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Lost In Translation Art Exhibition

 

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Lost In Translation

| 24 Oct 2020 |

Where words fail to capture experiences, thoughts, or acts of resistance on sexual violence...
art sets free.

EnterAbout

Lost In Translation

When: 4-8pm, 24th October 2020
Where: 48 Hilton Street, East Brisbane (Old Scouts Hall, Heath Park)

This exhibition hopes to give a voice for women whose words are sometimes lost in translation, and hold a space where women from marginalized communities, who are the most vulnerable to experiencing sexual violence, as well as who experience the most barriers in sharing their stories, may do so. Art can open a different pathway to express and share your stories in a creative way, without words, without the inherent shame that can be attached to verbalizing and explaining events.

Many survivors of sexual violence who decide to disclose are then asked a myriad of questions - by well-meaning allies, police, reporting and justice helpers, and/or medical staff. Trying to find words to explain how their experience impacts upon them can be perplexing and may not convey how deeply this experience goes. Survivors who choose not to disclose are similarly affected and sometimes find it easier to remain silent. Survivors experience a range of emotions that might be confusing to themselves and others, sometimes words are not received in a way that the survivor needs to be understood. Women’s stories of resistance, healing, activism, grief, rage and liberation can be heard without words.

The artists on display are both survivors and community women who have collaborated over the past months through a series of workshops to capture what cannot always be communicated by words alone.

RSVP prior to 24th October 2020 to [email protected].
There is a COVID safe plan in place, RSVP will assist in everyone having an enjoyable and safe evening.

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Xanthorrhoea

by Anna Dunne

(2020) 30.5 x 40.6cm, acrylic on canvas.

Xanthorrhoea is a representation of strength and survival in response to rape. The plant Xanthorrhoea, commonly known as grass trees, are iconic in Australia. Their blackened trunklike bases display their ability to survive bushfires. They grow slowly, and can take well over 20 years to produce their first flowers. It is commonly thought they are dependent on fire to flower. This is not true, however, bushfires stimulate the flowering process. Their ability to regenerate after fire makes them a vital part of the ecosystem to provide sustenance for native animals and insects. Like the Xanthorrhoea, I too have been burned and in pain. I do not believe things happen for a reason - I did not need this life experience to blossom. It did however stimulate growth, and I am in a position to now support others.

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Inside Letting Out

by Dilsah de Rham

(2020) 21 x 29cm, mixed media on paper.

In this painting, Dilsah showed when someone is letting their light out. This action takes courage and sometimes feels lonely in darkness as no one can do it for us. Facing it ourselves is the key to change in this painting.

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The Ego Let Go

by Dilsah de Rham

(2020) 20 x 24.5cm, mixed media on paper.

In this painting, Dilsah illustrated the time of change when we have to let go an identity as the image we have of ourselves and what others think of us as well.

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Identity Undefined

by Dilsah de Rham

(2020) mixed media on canvas.

In this painting Dilsah shows that our real identity is never fixed and is changing unlimited times. Be is not to be this is key to keep going forward in this image.

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Alone in the World

by Dilsah de Rham

(2020) 20 x 49.5cm, mixed media on canvas.

This painting shows the individual amongst the external forces, energies that sometimes can be overwhelming. These can be the expectations of society, others, cultures. Sometimes we need to protect ourselves from them to be kind to ourselves.

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Opening of the Soul

by Dilsah de Rham

(2020) 30 x 50.5cm, mixed media on paper.

This painting shows the vulnerability of the feminine essence when she opens to shine. All colours are here to describe the stages the essence will have to go through to maybe ending up to light the world . The steps are unlimited and help the person to know themselves deeper before they are ready to show it to others.

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Liberty

by Marilyn Cass

(2019) 53 x 73cm (framed), charcoal on pastel paper.

.. expresses the freedom and triumph of escaping the shackles of her previous life. Although the next steps are unknown, her faith and strength allow her to dance forward, greeting the future with grace and a smile.

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You Can't Calculate the Net
Worth of a Goddess

by Kelly Houston

(2020) 60 x 80cm, mixed media on board.

