This work is a reflection of my struggles with self identity due to my conflicting heritage and relationship to the Stolen Generation.
On one side of my family is a deep rooted connection to Country and mob, but one that was lost due to the Stolen Generation’s influence. On the other, an English heritage directly stemmed from colonisation, yet they are still my family nonetheless. Because of these conflicts, I struggle to identify where I fit within each culture and if I truly have the right to connect to either.
Now only remnants of Indigenous heritage from my Nanny Shirley remain, as represented by the wispy fading smoke of her childhood horse, within my blood, and I fear my white skin and European upbringing negates all ancestry and connection I may have once had, represented by the figure’s (my own) intense anxiety and insecure posture.
I’ve been an artist my whole life, but only started seriously pursuing it within the last five years. Being an artist with Indigenous heritage and from a family greatly impacted by the Stolen Generation, it’s important to me to try to connect with mob and Country as much as possible to make up for what was taken, and my art often reflects my relationship of self from a predominantly white family with the knowledge of deep connection to Country in my blood.