The Boomalli Ten Presented by Boomalli Aboriginal Artists Co-operative Curated by Djon Mundine OAM. Supported by the Boomalli Board, curatorial and administration team. Friday 3rd November 2017 - Sunday 28th January 2018

Michael Riley Euphemia Bostock Arone Meeks The The Boomalli Ten Brenda L. Croft 1 Jeffrey Samuels Avril Quaill Fern Martins • Reproduced courtesy of the photographer, Margaret Olah Boomalli Foreword Thanks On behalf of the current Board of Boomalli Aboriginal Artists Co-operative I write this It’s been three decades since 1987, and Boomalli Aboriginal Artists Co-operative is small note of reflection. celebrating its 30th year Anniversary in 2017 at the Flood Street premises, curated by Djon Mundine and supported by our skilled administration and curatorial team, including I was 50 when we founded this Co-operative. 30 years later, I am pleased to see this Kyra Kum-Sing, Kathryn Miller, Laura Jones and Bronwyn Bancroft. tribute exhibition being held at the Co-operative. I wish everyone the very best not only for this Anniversary Exhibition but also I know that more people will become aware of the As with any journey in the arts, there have been incredible highs and lows. We have contribution that we have all made. persisted at every turn to stay open for our Artists and the wider community. I am thrilled to see this event happen. I also want to acknowledge Michael Riley as he was We are euphoric that this exhibition of the Founding Members can be held. integral to the setting up of Boomalli. The Co-operative has survived threatened closure, potential eviction and fluctuations in It is with heartfelt appreciation that I acknowledge all the Artists who have contributed to popularity. But we have survived. this show. We were a group of Ten Artists who wanted to see change, who embraced change and worked hard for it. It would be remiss of me not to acknowledge Bronwyn Bancroft’s contribution for the last nine years as a volunteer strategist and curator. Her dedication to the Co-operative has It is important to acknowledge Gary Foley (Aboriginal Arts Board Director 1983-1986) been enormous to say the least. Thank you Bron. and Uncle Chicka Dixon (Chairperson Aboriginal Arts Board) who after meeting with Michael Riley, secured rental for 18 Meagher Street, Chippendale, which was the original birthplace of Boomalli. Euphemia Bostock There are many volunteers who have assisted us over the years, too many to name and Chairperson you know who you are, this includes our Board members. We acknowledge your efforts and spirit of generosity. As a grass roots organization, Boomalli would like to acknowledge funding support from the ATSI Board of the Australia Council for the Arts for providing us with 11 times our normal budget to produce this exhibition. The The Boomalli Ten The Boomalli Ten Thank you to Create NSW for their ongoing support and Annual Program Funding. 2 3 I would also like to acknowledge Allens Law Firm for securing the Flood St premises, Boomalli’s permanent home and Indigenous Land Corporation for assisting us with renovating the building.i Congratulations Boomalli. May we not just survive but thrive into the future.