I feel a deep sense of pride when I think about how much resilience there is in women, that we have not only survived, but thrived, generation upon generation, in a world where we are under-valued, disrespected, treated like second class citizens and slaves, or objects to be used and discarded. Our value, our worth in the world cannot be calculated by what we do, what role we play, what service we perform, what value we have in the eyes of others. It cannot be calculated like the net worth lauded by men in positions of power. Our worth is beyond such shallow measures. Our worth lies in the richness of food, culture and language, in the bonds of relationships and the care of our most vulnerable. We stand on the shoulders of every goddess who came before us, who loved and created the world around her and we continue to give birth to the world, every day, in every small act of creativity, of self care, of care for others, which we do not because we anticipate the rewards, but because we know it needs to be done.

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Healing

by Joana Sponsel

(2020) 40 x 60cm, print on canvas.

The picture displays the main emotions occurring during the healing process: numbness, sadness, happiness, despair/exhaustion and anger. The negative emotions might not be visible to other people and hidden behind a happy façade. Sometimes these feelings are not even obvious to me since there are a lot of things that you cannot see if you do not pay intention. The picture also shows that the negative emotions will fade over time and at the end of the healing journey I will be happy again. I want survivors to remember that no matter how tough things get and how hopeless the situation seems to be, you can and you will heal.

... and then sometimes
we sleep.

by Emma Le Strange

(2020) 45 x 60cm, conte crayon on board.

We were never safe to sleep in his house. I broke us free the day I drove us away. Now we can sleep in peace.

This artwork is featured in the upcoming children’s book “Tea Parties and Pillows” written and illustrated by Emma Le Strange.

ED - All Consuming

by DH

(2020) 14.8 x 21cm, drawing on paper.

In 2017 during an art therapy session I was asked to create something that would represent how my Eating Disorder (ED) was represented in my thoughts. ED lives on my shoulder, talking to me, telling me what I can and cannot eat, berating me, and giving me negative thoughts constantly about my worth, my decisions and my life. ED grows with his power and is All Consuming. For one of the workshops through BRISSC, the group were learning about collage. I was drawn to the picture of the lion, the words ‘The Choice’, “Between and rock and a hard place’, Big Bad World’ and ‘We are all born the same’, as this is how I feel trying to live with Mental Health, in particular Eating Issues, but we don’t have a choice. Not really. The struggles that I live with as ED screams in my ear that I am not good enough, that I am not worthy of a place in this society and that I am not loved, cannot be shared with the ferocity that he has, hopefully however this can be seen in his eyes. Only I can hear him and only I can understand.

ED - All Consuming

by DH

(2020) 29.7 x 42cm, mixed media on paper.

In 2017 during an art therapy session I was asked to create something that would represent how my Eating Disorder (ED) was represented in my thoughts. ED lives on my shoulder, talking to me, telling me what I can and cannot eat, berating me, and giving me negative thoughts constantly about my worth, my decisions and my life. ED grows with his power and is All Consuming. For one of the workshops through BRISSC, the group were learning about collage. I was drawn to the picture of the lion, the words ‘The Choice’, “Between and rock and a hard place’, Big Bad World’ and ‘We are all born the same’, as this is how I feel trying to live with Mental Health, in particular Eating Issues, but we don’t have a choice. Not really. The struggles that I live with as ED screams in my ear that I am not good enough, that I am not worthy of a place in this society and that I am not loved, cannot be shared with the ferocity that he has, hopefully however this can be seen in his eyes. Only I can hear him and only I can understand.

Half The Sky (Cosmic Clarity)

by J. M. Rae

(2020) 42 x 59.7cm, mixed media on paper.

We hold up half the sky,
Womankind.
When tears we cry.
Ask us why?
When we let our wisdom fly
Be our steadfast ally.

Don’t abuse.
Don't use.
Don’t refuse
To see our bruises.
Don’t accuse
Us of a ruse.

Do support us as we grow
Into the women that we know
We've hidden far below
All the layers bestowed
That create such an undertow.
Stand back as we show
How it’s gonna go
From now on.

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Just because it’s shiny
doesn’t mean you can have it.

by Yvie

(2020) 29.7 x 42cm, mixed media on paper.

The yoni - to be revered, not destroyed. And certainly never taken.

Reflowering:
Transformation of Femininity

by Tania Cusack

(2020) 102 x 102cm, mixed media on canvas.

This highly textured painting is about things which remain unspoken yet go through transformation in the psyche, being turned into something beautiful. The white flames signify the burning purity needed for transformation. The shapes of the flames depict the embracing of femininity and the process of moving something from deflowering to rebirth and renewal. The flowers and dragonflies depict the completion of the transformation. Yellow is the colour of courage to face this process.

