The expression in Captain Wilson’s eyes softens as he gazes at an old photograph that has recently come to light.

Note: Aboriginal and Torres Strait Islander readers should be aware that this article features images and names of deceased individuals.

The image captures two men standing in a sun-baked desert, frozen in time.

The Nyamal elder immediately recognizes the figure on the left as himself, displaying a grave expression and poised for the work ahead.

However, it is his companion who captivates his attention. “He was my friend,” he reflects.

These photographs, among many others, were discovered in an attic located over 1,500 kilometers from Mr. Wilson’s nursing home in Roebourne.

Captured in the 1950s and 60s by an anthropologist in Western Australia’s Pilbara region, the images narrate a significant chapter in Australian history, which one academic has described as “a revolutionary communist movement… at the fringes of Australian society.”

Notably, these events include the famous Wave Hill walk-offs, the Pilbara strike of 1946, and the subsequent struggles that were pivotal in the Indigenous rights movement.

The newly revealed photographs are being showcased for the first time at the Lawrence Wilson Art Gallery at the University of Western Australia in Perth.

In 1946, numerous Aboriginal stockmen and women left their jobs on pastoral stations in the Pilbara, protesting against years of meager wages and harsh working conditions.

These workers had transformed the arid landscape into sheep-grazing land, all while receiving nothing more than basic rations of tea, tobacco, or sugar.

Triggered by unprecedented collaboration across various language groups, they initiated a protest that grew into a fierce struggle lasting three years.

Captain Wilson’s daughter, Ursula Wilson, who co-curated the exhibition, commented, “I’ve heard that Indigenous people are often labeled as lazy. Looking at these pictures, it’s evident that they were incredibly hard-working.” She added, “It was a challenging time, and they endured immense hardship.”

Many of those who walked off the stations chose not to return. Instead, they established mining cooperatives and pearl shell operations under the leadership of communist organizer Don McLeod, marking the beginning of pioneering initiatives in today’s resource-rich Pilbara.

Professor Darren Jorgensen from UWA emphasized, “This narrative doesn’t fit neatly into mainstream Australian history, which often depicts the government simply returning land to Aboriginal people in the 1970s.” He noted, “These individuals were truly independent, economically self-sufficient.”

Dr. Jorgensen praised the photographs as a remarkable discovery, stating, “No Australian prime ministers ever visited these camps. They were antagonized by governments and local pastoralists alike.” He described the events as “a revolutionary communist movement occurring on the fringes of Australian society, far removed from urban centers.”

One specific photograph resonated with Mr. Jorgensen. “We all know the tale of the Gurundji walk-off, largely due to that iconic image of Prime Minister Gough Whitlam pouring sand into Vincent Lingiari’s hands,” he remarked. “There are several images here that hold similar iconic significance, including one of Captain Wilson preparing to lift an air compressor.”

The importance of this recognition is not lost on Sharon Coppin, another daughter of Captain Wilson, who plans to accompany her father to the exhibition’s opening. “Knowing what he has endured makes me feel very emotional and proud,” she expressed. “I take pride in how far he has come.”

The original film slides were taken by John Wilson, a white anthropologist unrelated to Captain Wilson, during the aftermath of the strike. His daughter, Bu Wilson, shared that her father was intrigued by how the community organized artisanal mining and shell camps, forming strong bonds with the people.

It was an unexpected discovery by Bu Wilson, who found the photographs in her parents’ attic in Fremantle, that led to the revival of these historical images. “I stumbled upon boxes under a wardrobe and thought, ‘I wonder what those are?’” she recalled. “Inside were numerous slides.”

The tiny, translucent frames captured lean figures laboring in the red earth beneath expansive blue skies, scenes that Ms. Wilson recognized immediately. “My dad passed away five years ago, but I still feel his presence,” she reflected. “It’s wonderful to share this collection with others.”

The exhibition, titled “Strike Camps: The Photographs of John Wilson,” is set to open at the Lawrence Wilson Art Gallery on Wednesday, September 2.