Bronwyn Bancroft Michael Riley

This year all Aboriginal artists was released. Against the Sheds studios. Boomalli Ten denied their recognition, teenagers anymore, and the should celebrate the actions societal fashion of the day, artist Avril Quaill, trained voice or place in history. two ‘gay’ men members had of the ‘Boomalli Ten’ who and all odds in this art-form, as an office worker cum It was a right move for the been ‘out’, proud and well were fired to create a ‘new an African-American is the secretary before entering right time in history, the known nearly all their lives. Aboriginal art’ in 1987. They hero in the script, in fighting College of Arts. Fiona 1980s being a time for many I really, first met several of were; Bronwyn Bancroft, off mobs of zombie-like Foley finished a Dip.Ed at such alternate communities this group who were in the Euphemia Bostock, Brenda L. ‘white’ Americans, and Sydney Teacher’s College to and group co-operatives in Koori Art 84 exhibition at Croft, Fiona Foley, Fernanda protecting another group possibly become a teacher, as Australia. It was also the time Sydney’s Artspace in 1984. Martins, Arone Raymond of largely ‘stupid ‘white well as an artist. where the term post-colonial I was living and working as an Meeks, Tracey Moffatt, American’ refugees. He is shot gained currency – with the A large body of young Art & Craft Advisor in central Avril Quaill, Michael Riley, dead by stereotype racist breaking up of colonial Aboriginal people now then and had and Jeffrey Samuels. Their police rescue forces, when empires in large parts of existed from the scholarships just curated an exhibition of success was really the result he emerges with relief from the world, non-European in educational institutions the Art Gallery of NSW’s bark of twenty years of Aboriginal hiding to greet them. people were no longer in the 1970s-80s; a ‘next painting collection in 1983. To Strike – political action. colonial subjects, and no Very little actually happened generation’ of Aboriginal longer western stereotypes. Following the Koori Art 84 in Australia after the 1967 youth, who, disappointed To Leave The Academy Award winning Although Australia took a show, several artists started Referendum in regard to and disgusted with the filmLorem of ipsum the year dolor in sit1967 amet, was; ullamcorper ultricies nisi. long time to realise, this to correspond with me and Aboriginal affairs, but a inaction by ‘white’ Australia “Guessconsectetuer Who’s adipiscingComing to elit. Nam eget dui. Etiam rhoncus. included Aboriginal people. wanted to visit. They were My Mark scholarship program was following the Referendum, Dinner’,Aenean commodowhere a handsome, ligula eget Maecenas tempus, tellus eget It is ten of these who took travelling to the Tiwi Islands started by the Whitlam decided to take up action urbane,dolor. Aenean sophisticated massa. Cum condimentum rhoncus, sem action that we honour as part of their western national government to ourselves. This year, 2017, is African-Americansociis natoque penatibus man et quam semper libero, sit amet here – Bronwyn Bancroft, style art courses to be provide financial support to also the 30th anniversary of confrontsmagnis dis a parturient ‘socially sleeping’ montes, adipiscing sem neque sed ip- Euphemia Bostock, Brenda L. exposed to ‘real’ Aboriginal Djon Mundine allow Aboriginal students to the establishing of Boomalli conservativenascetur ridiculus ‘white’ mus. middle- Donec sum. Nam quam nunc, blandit Croft, Fiona Foley, Fernanda art. About half of the ten OAM remain in school, and enter Aboriginal Artists quamclass family felis, ultricies in dating nec, their vel, luctus pulvinar, hendrerit Martins, Arone Raymond visited and worked and university and other higher Co-operative by ten people pellentesquedaughter. In eu,Australia, pretium quis, id, lorem. Maecenas nec odio Meeks, Tracey Moffatt, Avril formed relationships with educational institutions, who were in a sense sem.this year, Nulla 2017, consequat is the massa50th et ante tincidunt tempus. Quaill, Michael Riley, Jeffrey Ramingining or Maningrida to obtain a profession and recipients of this educational quisanniversary enim Donec of a pivotal pede justo, Samuels. It was the result communities. fringillamoment vel, in aliquetAustralian nec, race vulpu - better their lives. A system program. After appearing in of twenty years of political At least half of the original taterelations eget, inarcu. 1967, when of private financial supports the Koori Art 84 exhibition action. Largely female in ten soon moved on to InAustralians enim justo, voted rhoncus 93% ut, in had existed until then – at Sydney’s Artspace in number, gay, communal, and commercial galleries and imperdietfavour of Aboriginala, venenatis people vitae, I finished my High School 1984, a number, of these widely open to ideas, new commercial success, but being counted as human Certificate on one of those younger artists, after visiting justo. Nullam dictum felis eu artists, and a pan Aboriginal they had left their mark in beings in the national census, in 1968. Initially you were Northern Territory Aboriginal pede mollis pretium. 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The The Boomalli Ten to be an accountant, or their own ‘urban’ Aboriginal group was across all genders, many Aboriginal artists. The The Boomalli Ten tellus.seen, asAenean a national leo ligula, issue. As The Boomalli Ten possibly an economist, artist co-operative. Their ages, and training. – all had This year Founding Member porttitorsuch the eu,Commonwealth consequat vitae, 4 self-taught artist art used western art school or were attending western Tracey Moffatt represented 5 eleifendgovernment ac, enim. could Aliquam make laws trained as a panel beater. technologies, concepts and art courses or art schools, Australia at the Venice loremregarding ante, Aboriginal dapibus in, people viverra Filmmaker photographer, metaphors to tell their same most members were women Biennale. This year we honour quis,that couldfeugiat override a, tellus. those Phasellus Boomalli founding member, but different Aboriginal (7-10), almost half were her and the rest of the ten for viverralaws of nulla the states ut metus where varius Michael Riley apprenticed as history and personal struggle refugees from Joh Bjelke- their struggle and triumph. laoreet.deemed Quisque necessary. rutrum. a carpenter before attending and triumphs. They were Peterson’s (4-10), Aenean imperdiet. Etiam ultric- In 1968, the cult classic film; a photography course at Aboriginal, and they were the other half were from New ies nisi vel augue. Curabitur ‘Night of the Living Dead’, ’s Tin artists, and would not be South Wales, most weren’t Michael Riley Bronwyn Bancroft