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Bwankers

by Sonja Kishar van Ingen

(2020) 102 x 102cm, acrylic on canvas.

What is lost in translation? The truth. The truth is lost in translation, when bankers took control of the Earth, and took without giving thanks or giving back. When greed and ego took root from their sins, translated into us all losing our way, away from the Mother. And what was done onto the Earth, the raping and pillaging of her resources, translated into what is done onto women.

The Story of Healing My Inner Child

by Kavita Sharma. (2020) photographic series.

Alone, abused, unable to speak.

The Story of Healing My Inner Child

by Kavita Sharma. (2020) photographic series.

All those years holding her, not recognising that she needs my help.

I finally look over, scared that the pain would consume and end me.

The Story of Healing My Inner Child

by Kavita Sharma. (2020) photographic series.

The Story of Healing My Inner Child

Finally the courage to speak out, and when I started oh did I roar!

by Kavita Sharma. (2020) photographic series.

The Story of Healing My Inner Child

She saw me. She felt safe.

by Kavita Sharma. (2020) photographic series.

The Story of Healing My Inner Child

She finally had the courage to shout out her pain.

by Kavita Sharma. (2020) photographic series.

The Story of Healing My Inner Child

The shame the discomfort. Not her but of others.

by Kavita Sharma. (2020) photographic series.

The Story of Healing My Inner Child

The heaviness was gone. She felt lighter. She smiled.

by Kavita Sharma. (2020) photographic series.

The Story of Healing My Inner Child

Oh the connection, the acceptance & love.

by Kavita Sharma. (2020) photographic series.

The Story of Healing My Inner Child

I always thought that I had to forget that part of myself. To cut and discard her out of my life in order to move on.
But all along it was love and acceptance. She always has and will always be a part of me.

by Kavita Sharma. (2020) photographic series.

AROHA TINO NUI -
LOVE WHAT IS………

by MAKARETA KL (Margret Leathart)

(2020) 80 x 80cm, mixed media.

Aha koa iti he pounamu - Even though it is small it is a treasure.

TAONGA (Treasure)
Treasure, anything prized applied to anything considered to of value including cultural valuable objects, resources, phenomenon, ideas, techniques and methods. “Taonga puoro (Traditional Maori musical instruments) are seen as children of the families of the gods who brought them into being. Rangi is the word for tunes, and the name of the primal Sky Father to whom music drifts up - so melodic instruments are from the world of Rangi.” teara.govt.nz

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AROHA TINO NUI -
LOVE WHAT IS………

by MAKARETA KL (Margret Leathart)

(2020) 80 x 80cm, mixed media.

Aha koa iti he pounamu - Even though it is small it is a treasure.

TAONGA (Treasure)
Treasure, anything prized applied to anything considered to of value including cultural valuable objects, resources, phenomenon, ideas, techniques and methods. “Taonga puoro (Traditional Maori musical instruments) are seen as children of the families of the gods who brought them into being. Rangi is the word for tunes, and the name of the primal Sky Father to whom music drifts up - so melodic instruments are from the world of Rangi.” teara.govt.nz

Read More...

AROHA TINO NUI -
LOVE WHAT IS………

by MAKARETA KL (Margret Leathart)

(2020) 80 x 80cm, mixed media.

Aha koa iti he pounamu - Even though it is small it is a treasure.

TAONGA (Treasure)
Treasure, anything prized applied to anything considered to of value including cultural valuable objects, resources, phenomenon, ideas, techniques and methods. “Taonga puoro (Traditional Maori musical instruments) are seen as children of the families of the gods who brought them into being. Rangi is the word for tunes, and the name of the primal Sky Father to whom music drifts up - so melodic instruments are from the world of Rangi.” teara.govt.nz

Read More...

AROHA TINO NUI -
LOVE WHAT IS………

by MAKARETA KL (Margret Leathart)

(2020) 80 x 80cm, mixed media.

Aha koa iti he pounamu - Even though it is small it is a treasure.

TAONGA (Treasure)
Treasure, anything prized applied to anything considered to of value including cultural valuable objects, resources, phenomenon, ideas, techniques and methods. “Taonga puoro (Traditional Maori musical instruments) are seen as children of the families of the gods who brought them into being. Rangi is the word for tunes, and the name of the primal Sky Father to whom music drifts up - so melodic instruments are from the world of Rangi.” teara.govt.nz

Read More...

