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New Zealand
Australia
United States
United Kingdom
IrelandWillie Weston
First Nations designs
Panels
Desk ScreensCelebrating Culture and Traditions
Curated for commercial, education, and government spaces, the Autex Acoustics® Willie Weston collection contributes to fair and equitable income for First Nations artists.
A Collection with Purpose
From the delicate lines of Syaw (Fish Net) to the expressive motifs of Sugarbag Dreaming, each design celebrates the culture and traditions of the artists and the communities they come from. This collection enables you to incorporate First Nations design into your space and meet your acoustic requirements.
How to Specify
Specifying the right solution is simple. Select your preferred design, dimensions, and product options to create a specification that aligns with your vision and project needs.
Imagine. Customise. Create.
Bring your vision to life with our product selector. Explore colours, styles, dimensions, accessories, and features to create a solution tailored to your space. Experiment with different combinations and see how your selections come together, helping you find the perfect balance of performance, aesthetics, and individuality.
Product Option
Lisa Waup Designs
Kathleen Korda Designs
Annunciata N Wilson Designs
Rosie Ross Designs
Jean B Apuatimi Designs
Jean N Long Designs
Susan Marawarr Designs
Lee-Anne Williams Designs
Lisa Waup - Designs
Annunciata N Wilson - Designs
Jean B Apuatimi - Designs
Jean N Long - Designs
Susan Marawarr - Designs
Willie Weston Sample Request
The best way to choose is to experience it. Order a sample to explore the colours, textures, and finish up close.
Supporting First Nations Artists
Willie Weston is a profit-for-purpose business working in partnership with First Nations artists to support the integration of contemporary First Nations design into the built environment.
Willie Weston is a member of the Indigenous Art Code, an organisation that works to preserve and promote ethical trade in First Nations art. Autex Acoustics is proud to collaborate with Willie Weston to provide income to artists and communities across Australia.
Born and educated at the Daly River Mission, Kathleen Korda later lived in Peppimenarti (NT) where her mother and grandmother taught her to weave baskets, string bags and fish nets.
Born and educated at the Daly River Mission, Kathleen Korda later lived in Peppimenarti (NT) where her mother and grandmother taught her to weave baskets, string bags and fish nets.
Susan Marawarr (b. 1967) is a printmaker, sculptor, weaver and bark painter from Maningrida (NT). She has exhibited at Gallery Gabrielle Pizzi, Melbourne (2011), and Suzanne O’Connell Gallery, Brisbane (2018).
Her work is in the Art Gallery of Western Australia, Museum of Contemporary Art and the National Gallery of Australia. Wak Wak features rarrk (cross-hatching) and refers to the crow totem ancestor, Djimarr. Today Djimarr exists as a submerged rock at the bottom of Kurrurldul Creek, south of Maningrida.
Annunciata Nunuk Wilson of Peppimenarti (NT) was born c. 1970, the eldest daughter of the esteemed artist Regina Pilawuk Wilson. Annunciata paints durrmu (dot body painting) and has recently been experimenting with sun mat, basket stitch and merrepen leaf designs.
Syaw (Fish Net) evokes nets traditionally woven with pinbin (bush vine) by the women and men of Peppimenarti to capture fish and crayfish from freshwater creeks and rivers.
Lee-Anne Williams, from Fitzroy Crossing (WA), is of the Bunuba and Wangkatjunka lanuage groups. She began her career painting boab nuts, moving onto screen and lino printing on textiles before becoming a founding member of the 2017 Design Within Country fashion project. Water Levels references the marks that remain on the rocks of the Fitzroy River, after flood water levels rise and fall.
Jean Ngwarraye Long was born in 1963 and has lived in Ampilatwatja (NT) all her life. She has exhibited at ArtKelch, Germany (2015), Flinders Lane Gallery, Melbourne (2018), Suzanne O’Connell Gallery, Brisbane (2018), and was also a finalist in the 40th Alice Art Prize, Alice Springs, (2018).
Native Seeds represents the process of harvesting edible seeds from trees in the Ampilatwatja region. The seeds are used to create a dough, similar to damper which is cooked on hot coals.
Rosie Ngwarraye Ross (1951-2023) was born near Amaroo Station, Northern Territory. Rosie depicted the bush medicine plants and wild flowers from around her country near Ampilatwatja. She had a bold expressive style and often omitted the sky from her compositions, combining both aerial and frontal views.
Sugarbag is a name used for both the honey made by the native bees and also for the sweet nectar that comes from the big yellow flowers of the ‘tarrkarr’ trees.
Tiwi artist Jean Baptiste Apuatimi (1940-2013) is internationally acclaimed as a painter, carver and printmaker. Her work is held in public and private collections all over the world, including the British Museum (UK), Seattle Museum of Art (USA) and National Museum of Women in the Arts (USA).
Jilamara is a Tiwi word that refers to the ochre patterning traditionally painted on the bodies of dancers and on carved poles during Pukumani ceremonies. Jilamara is unique to Tiwi Islanders.
Lisa is a mixed-cultural First Nations artist and curator from Narrm (Melbourne). With a deep connection to the symbolic power of materials, her work reflects her personal experiences, family history, country, and broader historical narratives.
Oneness represents the many aspects of self, centred around identity and belonging, and translates to a state of being unified or whole, comprising two or more parts.
Renewed represents the rains after the dryness of summer and how the rain runs away from country after being baked for weeks by intense heat with little respite.
Osmond Kantilla (b. 1966) is a master screen printer from the Tiwi Islands. His country is Wurruranku and his skin group is Marntimapila (Stone).
His work is held in numerous collections, including the National Museum of Australia, the Powerhouse Museum and the Art Gallery of South Australia. Pandanus represents the pointy leaves of the pandanus plant. Osmond Kantilla created this design in memory of his father.
Building Rating Scheme
Certifying your green building? Our products meet a range of criteria for the LEED, WELL, BREEAM, and Green Star building rating systems, helping you achieve certification. Download the Autex Acoustics® Green Building Criteria document to find relevant information for your project.
The US Green Building Council is committed to transforming how buildings are designed, constructed and operated through LEED.
The WELL Building Standard provides a roadmap for creating and certifying spaces that advance human health and wellbeing.
BREEAM rated developments are recognised as sustainable environments that enhance the wellbeing of the people who live and work in them.
BREEAM rated developments are recognised as sustainable environments that enhance the wellbeing of the people who live and work in them.
Our Environmental Credentials
Our third-party credentials reflect our commitment to accountability, transparency, and continuous improvement. They showcase that our solutions are designed with people, the environment, and for long-term impact in mind. It’s manufacturing that cares for people.
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