In Conversation With Bundjalung-Based Artist Otis Hope Carey
Tides of change
By Natalie McGowan | 28th April 2026Otis Hope Carey’s art has found its way into some remarkable places: the five-star Capella Sydney; Shannon Bennett’s boundary-pushing restaurant precinct The Belongil; on screen in Thor: Love and Thunder, worn on a cloak by close friend Chris Hemsworth; and in fashion collaborations with Christian Louboutin, Louis Vuitton, Longines, and Billabong, to name a few. A Gumbaynggirr and Bundjalung man, father of three, and former professional surfer who turned to art in a time of need, his practice is rooted in culture, community, and the ocean — the undercurrent that runs through all of it.
While on a remote surfing trip, Otis answered our questions between waves.
You are a Gumbaynggirr and Bundjalung man, and the ocean (“gaagal”) holds a significant place in Gumbaynggirr culture. That connection to the sea feels very present in your work. What are some of your earliest memories of being around the ocean?
Oh, jeez, my very first memories are being in a rock pool at the beach with my parents and older brother. I’ve got three siblings but the first memories are with my older brother and parents. Two of the fondest are at the beach in a rock pool and at a freshwater river where we used to live in the bush. Water, both fresh and salt, makes up who I am and how I see the world.
How does gaagal show up in your art?
I do my best to paint the interconnected and deep spiritual layers that connect us to our totem/totems. In my Gaagal body of work, you can visually see movement on a deep level if you watch and listen to the work.
Both surfing and art reflect your love of the ocean. How do you see your surfing career influencing the way you create art?
I never thought surfing influenced my art until I stopped trying to separate the two. They’re like the sun and the moon; they need each other to make sense and tell stories properly. They guide each other to the right places.
You’ve spoken previously about experiencing depression in your twenties and how your therapist suggested painting as an outlet. What do you remember about that time in your life and what was it like picking up a paintbrush for the first time?
Faawww, jeez, I still struggle with depression, to be honest. I think I’m just such a sensitive human that I can’t help but feel on such a deep level that it gets really overwhelming. Luckily, I do have painting and surfing to lift me out of those deep emotions. I remember when I first started painting gaagal, it was like the light within me just pulsed so bright out of my chest, I knew I had found my healing path.
How did painting shift from a hobby into a career for you?
I first started painting in 2014, had my first solo show at China Heights Gallery in 2016 and I think half the show sold within a few weeks. I did 50 works for the show — I went so hard on painting so many works, I was so inspired to share this newfound way of expressing myself and sharing my culture. After that first show, I knew I had found a new career path. 10 years later, I’m still represented by China Heights and just so grateful to still be here painting and creating.
I’ve read that when you paint cultural stories, there are certain boundaries around what can and cannot be shared, and that you often speak with Elders beforehand. Could you tell me a little more about that process and the responsibility that comes with it?
Yes, I’m always consulting with Elders and mob in the community that hold cultural leadership. It’s important to make sure some stories are given permission to share — some stories can be shared, but only the parts that are allowed or given the green light by Elders. Cultural safety for everyone, both non-Indigenous and Indigenous, is always at the forefront of my practice.
Your work has appeared in many different spaces — from fashion collaborations with Billabong, Louis Vuitton, and Christian Louboutin, to featuring in Thor: Love and Thunder and at The Belongil. Is there a favourite collaboration that felt the most meaningful to you and why?
For me, the Christian Louboutin collection is a standout. The way my art was used on the shoes and bags was mind-boggling. It was as if everything was hand-painted. They did an incredible job — I still can’t believe it’s real.
When translating your artwork into fashion, how do you approach it, and how do you decide which stories to tell when presenting your work to a worldwide audience?
Usually, the works I produce for collaborations aren’t super detailed works, and the colours I use don’t reflect the deep connection to the stories in the work, if that makes sense. I tone everything back.
How do you feel seeing your art worn or displayed in fashion changes the way people engage with it?
I think it’s awesome seeing my art being worn by non-Indigenous mob and Indigenous mob — it’s a great way to create a safe space for everyone to learn something from each other. At the end of the day, we’re all here to learn from each other and walk each other home.
You’re also a father of three. How has fatherhood shaped the way you think about culture, storytelling, and the legacy you are carrying forward through your art?
I just want to leave a legacy that they know they were a part of. They’re always with me in the studio, painting while I paint — I just want them to remember those moments.
What kind of impact do you hope your art leaves on people, and what kinds of conversations do you hope it sparks?
I just want to create a space for people to learn from each other — that’s all I want. If we all know each other a little better, we’re all inclined to be a little nicer to each other. God knows we could use some kindness in the world right now.
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