AROHA TINO NUI -
LOVE WHAT IS………

by MAKARETA KL (Margret Leathart)

(2020) 80 x 80cm, mixed media.

Aha koa iti he pounamu - Even though it is small it is a treasure.

TAONGA (Treasure)
Treasure, anything prized applied to anything considered to of value including cultural valuable objects, resources, phenomenon, ideas, techniques and methods. “Taonga puoro (Traditional Maori musical instruments) are seen as children of the families of the gods who brought them into being. Rangi is the word for tunes, and the name of the primal Sky Father to whom music drifts up - so melodic instruments are from the world of Rangi.” teara.govt.nz

Read More...

Sleeping Safely

by Anne

(2020) clay.

This is meant to depict me feeling safe enough to sleep. It’s kind of like a prayer ... or maybe a wish. If I made it in clay, maybe that will help make it happen in real life - being able to sleep at night.

She doesn’t look so relaxed to me.
She looks scared to me.

Sleeping Safely

by Anne

(2020) clay.

This is meant to depict me feeling safe enough to sleep. It’s kind of like a prayer ... or maybe a wish. If I made it in clay, maybe that will help make it happen in real life - being able to sleep at night.

She doesn’t look so relaxed to me.
She looks scared to me.

Sleeping Safely

by Anne

(2020) clay.

This is meant to depict me feeling safe enough to sleep. It’s kind of like a prayer ... or maybe a wish. If I made it in clay, maybe that will help make it happen in real life - being able to sleep at night.

She doesn’t look so relaxed to me.
She looks scared to me.

Invisible Child

by Sia

(2018) 39 x 47cm, photograph.

Sia is a Support and Community Education Worker at BRISSC.

White Ink

by Scarly

(2018) 60 x 90cm, acrylic on board.

“Censor the body and you censor breath and speech at the same time. Write yourself. Your body must be heard.”
― Helene Cixous, The Laugh of the Medusa

Solidarity

by Milena

(2020) Polymer clay, agate and carnelian.

Recognising the strength women receive from other women, how we can support one another and grow together.

Open Vessel

by Marilyn Cass

(2020) clay.

Open Vessel

by Marilyn Cass

(2020) clay.

Open Vessel

by Marilyn Cass

(2020) clay.

Open Vessel

by Marilyn Cass

(2020) clay.

Ting

by Karin Cheyne

(2020) ink on paper.

Mer-Woman on a Boat

by Karin Cheyne

(2020) ink on paper.

DisconjugatedBy Emma Le Strange(2022) 1920 x 1080p 60fps, digital mixed media.

Truth... lies... they are not joined or are they? Here lies the disconjugation of public comment. Do you believe her or do you distrust her?
Will I be believed or will I be condemned to the level of lies?

Emma is a multidisciplinary artist who draws on life expirience to guide out strong emotions held within the viewers of her art.
Her art practices include drawing, illustration, etching, costumery, singer songwriting, writing, poetry, digital media and animation.

Artwork DescriptionAbout the artistNot for sale.
Home. The tree. Addiction. BloomBy Ali Pike(2022) 39 x 29cm, water colour on paper
and 45.5 x 92cm, mixed media on canvas.

The beginning (home). The tree - from a repressed memory, a letter to my cousin. Addiction - The illusion of control. Bloom - I have always been her, but now I bloom.

Artwork DescriptionFor sale. $30 each.
Kintsugi Self Portrait - Broken is BeautifulBy Ava Grayson(2022) 105 x 85cm, acrylic and oils on canvas.

I have always been creative and drawn or painted all my life. I believe and feel that to create art is magicaland I hope each of my pieces people are able to feel that magic by stepping into another world through that piece. Which is why I sign all my pieces with a dragonfly so everyone can have a little piece of magic. After surviving a crime early in life I focused on work, usually more than one job at a time. So I never had time for letting my creative side out. I realised that this was not feeding my creative side. I feel that my art is immature because of taking me a long time to get here, after working on it full time for 2 years I am excited at how far I have come and am excited to see wjere my gift will take me. Being a person who likes a bit of this and a bit of that I don't like to put my art in a box and restrict myself. I like to explore different mediums, different art, use recycled items, any subject and make what I feel. Bring to life that feeling.

About the artistNot for sale.
HURTBy Camilla Strand(2022) 59.4 x 84.1cm, acrylic and paint pens on card.