Photography by Sharon Hickey

Both: Untitled, 2000/2005 Michael Riley (1960-2004) conceptual and documentary Lionsville Livin Bronwyn Bancroft is a Bronwyn currently holds From the series cloud was a Wiradjuri/Kamilaroi films and videos. He received Acrylic on Canvas Djanbun clan member of Board positions with Chromogenic Pigment Print photographer and filmmaker international acclaim for both 300 x 200 cm the Bundjalung Nation. Australian Indigenous image size: 110 x 155 cm who was an active, deeply- his photographic and moving Photography by Sharon Hickey In a career spanning over Mentoring Experience (AIME), Images courtesy of The Michael committed member of image work. The genesis for this painting was three decades, Bronwyn has Commonwealth Bank RAP Riley Foundation and The Boomalli from its beginning In 2006, the National Gallery almost 6 years ago. I have been exhibited continuously in Committee, Arts Law, and Commercial, Sydney. until he died. Michael was part of Australia, Canberra hosted frustrated by knowing it was not Australia and internationally. Copyright Agency. of an important generation of a posthumous retrospective completed. I was prompted to Some collections that have Bronwyn is constantly involved cloud (2000) is a photographic finish the work as a tribute to my Aboriginal artists who changed of Riley’s work, Michael Riley: acquired her work are Newark in activism for New South Wales series representing opposing uncle, Pat Bancroft, and all our history through the advent of sights unseen, curated by Museum USA, Prime Minister of Aboriginal Artists, particularly in values of Aboriginality, Christianity family. and pastoralism. Poison (1991) is a strong, positive voices speaking Brenda L. Croft, which travelled Turkey, the Victoria and Albert her role at Boomalli Aboriginal film about the lives of Aboriginal for themselves on their own to a number of venues. The I have constantly been amazed Museum, London, National Artists Co-operative. Bronwyn by the stories of my family, their teenagers brought to ruin by terms against the prejudice of Musée du quai Branly, Paris, Gallery of Australia, the State has a Diploma of Visual Arts; drugs. Both works won Riley non-Indigenous Australia. In tenacity, endeavor, love and Library of New South Wales commissioned a large-scale empathy. two Masters degrees from the prestigious international awards. doing so he created images permanent installation of and Parliament of Australia Art University of Sydney, one in which are now icons of Riley’s cloud series in 2006, for To create pictorial representations Collection. Studio Practice and the other that illuminate my place in the Australian contemporary art. the Australian Indigenous Art Bronwyn has a diverse artistic in Visual Art. She is currently world, cultivated by my family Riley’s body of photographic Commission curated by Brenda in the land of my ancestors is an practice including public art a Doctoral candidate at the work is diverse. It includes L. Croft and Hetti Perkins for the honour. commissions and she has University of Sydney. traditional portraiture, social Australian Government. authored and/or illustrated This painting is about my home/ The The Boomalli Ten documentary, photo-collage The Estate of Michael Riley studio at Lionsville, Northern New 40 children’s books. She was The Boomalli Ten as well as a number of major shortlisted for the Prime 6 is represented by The South Wales. 7 conceptual/allegorical series. Minister’s Literary Award for Commercial, Redfern, in The Pear Tree is represented The subtlety and intelligence of Children’s Fiction for her book association with The Michael from a bird’s eye view, with the Riley’s voice, his sense of beauty Riley Foundation. The Trustees branches stretching across the Why I Love Australia and in and the hypnotic lucidity of the same year received the “The Michal Riley Foundation of the Michael Riley Foundation bank to sit over the Washpool his imagery is unmistakable Dromkeen Medal for her would like to thank The Art Gallery are Hetti Perkins, Anthony ‘Ace’ Creek. of New South Wales for facilitating amidst this diversity. Parallel Bourke and the Hon. Linda Best yarning spot under the Pear contribution to Australian the loan of the cloud photographs to his photographic work, Burney MP. Tree, Best swimming spot in the Literature. for the exhibition.” Riley produced a number of Washpool. Euphemia Bostock Arone Meeks

