke with Jenna about what this project means to her, and the powerful experience of seeing her work embedded into a space dedicated to learning and cultural pride.

What was your initial inspiration for the design featured in the Contours of Country range?

My practice often explores the collecting and commodification of Aboriginal cultural material, particularly language and objects. In this work, I turned my attention to one of Australia's most collected and commodified plants: the Eucalyptus. These trees hold deep cultural and practical significance for many First Nations peoples, including Larrakia people. Drawing on the textures and forms of eucalyptus bark and seedpods, I wanted to embed these natural motifs into the surface of the architectural panels. The idea was not just to reference nature, but to re-embed a First Nations perspective and cultural memory into the very fabric of the built environment, referencing what was always, and will always be Aboriginal landscape.

Original Artwork

How does it feel to see your work installed in a space like Hymba Yumba, a school so deeply connected to First Nations values?

It is incredibly moving. To have this work installed in a space that centres First Nations knowledge, identity and pride means that the artwork can live with the community it speaks to. Seeing the young ones interacting with the space, standing beside the panels, learning and growing in proximity to this design, feels like the work has come full circle. It is no longer just a reflection of cultural knowledge. It is now part of the everyday lived experience of the students. That is powerful and I am honoured to be a part of it.

Transferred Artwork

What role do you think art and design play in shaping culturally safe and inspiring spaces for young people?

Art and design have a quiet yet powerful ability to shape how we feel in a space. For young people, especially First Nations youth, being surrounded by design that reflects their stories, languages and Country creates a strong sense of belonging and validation, to feel seen. It reminds them that their culture is not just present, but deeply valued. Embedding cultural elements into architecture turns buildings into living spaces of learning, pride and connection.

Hymba Yumba

Are there any stories or meanings within the design that you would like us to share alongside the project feature?

The etched forms reference the physical landscape and a cultural way of seeing, where every seed, bark texture and natural line holds meaning. While the eucalyptus tree is widely recognised as a native Australian species, it is often divorced from the knowledge systems that have long interacted with and understood it. By etching its patterns into the built form, this work seeks to reframe that relationship and honour First Nations peoples' enduring presence and knowledge. It is a quiet act of reclamation and reconnection, one that resonates with the young people who move through this space every day.

Hymba Yumba

University of Sydney

Keisha Leon’s “Connections in Country” from the Contours of Country range was specified for its synergy with the design concept and the profound narrative it brings to the space. The panels, featured prominently on the bulkheads, create a sense of flow and connection. They symbolise the transformation and continuity of movement, echoing the ever-changing nature of Country.

Original Artwork

To enhance acoustic performance, the design was reversed to increase the open-air percentage. The panels, finished in SmartLook Austrian Forest Maple, lend warmth and an inviting ambience to the room. To maintain the design’s fluidity and achieve a seamless, uninterrupted look, the panels were installed using the BJ2 Secret Fixing System.

Transferred Artwork

The architects envisioned a concept that bridges the past, present, and future, perfectly aligning with Keisha Leon’s artwork: “As the songlines are created, so are the lines that shape Country. Ever-changing, moving together, connected by past, present, and future.”

USYD's new teaching space represents a bold step forward in the evolution of educational environments. The incorporation of Keisha Leon’s “Connections in Country” artwork and thoughtful acoustic design demonstrates a commitment to honouring Indigenous culture while embracing the future of learning.

University of Sydney

Custom Collaborations: How to Involve an Artist in Your Project

At Decor Systems, we welcome the opportunity to work on custom collaborations with First Nations artists chosen by you. Whether for a community space, educational facility, or commercial environment, we provide a clear and respectful process to bring culturally significant artwork into architectural form. From initial engagement through to production, we ensure each project honours the artist’s story and the spirit of Country it represents, resulting in meaningful, site-specific installations.

Here’s how the process works:

1. Client Engages Decor Systems

The journey begins when a client expresses interest in incorporating Indigenous artwork into their project. Decor Systems is brought on board to facilitate the collaboration and manage the production process.

2. Briefing Document Supplied

We provide a detailed briefing document outlining the design intent, technical parameters, substrate options, and artist collaboration process. This helps align the vision across all stakeholders — the client, architect, and artist.

3. Client/Artist Engagement

The client engages with the artist of their choice to begin the creative process. This stage involves open dialogue to ensure the artwork aligns with the space and purpose. This stage to production can be completed within two weeks once we have the artwork.

4. Artists Provides Artwork

Once engaged, the artist creates and delivers the final artwork. This can be based on a specific story, theme, or cultural context relevant to the project or site.

5. Artwork Translation

Our expert design team then translates the artwork into machinable panel patterns, carefully adapting the original piece while preserving its integrity and meaning. This is the technical bridge between art and architecture.

6. Client/Artist Approval

The translated panel design is shared with both the client and the artist for feedback and approval. We don’t move forward until everyone is aligned and satisfied with the result.

7. Ready For Production

Once approved, we prepare shop drawings and manufacturing files, ensuring everything is technically ready for production.

8. Manufacturing (5-6 Week lead Time)

Production begins. Depending on the complexity and volume, manufacturing takes 6 to 8 weeks. During this time, we maintain clear communication with the client and project team to ensure smooth delivery.

Artist Briefing Document

Design parameters

Decor Systems can accommodate any design. However, adhering to the following parameters will ensure a seamless process.

• Current Contours of Country range is between 4-20% open area to accommodate industry standard NRC requirements. Open area ties in with the acoustic performance of the panel.
• Transition between panels should be considered.
• Consider the buildability of the design: full-length cuts through a panel result in sections being removed. To avoid this, we can use groove lines or full-depth cuts to create patterns.

Standard panel sizes are:

• 2400x1200
• 3000x1200
• 1200x600

At its heart, Contours of Country is more than a product range — it’s a movement toward embedding truth-telling, identity, and connection into the very fabric of our built spaces. By collaborating with First Nations artists, Decor Systems helps bring stories of Country into environments where people learn, heal, create, and grow.

Whether through our curated range or bespoke commissions, each project is an opportunity to centre Indigenous voices and honour cultural knowledge in a lasting, tangible way. From school halls to universities, these panels don’t just perform — they speak. They whisper stories of seedpods and songlines, bark and belonging, history and hope.

Together with architects, clients, and artists, we continue to shape spaces that do more than look good — they feel meaningful. They carry Country.

We invite you to be part of this journey. Let’s create architecture that listens, respects, and reflects.