Inspired by the interaction of my body during the art process, HURT was created by using large sytreaks of black paint pen on pink card. I wanted to find a way to express my rage of the never-ending trauma of woman-hood via art. I also utilised a palette knife to scrape pink acrylic paint over the back as a nod to the violent enforcment of gendered stereotypes. I made the face messy and unclear as a way to express the feeling of disintegration that occurs to my mental health as each new trauma is piled on. Although pink is a heavily gendered colour, it also represents unconditional love, which is somthing that is foundational to all of my creative expression.

Camilla Strand is a multi disciplinary feminist artist working in the fields of art, music & writing. Informed by second wave feminism, Camilla seeks to expose the lie that is patriarchy and strengthen women & herself to believe in our power.

Artwork DescriptionAbout the artistFor sale. $270.
Flowers of HealingBy Natalie Cermak(2021) 40 x 50cm, 30 x 60cm, 50 x 40cm, acrylic on canvas.

I am more than the sum of my scars, I am so much more involved than the disfigurment you think you left me with, you tried to re-arrange my truth by silencing and shaming, even abuse. Yet here I am watching perpetrators with pin point accuracy, not pretty but en Pointe, J't'accuse! There is never a reasonable excuse to silence victims, all who did and said nothing, turned a blind eye, enabled this abhorrent practice. It's outragous and has to stop, speak your truthy and your anger, for your truth is more than a sum or your scars. It may help heal some, so be brave, be able, speak now

Told never to do art at age 12, in 20's denied entry to arts degree due to tremors and artistic unsuitability, now early 60 and enjoying art as an expression of self and finally accepted into an arts degree in University pathway, Apparently my scars, abilities, disabilities and tremors are now acceptable. And it's now my time to express myself.

Artwork DescriptionAbout the artistFor Sale. $85.
The SUM of my SCARSBy Nicholi Whyte(2022) 76.1 x 61cm, acrylic on canvas.

I am more than the sum of my scars, I am so much more involved than the disfigurment you think you left me with, you tried to re-arrange my truth by silencing and shaming, even abuse. Yet here I am watching perpetrators with pin point accuracy, not pretty but en Pointe, J't'accuse! There is never a reasonable excuse to silence victims, all who did and said nothing, turned a blind eye, enabled this abhorrent practice, It's outragous and has to stop, speak your truthy and your anger, for your truth is more than a sum or your scars. It may help heal some, so be brave, be able, speak now.

Told never to do art at age 12, in 20's denied entry to arts degree due to tremors and artistic unsuitability, now early 60 and enjoying art as an expression of self and finally accepted into an arts degree in University pathway, Apparently my scars, abilities, disabilities and tremors are now acceptable. And it's now my time to express myself.

Artwork DescriptionAbout the artistNot for sale.
PedophileBy Finn(2022) 120 x 34 x 28cm, acrylic paint on sewn fabric.

Pedophile explores the lifelong impacts of child sexual abuse. Red hand prints are representative of the physical nature of the abuse, and the mark this leaves. Coffee staining is symbolic of the lifelong stain of mental illness left by the abuse. Loudly printed words represent the internal struggle of lacking a vouce but having so much pain, while forming the fabric into the form of a dress represents finding a voice and beginning to heal. The dress deliberatly lacks shape and form to depict the artists shame and need to hide their body as it developed.

Artwork DescriptionFor Sale. Open to offers.
Not GuiltyBy Reyne Andrews(2022) 100 x 100cm, acrylic on canvas.

"Not guilty" personifie's society's proclivity to blame victims of all forms of sexual violence. News Headlines are utilised to expose misogynistic undertones that encourage socially-sanctioned victim-blaming, whereby the victim becomes the perpetrator.

Artwork DescriptionFor Sale. $50 or donation to a relevent charity.
Goddess of Yin (Bath Bitch)(2022) 60 x 46cm, oil on canvas.

I studied Fine Art at Central St Martins in London a decade ago. Since then, my art practice has evolved adapting with my invisible illness. My practice explores society's perception of the self help movment, and toxic positivity from a feminist viewpoint. I spend a lot of time researching. observing and contemplating, so I can physically make the final work without exacerbating my health issues. The quick making process gives an immediacy and ephemeralness to my work.

About the artistFor Sale. $1850.
Magical Love Overturning DarknessBy Lacey Page(2022) 100 x 65cm, mixed media on paper.For Sale. $500.
Falling Forbidden Fruit, of the Uprooted Family Tree,
After Millenia of Dicktatorship.By Rhiannon Pineau(2022) 75 x 60 x 15cm, mixed media on canvas.