textile was collected by the National Gallery of Australia in 1988 and was exhibited in the New Indigenous Gallery, which opened in 2011. Phemie’s ceramics are created in a practical methodology, using Photography by Sharon Hickey shape and form to develop her unique pieces. Phemie cites Thancoupie as an enduring inspiration. Possum Skin, 1990 Phemie was taught Spirit Ark Arone Raymond Meeks was His work was also influenced her skills in ceramics Screenprint on Cotton 1/15 Oil Based Ink on Arches Paper born in Laura in Far North by his participation in a cultural from The St. George (printed by Editions Tremblay) Queensland, his tribal area. exchange to Santa Fe, USA, When I attended Sydney Pottery Co-operative College of the Arts I had an old 109 x 167 cm He has had both a traditional during the 1990s. He believes and Annie Coroneos. Photography by Sharon Hickey photograph of a possum skin I had and formal education, having that: “Printmaking has given me As a sculptor, Phemie seen at the Museum. I been taught by his grandfather another medium of creativity to has collaborated said to George Hardwick, who was and other relatives before explore. The directness and fluid my teacher at the time, I’d love to with sculptor, Ms going to study at the City Art qualities have made it possible learn how to do this. He said to Jan Shaw who was Institute in Sydney. He later to introduce a freshness and do my own version of the possum initially her teacher at returned to Queensland to immediacy to my work. I began skin but do it big and bold. the Sculpture Society study with various tribal elders, to create a new language of 40 years ago. Their including those of the Lardil symbols through this process”. work “The Warawara people of Mornington Island. Arone has a very keen eye for Friendship Stone” was graphic detail and always works Meeks values this combination Euphemia Bostock is a proud commissioned by Macquarie with several possibilities as he of training and experience; his Munanjali-Bundjalung Woman University for the Sculpture enters an intellectual discourse work employs both traditional and Elder. Garden. with the work. images and themes arising Phemie has exhibited Affectionately known as out of his concern with the He is well known for his extensively in Australia and ‘Phemie’, she has worked across issue of land rights. A Founding illustrations for children’s internationally. Phemie is many mediums including Member of the Boomalli books, including ‘When the The The Boomalli Ten textile, printmaking, design and currently the chairperson at World Was New’, ‘This Is Still The Boomalli Ten Boomalli and is continuing Aboriginal Artists Co-operative, 8 sculpture from the early 1960’s. he won an Australia Council Rainbow Snake Country’ and 9 to create inspiring works. Her ‘The Pheasant and Kingfisher’. Her textiles combine traditional long history of creating images fellowship to study in Paris in He wrote and illustrated ‘ Enora and historical imagery, often ranges from travelling to Paris 1989 and went on to exhibit and the Black Crane’ which won referred to by Phemie as her in 1987, as a textile and fashion throughout Europe and North the 1992 UNICEF- Ezra Jack ‘cultural memory’. These images designer to having her work and South America. Keats Award for International are transferred to silk and reproduced by Australia Post in Arone began printmaking in Excellence in Children’s Book utilise contemporary textile 1999 for the Design Australian 1982 in collaboration with Illustration. technology. The ‘Possum Skin’ Stamp Series. printmaker Theo Tremblay. Fiona Foley Brenda L. Croft

Photography by Mick Richards

HHH #3, 2004 One of Australia’s most and won a number of ABO.riginal, 2016 Ultrachrome Print on Paper significant visual artists, Fiona significant awards. Her works From the series blood/type 100 x 76 cm Edition 15 Foley has a heroic ability to are held by the , Pigment Print In the guise of an anthropological communicate powerful ideas National Gallery of Australia, 110.0 x 90.5cm portrait, this HHH (Hedonistic and concepts through elegant, National Museum of Australia, Croft’s work features images of Honky Hater) turns Ku Klux Klan understated and sometimes Australian National Maritime the artist drawn from original glorification on its head. humorous artistic expressions. Museum, most state galleries, wet collodian plates where she Born in 1964, Fiona has lived in and numerous regional and appropriates descriptors used Sydney, and Hervey university gallery collections. for her father and others in her immediate and extended family Bay but now resides and works As a curator, scholar, writer – full-blood, half-blood, half-caste, in Lismore in northern NSW. and artist, Fiona is deeply In her final year at Sydney’s quarter-caste, quadroon, ABO. Her engaged with histories of image challenges such debasing College of Fine Arts, Fiona’s interaction between Australia’s classifications used to subjugate Brenda L Croft is from the narratives, installation, multi- sculpture Annihilation of the multifarious Indigenous Indigenous people now, as in Gurindji/Malngin/Mudburra media and multi-platform Blacks 1986 was acquired cultures, particularly that of her the past, whilst also highlighting peoples from the Victoria work, often drawn from by the National Museum of own Badtjala clan, and those there is no single Indigenous way River region of the Northern personal and public archives Australia. Since then, her works of transplanted European and of being. Territory of Australia, and and memory. Brenda’s work have been regularly collected Asian settlers. Her research Anglo-Australian/German/ is represented in major by art museums around and resulting artworks explore Irish/Chinese heritage. She public collections in Australia, Australia and the world. lesser-known histories about has been involved in the international public collections

