Proud Gadigal man and successful First Nations artist and creative Jesse Wright (JESWRI) is making the most of a dream opportunity.
A street artist and commercial illustrator specialising in large-scale murals and big brand activations, Wright has worked with some of the world's biggest brands including Converse, Aston Martin, Netflix and Apple.
Recognised as the creative behind the two-story high mural of Senator Lidia Thorpe in Brunswick, Melbourne, Wright has again caught the eye of many via his new collaboration with the Australian Open.
Wright said the collaboration with the Australian Open - which involved Wright being commissioned to paint a basketball court for the event - was a dream come true.
Having played sports his whole life, Wright also saw the opportunity as a full circle moment leading back to his childhood growing up in Naarm.
"Australian Open was actually a bit of a dream come true. I've been living in Naarm for six-ish years. We opened an art gallery and laid down some roots and since then I've seen how much money has gone into this event every single year. I've played sports my whole life, rarely have time to watch anything these days, especially with a two year old," he said.
"So I'd been manifesting not only working with the Australian Open, but also painting a basketball court so it's crazy I got to do both in one go. I've worked with Solid Lines before on some mad projects; this came across my desk and I knew I needed to be on it. They said the same when my folio came across theirs.
"The collaboration was only really for the court, which was made of 1156 plastic tiles, 30cm each. So difficult to paint on. These tiles became the court. After quickly nailing the court; they asked if I could design essentially everything. They named the court 'HOOPS by JESWRI', so it went from a collab to having an entire destination named after me."
"I designed the court and hand painted it, I designed the hoarding/facade, the backboard and the basketball (which was later simplified). I was really vibing with this install and i had the idea to try and camouflage myself like Gotye so I took it upon myself, designed and made an outfit to match the court. Everything looked amazing. Everyone was stoked."
With this collaboration being one of Wright's largest, we asked the street artist what his thoughts are on the current collaborative opportunities available to First Nations artists.
Wright says that while he has had great success in the arts sector, he is aware this is not the case for all mob and therefore hopes to see continual improvement in this area.
Wright hopes large scale collaborations for First Nations artists will become more available as more and more businesses and corporations engage in continual education.
"I think collaborations with First Nations artists have historically been performative, tokenistic, and often an afterthought. Big words, but I'll back them up. We're still in a place where white Australians and even backpackers are getting first dibs on painting Aboriginal art—whether it's replicating our styles or painting portraits of Blakfullas. They're profiting off Blak culture without understanding it. I see this firsthand as a street artist," he said.
"I've personally had to kindly ask white artists to not paint "First Nations-inspired" works, only to hear excuses like, "I spoke to Elders" — did you really? But our art isn't a free-for-all. It carries meaning, connection, and knowledge tied to our stories and our Country.
"This isn't just about individuals taking up space—it's about how the system is set up. Corporations, agencies, and councils have consistently failed to prioritise mob. They hire non-First Nations artists for First Nations projects, profiting far more than the artists ever do simply by being associated with Blak culture. When corporations have used First Nations art, it's often been reduced to wrapping paper—hoardings, gifts, sublimated fabrics and surface-level tokenism. But I feel like that's starting to shift. Brands seem more excited now to work with us for the right reasons. They're realising it's about engaging with our stories, our culture, and the way we want them told."
While Wright is clear the sector must improve and shift, he also noted how important it is to celebrate how far First Nations artists have come and the Indigenous art sector as a whole.
"A lot of the work I've created over the last few years; the Australian Open especially was a good example of letting an artist be themself. Not just saying that either because they paid me well; but they provided a really good platform for me to platform myself and my people," he said.
"I've learned that having a strong team behind me is critical. It gives me the respect I deserve—not just as an artist but as an Aboriginal artist whose designs reflect my stories and culture. I make sure no one gets to interfere with my work or dilute its meaning. Collaborations can be powerful, but only when they're done right.
"The way things are changing now gives me hope. More brands, labels, and organizations are starting to understand the value of engaging with us on our terms—not as an afterthought, but as essential partners. When done respectfully, collaborations can amplify our stories and create opportunities that benefit our communities."
As excited to educate the public as he is to create art itself, Wright's passion for curation originated with his mother who was a significant advocate for his art.
"I've been an artist all my life; all my artistic beginnings started with my mum. A Gadigal woman, born in Ultimo known to her students, friends and mob as 'Miss Lewis'. She was a public school teacher in Lewisham, mostly teaching art in the latter part of her career and working with disadvantaged kids with art workshops; anything from painting on canvas/paper to mural workshops with some of the areas OG graffiti writers," Wright told Style Up.
"Things like this would just further magnetise me towards art and producing art, and making it freely for means of expression. My mum was a massive advocate for my art practice. I ended up going to the private boys school across the road from her; I was never interested in school; especially a religious school; so when the teachers didn't have capacity for me; or vice versa I'd disappear across the road to my mum's school, I'd either jump into her art classes or she'd leave them unlocked for me to go have a play."
"Fast forward me to 2012; I'd painted graffiti illegally and legally and I began to show it on my social media. I wasn't afraid to put my face to my pseudonym anymore because I'd been arrested for graffiti and I felt like the 'cat was out the bag' —
my friend who worked in an agency; asked me to paint a commission project for Nokia. I took what I learnt from that and every project moving forward until now and tinkered with my processes, style, output, brand, professionalism and found a wider audience. It's a thing that keeps growing; I'm very proud of how far I've come."
Have kicked off 2025 in full speed, Wright says that despite already engaging in a series of projects he is only just getting started, with 2025 also set to see the artist launch his fifth Solo exhibition and enter his first Archibald Prize.
"My year started heaps fun, got approached and commissioned to paint a basketball court for Australian Open. During the hectic process I've been approached to collaborate with 'Blak Powerhouse', I'm finalising some work with Triple J, got a few council murals in the works, I've been working on merch drops (like you've seen at AO). I've also been working on a debut EP album this year; I've been producing music for the last little bit very secretly; it's a very personal journey," he said.
"I've just been approved for my research PHD at RMIT, researching the topic of 'decolonising public spaces through street art' so I'll be undertaking that this year. In my spare time I've been gardening a lot. I love gardening. But a few other secret collabs I'm working on as well. Exciting news; I'm entering my first Archibald this year, painting the Mayor Of Nowra, Nooky (host of Triple J Blakout & 3%)."
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