There is a theory that the biblical tree, forbidden to Adam and Eve, was not only that of the Tree of Knowledge, but also a representation the Family Tree. The forbidden fruit of incest and the ripe temptation that makes men sin.
For a long as the 'Civilized World' has existed the patriarchy has controlled the moral compass of the family and society. Holding the puppet strings of the family tree, tradition and law. Blood binds these. A patriarchal dicktatorship, for thousands of years, unsatisfied men have been rewriting and translating the moral code to fit their agenda.
The forbidden fruit are leaving this system, uprooting the family tree. Falling floating, they reach out to be heard. Silently screaming for change, if you listen you will learn.

Artwork DescriptionFor Sale. $3200.
Blinded FacesBy Dilsah the Solution(2020) 61 x 61cm, mixed media, ink, oil and pastel on canvas.

Sometimes in life we are blinded and it feels very hard to take the blind fold away. Blinded ourselves because of the society stigmas. We can be or not be aware of it and it will take time to gather strength to open our eyes to what it is. Feeling sadness, small death within until growth comes release occur.

Artwork DescriptionFor Sale. $550.
PowerBy Edie Barrett(2022) 21 x 29.7cm, ink and pastel on archival paper.

Felt memories
trapped
inside my body
released onto paper

Artwork DescriptionNot for sale.Stolen(2022) 59.4 x 84.1 cm, Indian ink, butchers paper and printed collaged card.For sale. $100 framed, $50 unframed.Reclaim(2022) 29.7 x 42.0 cm, Digital paper print (from collage and ink).For sale. $50 (print edition 1 of 50).Fire(2022) 21 x 29.7cm, ink and pastel on archival paper.Not for sale.
Eyes Wide OpenBy Ingrid(2022) 11 x 12cm, lino print on paper.

I am learning to welcome and accept all the parts of me, the light and the dark of me:
the gorgeously loud, beautifully angry, boisterous, non-censoring parts of me
AND the gentle, quiet, compliant, forgiving parts.
The yin and the yang of me
Society had taught me it's only acceptable for me to be gentle and to turn a blind eye to the violations that I experience.
It’s because of the "entitled" perpetrator that I am on this journey, more determined to explore WHO I AM and pursue what I want for me.
Today, I have my eyes wide open.

Artwork DescriptionNot for sale.
WaitingBy Tasha Riley(2022) 40 x 40cm, acrylic on canvas.

“You hold her hand, under the shade of the Jacaranda tree, whose branches protect her from the afternoon sun, as you both sit waiting.
Waiting.
Waiting for news.
The phone rings.
Your soft sweater helps muffle her screams, yet it will not dry her tears that continue to fall.
Fall.
Fall over roots.
Fall over the roots of the Jacaranda tree whose branches still protect her, strong and unwavering, attempting to compensate for a system that did not.”

Tasha Riley is Brisbane-based artist, born in London, Canada. She completed her BFA Honours at Western University where she was awarded The Governor General’s Gold Medal Award for Fine Arts, The Benjamin Noble Award for the Arts, and the Greg Curnoe Art Award. Tasha’s paintings have been featured at The McIntosh Gallery and The Palace at 4 am (London, Canada) as well as within the juried Brisbane Art Prize Exhibition at The Judith Wright Contemporary Art Centre. Her solo show, “All The Things She Didn’t Say” was recently exhibited in Galerie Aesop at Tiny Tree Cafe and featured paintings inspired by her lived experiences, expressing emotions too difficult to convey in words--enabling a reconnection to the deeper self. Her art illustrates particular moments in time each representing relatable emotional states (angst; despair; joy; resilience). Tasha has this to say about her art: “Painting allows me to express the things I want to say but I am unable to express…the pain of a loss too difficult to speak about, the feeling of rain after a long dry spell, the feeling of loving and being loved, or the secret that can never be shared.

Artwork DescriptionAbout the artistFor Sale. $350.
Her EyesBy Taylah Hunn(2022) 35 x 45cm, mixed media (Charcoal, Dried Flowers, Mirror Glass).

