BACKTRACK
The Kimberley wilderness is vastly different to my New Zealand homeland. The region’s isolation and idiosyncrasies made sharing experiences outside a small local network challenging.
This body of work uses drawing to reflect, process and share fragments of my story as an arts worker in the West Kimberley. Rendering memories as a cathartic process, rather than drafting an accurate, archival record of an event or moment in time.
MAPPING
‘Several years ago, during a time transition and burnout, I began to map my travel routines as a form of catharsis. The physical plotting of movement and repetition across time and space provided perspective and a pathway for reflective journaling.’
‘The first map I drew tracked the flight paths routinely travelled between the Kimberley and my home in Aotearoa New Zealand. Next, I retraced the bush trips I journeyed as an arts worker travelling with Wandjina Wunggurr peoples. Some bush trips are so significant they remain undrawn. The maps I have chosen to draw are connected to places already accessible to the public.’
PLANTS
My relationship with plants interweaves with my connection to people and places. Knowledge of plant properties exists through a network of sharing and relationships with others, from conversations and time spent on Country.’
‘Some plants are now part of my routine, sap as antiseptic, leaves for flavour and to induce sleep, and wood burnt to release sweet-smelling smoke. In this exhibition, I’ve drawn the Mulla Mulla and Barda Barda Soap Wattle flowers found along the roadside and bush tracks around my home and the Kimberley.
Drawing is one way to reconnect with each plant and commit to memory their edible, medicinal, and practical uses.’
LANDMARKS
‘Natural markers help us establish our location in the bush, they also act as distance markers, as cues to let us know how much further we have to travel, and how close we are to home. I recall my first bush trip into Wilinggin (Ngarinyin) Country, driving with Matthew (Dembal) Martin in the passenger seat, listening as he pointed out landmarks along the roadside and cattle ahead in the distance with subtle flicks of his hand.’
As an arts worker and visitor to Country, I learnt how to read and navigate the bush predominantly under the care of Traditional Owners as we worked together on community projects. The landmarks in this exhibition reference two hills visible while driving through the Wunaamin Miliwundi Ranges on the Ngarinyin side. A reminder of heading out bush along the Gibb River Road and coming home.’
