Our Time in Geelong: A Conversation with Rone

Geelong-born artist Rone has painted an 88-metre mural across the venue, capturing 14 locals alongside representatives from the seven Wadawurrung family lines. Together, they form a portrait of community and connection, spanning generations in a visual journey through time. 

Painted in tones drawn from the Wadawurrung palette, including a rare blue ochre unique to this Country, the work embeds Geelong’s story into the very fabric of the building. 

For Rone, it marks both a return and a shift. Known worldwide for transforming forgotten spaces into large-scale installations that explore impermanence, his work at Nyaal Banyul takes a different path — one that’s permanent, public, and deeply connected to place. Revealed along the laneway behind the venue, the mural isn’t hidden away but stands boldly as part of the city’s story. 

We sat down with Rone to talk about what it means to bring Our Time in Geelong to life. 

You grew up in Geelong. What does it mean to create such a significant piece of public art on the Geelong waterfront? 

It means a great deal of responsibility to make something that represents the community, and it’s also an honour to create a piece that will be part of the future of a city that shaped me. 

The mural brings together so many voices, 14 locals alongside the seven Wadawurrung family lines. How did you go about weaving all those stories into one piece? 

It was my role to find what connects us all. The passage of time has been a theme I’ve explored in my installation works, and here the ages of the subjects became key. It wasn’t about achievements; it was about their connection to this area through time. 

And working here at home, where friends, family, and peers will see the piece every day, did that change how you approached it? 

There’s added pressure knowing that friends, family, and peers will see this work frequently and for a long time. Unlike a lot of my more ephemeral works, I feel this one needs to be perfect. 

Much of your art has embraced impermanence, yet this mural is built to last. How did that shift your perspective? 

Ephemeral work is a key theme for me, but I also make work meant to last generations. Here, that’s reflected visually in the way the subjects ‘fade’ in and out of the wall, a reminder that nothing is permanent, and that we are all connected. 

Your style is known for its intimacy on a grand scale. With a wall this size, how did you keep that balance? 

I had a lot of help painting the mural, which was new for me. We developed methods where my assistants could mark up and block in the work, giving me more time to refine the finer details and keep the stylistic feel intact. 

When you step back and look at the finished piece, what story do you hope it tells? 

The mural tells a story of time, connection, and impermanence, how people of all ages are tied to this place, and how those connections carry forward into the future of Geelong. 

One detail that stands out is your use of blue ochre. What does that colour mean in the context of the mural? 

I was given a sample of blue ochre by the Wadawurrung Traditional Owners Aboriginal Corporation. I’d always thought ochre was red, and learning that this blue is fairly unique to the area made it a perfect way to strengthen the connection to this place. 

Nyaal Banyul will welcome thousands of delegates from around the world. How do you want this work to connect them with Geelong? 

I want delegates to see that there’s an ever-evolving community here, deeply connected to this area. 

Public art has a way of stopping people in their tracks. What do you hope they notice first— and what do you hope they discover when they look closer? 

At first, the work may look printed, but if someone takes the time, I hope they notice the handmade quality, the marks and details that make it a work made with care. 

This has been a close collaboration with the Wadawurrung Traditional Owners. How did their guidance shape the final work? 

The Wadawurrung Traditional Owners guided me in selecting representatives of different ages across several family lines. They also introduced me to the blue ochre, which became an important element of the mural. 

Community runs through everything you do. What inspires you most when creating art that celebrates connection? 

The people of the community inspire me most, their stories and what it means to them to be represented in their own community. 

If you had to describe this mural in three words, which would you choose? 

People of Geelong. 

And when visitors leave after seeing it, whether they’re delegates or passers-by, what do you hope stays with them? 

I hope they leave with a sense of connection to the people, the place, and the ongoing story of Geelong. Even if they’re just passing through, they can feel the community and history that shape this city. 

As Nyaal Banyul prepares to open its doors, Rone’s mural has already become part of the waterfront story. It’s a reminder that buildings are never just bricks and glass—they’re shaped by the people who gather around them. Our Time in Geelong carries that message in colour and detail. It honours the Wadawurrung Traditional Owners, reflects the stories of today’s community, and welcomes future generations who will visit this waterfront. Like Nyaal Banyul itself, it invites you to pause, connect, and see Geelong from a new perspective. 

Be part of the story at Nyaal Banyul. Book your next gathering here and let it become part of this place.