Her eyes are a memory burnt into my brain forever like an iron stick.
Her eyes are glazed, they look sad, trapped and completely hopeless.
I think to myself ‘she looks drugged’, ‘she must be forced to do this’.
But the rest of her body tells a different story, she is smiling, dancing, doing her job - a prostitute at a bar in Nana Plaza, the largest red light district in Thailand.
Her eyes do not look happy.
Does she have a choice? Does she want to be here? Does she have to be here? Who is forcing her to be here?
She sits on my father’s lap that night, and we catch each other’s gaze for a moment that stops time.
I look into her glazed, exhausted eyes and feel sorry for her, for the injustice in the world, for all the women trafficked and forced to do this job.
But she looks back at me with the same, if not more, look of pity and compassion. And it is at that moment that I realise - I am just as trapped as her.

Artwork DescriptionFor Sale. $100.
My home, my hellBy Taylah Hunn(2020) 59.4 x 84.1 cm, charcoal and ink on paper.

My first own studio apartment.
The first place I felt had independence, choice, responsibility, freedom, boundaries. A lock on my door. A proper lease, consistent bills. The freedom to decorate the space as my own, to say no and choose who comes and goes, to create a safe bubble to block out the entire world. No more being on the run, finally a place to settle.
I thought I was safe; no one could hurt me anymore. I am in control.
I didn’t realise that my own mind had become the abuser and I was locked inside with it. I couldn’t outrun my own mind. I finally had my freedom, my bubble, my space - to self-destruct.

Artwork DescriptionFor Sale. $150.
Reclamation of Desire:
Daughters of Aphrodite Hear Me RoarBy Alee Lee(2022) 102 x 102 cm, oil on canvas.For Sale. $1200.
FFSWitch smokeBy Scarly(2022) 29.7 × 42cm, lino print on paper.(2022) 29.7 × 42cm, lino print on paper.

Not another rape myth!

Artwork DescriptionNot for sale.
I Am WomanBy Marilyn Cass(2022) 50 x 65cm, charcoal on pastel paper.Sold.Artwork Description

A woman’s strength, resilience and wisdom are not always obvious, but are forged in the shadows of her suffering and hardships.

How can one be truthful to self? The bronze maskBy Aunty Dawn Daylight(2022) 30.5 x 40.5cm, mixed media on board.Sold.Artwork Description

My goal was to overcome these things; shame, abuse, a child put at risk, abused by someone you know, someone you are supposed to trust, someone who you can identify at a police station in a line up. This is at a time in a different state of mind, this takes a lot of courage. So this is my Gold! I've received this Goal- when finding it, identifying it and knowing it. It is bloody brave! to get this far in time. The path can be different and can help to get easier if you are willing and ready to make a change.

Aunty Dawn is a yuggera woman and has blood lines to the Turrbal people and was born in Ipswich, now resides in Brisbane and has worked with women at BRISSC and have done some work musically with sisters inside. She still works in community with women and sometimes children. She runs workshops with women who have eating disorders. She also worked in the education department, Murri school Acacia Ridge. She also works with indigiliz women and have supported people with mental health issues. She currently works with people in the West end area and with immunel mission working with arts and crafts groups. She also holds a BA Bachelor of arts in Aboriginal Studies through Griffith university and featured in her own film Lost Daylight.

About the artist
Healing on countryBy Kalika Link(2022) 61 x 81cm, mixed media on board.For sale. $1500.For sale. $1000.

Local indigenous artist, decendent of Kabi Kabi, Gooreng Gooreng and Wakka Wakka Nation.

About the artistStrength Amongst Sisters(2022) 50 x 61cm, acrylic on canvas.
Either Move or be MovedBy Karin Cheyne(2022) 70 x 130 x 16cm, weaving installation.Not for sale

Feminist artist.

Create a liberatory culture, wherein we can all learn to love. There can be no love where there is domination… the work of love is doing the work of ending domination - Inspired by Bell Hooks and Ezra Pound

About the artistArtwork Description
Young Warrior WomanBy Ingrid(2022) 20.5 x 20.5cm, watercolors and make up foundation on canvas.Not for sale

Reclaiming what they took from her.

Artwork Description
Sexually abUSED?!TBI, brbBy Al McGyver(2022) 39 x 50cm, analog collage.(2022) 19.5 x 24.5cm, analog collage.Not for saleFor sale. Negotiable.

Al (she/they) is a 26 year analog collagist from Meanjin, and raised in the suburbs of Wynnum. If there’s a material that can be stuck onto paper, there’s a high chance it will end up in a piece of art.

About the artist