Born 1951, South Perth, Western Australia
Lives and works in Balingup, Western Australia
My recent work refers to the Government’s attempts to superimpose ‘white’ domestic values over South-West Nyungar culture and onto Aboriginal women in the late 1950s and 60s.
As part of the Assimilation Policies of that era, Aboriginal families previously living in makeshift dwellings on the fringe of towns, were taken and placed in modern white housing, they were then expected to learn how to take care of the property literally, overnight. The work expresses the absurdity of this preposterous notion.
The women, in particular, were expected to disregard 50,000 years of Indigenous ‘learning’ and take on the white ways as they relate to domestic situations. These paintings individually refer to the difficult task Aboriginal women had when faced with alien domestic tools and machinery that were almost taken for granted in most white households during that era.
The work represents the sense of alienation, unacceptance and acute disapproval that Aboriginal people experienced because culturally, they had little to no appreciation for the materialistic trappings of ‘white’ domesticity
Art Gallery of Western Australia
Berndt Museum of Anthropology Aboriginal Art Collection, WA
City of Bunbury Collection
City of Perth Art Collection, Perth, WA
Claremont School of Art Collection, WA
The Dutch Consulate, Canberra, ACT
Edith Cowan University Collection, WA
Holmes à Court Collection
Queens University Collection of Indigenous Art, Kingston, Ontario, Canada
Royal Archives, The Netherlands
University of Western Australia, Perth, WA
Western Australia Museum Collection, WA
The Sir James Cruthers Foundation, WA
Kidman/Cruise Collection, Sydney, NSW
Dr K. Schefczik, Frankfurt, Germany
National Gallery of Victoria
National Gallery of AustraliaMurdoch University Collection
Parliament House of Western Australia