The The Boomalli Ten Fiona has exhibited worldwide conflict between Indigenous Indigenous and broader and private collections. Brenda The Boomalli Ten since her early days as a Australians and colonial contemporary arts and cultural is an Adjunct Research Fellow 10 11 Founding Member of Boomalli, latecomers, exposing them sectors for three decades as with the National Institute for the ground breaking co- to the attention of a wider an artist, arts administrator, Experimental Arts, UNSW Art operative that embraced and audience. She sees herself as an curator, academic and & Design, where she has been promoted the first generation educator and ‘guide’ for others consultant. Brenda’s artistic undertaking doctoral research. of significant urban based through events, attitudes practice encompasses critical Since 2017 Brenda has been Aboriginal Artists. She has and histories that are often performative Indigenous auto- based in Canberra where she developed numerous major unpleasant and difficult to ethnography, representation works independently as an public artwork commissions understand. and cultural identity, creative artist, curator and researcher. Jeffrey Samuels Tracey Moffatt

relegated Koori artists to the periphery of Australian art in the mainstream discourse regarding Australian Aboriginal art. I create images that relate to

Photography by Sharon Hickey Koori social and Photography by Kate Ballis political issues, the natural and built environment A changing continent, 1984 that are NICE COLOURED GIRLS, 1987 Tracey Moffatt represented York in 1997-98 and in 2003, a Oil on Hardboard based on my This seventeen-minute film Australia at the 57th large retrospective exhibition 188.8 x 126.0 x 2.4 cm connection to (16 mm) remains one of Moffatt’s International Art Exhibition, of her work was held at the Image and artwork loan courtesy of community strongest statements about Venice Biennale 2017 with her Museum of Contemporary Art, Art Gallery of New South Wales and the the society she grew up in. solo exhibition MY HORIZON, Sydney which also travelled attitudes and The mood is “cheeky” and curated by Natalie King. Moffatt to the Hasselblad Museum assumptions challenging as she unsettles has exhibited in numerous in Sweden. In 2007, her Arts and culture has always of the wider Australian society. had: they were challenging and long held assumptions about national and international art photographic series, Scarred relationships between indigenous invigorated all my senses: Through artistic training and questioning the perceptions exhibitions and film festivals For Life, was exhibited at the and non-. Hearing, sight, taste and touch artistic practice I have been and stereotypical attitudes for three decades. In 2012, Guggenheim Museum and her Three young Aboriginal women at a very early age and it still able to present my individuality non-Aboriginal people held (Gayle Mabo, Cheryl Pitt, Janelle a retrospective programme video, LOVE, at the Brooklyn uplifts my spirit and soul with as an Aboriginal and Australian about Aboriginal people. In Court), all dressed up, start out on of her films was held at the Museum in New York. The healing, happiness, family and artist. 1984 I studied traditional art an evening out on Darlinghurst Museum of Modern Art, New same year, she was awarded identity. Making contact with the Black practice and Aboriginal culture Rd. (The Strip), Kings Cross, York. Moffatt first gained the prestigious Infinity Award I define myself as an Aboriginal Theatre in 1975 I came in under the then great Lardil Sydney. significant critical acclaim for art photography, selected contemporary artist creating touch with Koori artists and artist of Mornington Island Mr. when her short film, Night by an International panel at Lindsey Roughsey. in an urban environment. This young Aboriginal activists Cries, was selected for official the International Center of however does not exclude involved with theatre, poetry, Art is critically important to competition at the 1990 Photography in New York. my art making as ‘genuine’ music, language, and the social the cultural wellbeing of Cannes Film Festival. Her first Tracey Moffatt has been Aboriginal Art. It comes from commentary of the day (e.g., any society and where art feature film,beDevil , was also represented by Roslyn Oxley9 selected for Cannes in 1993. Gallery since 1998. The The Boomalli Ten my interest and involvement Gary Foley, , confronts, as Koori art often The Boomalli Ten does, it can lead people to Moffatt was selected for the 12 since childhood, and later Kevin Gilbert, Bob Maza, 13 through study at art school Bob Merritt, Gerry Bostock, dialogue. Art is critical to the international section of the and from actively participating Euphemia Bostock, Lester cultural identity and wellbeing 1997 Venice Biennale (curated in the Aboriginal and broader Bostock, Maureen Watson and of Australians, as much as by Germano Celant) and has also featured in the Biennales contemporary Australian art Tiger Bayles etc.). I felt I was to the cultural identity and of Sydney, Sao Paulo (1998) scenes through exhibiting. no longer isolated because wellbeing of Koori people. and Gwangju (1995). She held This made me want to correct other Aboriginal artistic and Special thanks to Nigel Parbury a major exhibition at the Dia assumptions and stereotypes educated people seemed to for his patience and his mastery Center for the Arts in New about Aboriginal Art that have the same attitudes that I of words and sentences. Avril Quaill Fern Martins

