Warning: Aboriginal and Torres Strait Islander viewers should be aware that this article contains information about the Stolen Generations that may cause sadness, distress, or trigger trauma.
Has art and creativity always been an important part of your life growing up?
Most of my work comes from my experience growing up in the New Norcia mission as a woman from the Stolen Generation. My Mum is from the Stolen Generation and so is my grandmother.
When I began studying at Curtin as a mature age student, I began incorporating more of my life story into my art practice.
In fact, the work I’m doing now explores the dolls we made as kids at the mission.
Back in the day, we used to find old sardine tines that had been discarded and rusty and we’d make a little bed and a little doll and put the doll in there with a blanket. The pram would have a string on it, and we would drag it around like a pram.
A lot of my work is heavily drawn to motherhood because I believe that it’s important for Aboriginal women to understand where they came from and what life was like for their ancestors.
As a mother myself, this work is very close to my heart.
If you could pick one, which one of your public artworks is your favourite?
The Koora-Yeye-Boordawan-Kalyakoorl (Past-Present-Future-Forever) sculpture at Wadjemup, which is a welcome piece on the island.
As you’re walking off the boat and onto the island, it’s huge and essentially like a big shield.
Created with Jahne Rees, the work is a nine-metre-high sculpture, depicting a Noongar warrior and a breaching whale. The sculpture was constructed with limestone, concrete and aluminium ensuring that it will last forever.
The warrior is entwined with a breaching whale, which embodies the human spirit on the journey from the physical world to Kooranup, the place of spirits in the afterlife.
It was important for us to acknowledge that Wadjemup was a prison for hundreds of years, so it references the brutal century-long imprisonment of Aboriginal men and boys on the island.
When you come to the island, we encourage visitors to go to the water, introduce yourself, let the spirits know you’re hear.
When you view the ground at the base of the sculpture a detailed map mosaic highlights the island’s salt lakes and features the Emu in the Sky constellation.
We put that there to represent all the people that were taken to the island, because there were people from Midwest, Gascoigne, Great Southern and the Wheatbelt. So, we wanted to represent everything and make people aware of the history of this island.
Commissioned for Curtin’s Geodesic Dome renovations, ‘Songlines’ is a new immersive artwork. Can you share more about this artwork?
Through my art, I hope to share and educate people about Aboriginal culture – the oldest continuous living culture on earth.
Curtin has been working with Dr Noel Nannup for many years to learn more about the history of the campus before European settlement.
Although the landscape has changed, what was their thousands of years ago is still here.
In collaboration with Jahne Rees, ‘Songlines’ is just one more small story from this area.
Responding to the intersecting Djiridji (Zamia) and Kujal Kela (Twin Dolphin) songlines, the installation weaves together sculptural elements, original songs in Noongar, and soundscapes recorded on Country to create a multi-sensory journey through place, language and cultural knowledge.
We created the artwork to educate people about place, when people engage with the artwork, they can hear the songlines that are built into the space aligning with the Kujal Kela (Twin Dolphin Dreaming) story.
The songlines are like a map, so if you know the song then you can find your way.
We invite viewers to follow the circular pathways, moving through the space in rhythm with the songs and stories embedded within the work.
After visiting, we hope people will have a greater appreciation for the surrounding garden, plants and lakes that have been here for thousands of years and are still apart of us today.
What has been one of your biggest highlights?
Earlier in my career, I was accepted into the leadership program over at the National Gallery in Canberra. There were about 30 artists from around Australia who were involved in this 10-day intensive.
I learnt so much about art and curating and made friends with all these other amazing artists who I’m still in touch with today.
Then last year I was in the inaugural weaving symposium that they had in South Australia which was an amazing experience!
What advice would you have for young Indigenous artists wanting to pursue their passion?
I’ve had students say to me, I can’t draw.
If you are willing to learn, show up and practice everyday then you will get better.
Also, I would suggest taking an art class to build your confidence, network and skills, as this can give you more of a safety net in the future.
Finally, have a resume of all your experiences which will help you get your foot in the door for new opportunities!