‘Mother and Baby doing well’
Ground earth pigments and binder on canvas. 40x30cm with hardwood frame. 2025
A painting for myself - revisiting the bleary-eyed days of new motherhood, when up was down and inside was out and I felt so vulnerable and exposed in the pain and transformation of matrescence. In the fog of post-partum depression, I took very few photos of myself - so this painting is a gift to her in lieu of the usual camera reel of new-mum selfies. A painting to tell past me; “I see you, I know what you experienced, and I know how that felt even though you couldn’t explain it yourself at the time”.
Ghosts of adoptee #2746
Ground earth pigments, charcoal, copper verdigris and binder on canvas with hardwood frame. 120x90cm. 2025
In 2013 the Australian Government apologised for past forced adoptions. Jill Ebbott was adopted in 1966 from the Methodist babies home. Her life has been shadowed by the circumstances of her birth, with questions of her biological identity compounded by institutional failures. As an adoptee with no birth certificate, Jill has been disadvantaged in many ways - from difficulties accessing government services; to gaining a passport. Although symbolic, the national apology and following recommendations have done little to assist adoptees like Jill in her search for answers, as she still encounters frustrating institutional stonewalling when attempting to access her own records. This painting represents Jill’s search for information about her birth, and the ‘ghosts’ that must hold the answers.
Audrey
In memory of Audrey Griffin. Ground pigments and binder on canvas. 40x30cm. 2025
I’m sure you didn’t want to be remembered for being the 22nd woman killed in 2025, or have so many people talking about you because of how you died. I hope your family and friends know that people are talking about how clever and kind, dedicated and ambitious you are, what a wonderful smile you have, and what an amazing friend you are.
I hope the government members and candidates hear about you, see your face, and feel the dreadful weight of responsibility to their citizens - for the women and girls who are currently not safe in this country because of their failure to reform bail and domestic violence laws, and for countless insufficiencies in leadership and justice that has lead to the death of thousands of women.
And I pray your loved ones find some supernatural comfort, surely there’s nothing on earth that can soothe this kind of pain.
'Some Legacy'
Finalist in The Bald Archy 2026
Premier Allan thanks dought-stricken Farmers and CFA volunteers of Victoria for paying for the Metro Tunnel with funds raised via the Emergency Services Levy.
Ground earth and non-significant archaeological excavations (bones, pottery, shells, bricks and tile) from the Metro Tunnel construction site, Melbourne. 80x60cm with hardwood frame.
Jacinta Allan described the metro tunnel as a ‘legacy project’ for her government. Shortly after - the emergency services levy -which would be disproportionately applied to agricultural properties - was announced. During a time of drought, asking already struggling farmers to disproportionately contribute to the poorly managed state budget - was a kick in the guts.
As the State’s majority landholders, farmers are the main managers of natural resources, and primary mitigators of risk. Usually the first to put their hand up to volunteer to help in a disaster, most CFA volunteers are farmers. Conversely, farmers are also most vulnerable to the effects of natural disasters, with drought, floods and fire a very real threat to life and livelihood.
Taxing farmers extra for the privilege of feeding and clothing Australians in a drought is unfair, and shows how disconnected this governments is with the lives and needs of regional Victorians.