Avril QUAILL’s Trespassers Keep Avril Quaill is a descendant of Queensland Indigenous arts Palm Buds Out poster, 1982 the Quandamooka peoples in national and international Lead Pencil on Canson Paper Colour Screen Print on Paper of the Moreton Bay islands markets. Avril was Artistic 51 x 93 cm 49 x 73 cm region in Brisbane, Queensland. Director of the 2011 and As the rain and the snow come Photography by Sharon Hickey She is a graduate of the 2012 Cairns Indigenous Art down from heaven, and do not Designed and printed under the Sydney College of the Arts Fairs and in 2013 joined return to it without watering tutelage of Pam Debenham and with a long-term career in the Arts Queensland working in the earth and make it bud and Leonie Lane of the Lucifoil Poster arts as an artist and curator. development and policy on flourish, so that it yields seeds for Collective at Sydney University. In 1987 she was awarded specific programs including the sower and bread for the eater, a Visual Arts Fellowship by the Backing Indigenous Arts (Isaiah 55:10, 11) On loan from the Australia Council for program. She has served on Dianna Rea. the Arts and traveled to the many committees including These drawings are from the book Northern Territory taking as a Member of the Board “Just Drawings” which documents part in arts workshops at the of Trustees, Queensland Art 5 different series of prophetic Raminginning Arts Crafts Gallery/Gallery of Modern works inspired by the Scriptures. centre. She was directly Art Brisbane; the National involved in establishing Cultural Heritage Committee; Boomalli Aboriginal Artists Indigenous Reference In 1992 my Art practice went in prayer to receive Jesus Christ Co-operative becoming its Committee, Museum of through a radical change in as my Saviour and discipled me chairperson in 1989. As a Contemporary Art. Avril inspiration by hitting rock through that time. Since then curator she has held significant is Festival Curator of the bottom emotionally, physically and today my Art practice and The The Boomalli Ten The Boomalli Ten positions with the National Quandamooka Festival – a and mentally. During this time inspiration is motivated by my 14 Gallery of Australia and the three-month arts and cultural I experienced for the first time following the path of Jesus. 15 Queensland Art Gallery. Of festival celebrating culture, God’s Love through the Holy note is her work with the country and people of the Spirit. I sought council about Queensland Indigenous Arts Quandamooka coast. my experience with Pastor Marketing and Export Agency Rex Morgan an Elder who was in the Department of State a Founding Member of the Development and Trade Awabakal Medical Service and which raised the profile of my relation. Pastor Rex led me From left to right: Bronwyn Bancroft, Tracey Moffatt, Arone Meeks, Brenda L. Croft, Avril Quaill, Fern Martins, Fiona Foley, Euphemia Bostock, Jeffrey Samuels and Joyce Wright at the 25th Anniversary Boomalli Exhibition “Ripple Effect”, November 2012, curated by Keith Munro. Photography by Shane Rozario.