ON EXHIBITION @ the Centre Beaudesert



21 JUN - 20 JUL 2019


Friday 21 Jun 2019,  6pm for 6.30pm
Meet the Artists and floor talks. 


5540 5050 |


The Centre Beaudesert, 82 Brisbane Street, Beaudesert


She Sees, She Feels, She Makes is a trans-disciplinary, collective response between three Indigenous and three non-Indigenous women, who find themselves coming together through the commonality of the she aspect of humanity - the feminine. Together, they explore different cultural histories, and how this translates to meaningful relationships to country in Australia.

Speaking through the mediums of painting, printmaking, sculpture, and photography, this exhibition includes works that harness the power of cross-cultural dialogue to investigate the nurturing and regenerative powers of the feminine. This comes as a direct response to current hierarchical systems of power belonging to the patriarch, a direct result of British invasion and colonisation. Here, ideas relating to myth, race, gender, empowerment, ancestry, scarification of country, spirituality, fertility, history, colonialism, ecology, identity, as well as sense of place and belonging through storytelling, are explored through a multitude of motifs, iconography, metaphors and allegories.

By translating these social, cultural, political and environmental references into an elegant and sophisticated visual aesthetic, She Sees, She Feels, She Makes navigates cross-cultural terrains to re-imagine and reinterpret ourselves through the feminine aspect, as experienced through cultural diversity. The result is a collection of works that facilitate a greater understanding and responsibility of connecting to land and to ourselves as human beings, as well as meaningful relationships to country as Aboriginal and non-Aboriginal women in Australia.


TALKING CIRCLE with She Sees, She Feels, She Makes Artists
Sat 22 June 2019, 11am-12.30pm
The Centre Beaudesert  All welcome.  Free.  Morning Tea provided.
The artists from the She Sees, She Feels, She Makes exhibition warmly welcome you to join them in a Yarning Circle and to have morning tea with them. Everyone is invited to gather together and take part in an informal, respectful and open discussion about issues relating to, and that extend from the exhibition such as empowerment, gender, fertility, ancestry, race, myth, spirituality, history, colonialism, scarification of country, ecology, identity and belonging. Thus, facilitating a greater understanding of how we each connect to the land and to each other as human beings.


Debbie Taylor-Worley (Gamilaraay) investigates what it is to be powerfully feminine in today’s male dominated society. This has led her to create a series of works based around the female figure and primordial symbols used in religious and metaphysical practices that honour the sacred feminine. Taylor-Worley’s large energetic sculptures and canvases sing across the space radiating cultural designs inspired by the tree carvings and northern hemisphere symbology of her heritage.

Glenys Briggs (Taungurung and Yorta Yorta) employs printmaking to focus on the women in her immediate maternal lineage - her Great Grandmother, Grandmother and Mother. They were the ones that instilled pride in her cultural heritage and the sense of who Briggs is as a First Nations woman. For example, Barban’s outer skin of kangaroo hide softly enfolds stories of her Elders with layered, textural narratives of hardship and courage forming a powerful physical core to the work.

Kim Ah Sam (Kuku Yulanji and Kalkadoon) expresses her deep connection to country and her cultural identity through a unique (and prolific) approach to dry point etching, as well as weaving. Ah Sam’s intimate and reflective mark making on paper signifies familiar landscapes and scarification, with tracks of journeys taken and histories that evoke emotive readings.

Carolyn Stubbin has collaborated with Uncle Burragun John Long to create a series of photographic works. Stubbin, a fourth-generation descendent of European settlers, grew up on Uncle Burragun’s country where their stories intersect and diverge. Their work offers an examination of the discourses concerning this landscape while merging with other elements that shape and influence notions of identity – history, culture and gender.

Susan Gourley traces back to British invasion and colonisation. Here, she investigates Eurocentric and anthropocentric ideologies towards nature, revealing their ecological impact.  Gourley questions dominant narratives towards country by utilising the visual metaphor of salvaged material combined with the handcrafted mimetic qualities of trompe l'oeil. Concerned about local and global environmental crises, her junk aesthetic of the unmonumental enables cross-cultural histories that open new respectful ways of thinking about how we connect to land and self.

Paula Payne’s painting practice is an ongoing inquiry as to how she can express the environmental angst of our times through representations of the landscape. Payne’s compositions of the real and the imagined, explore local and global dimensions of human innovation, intervention and cultural ruins creating a paradox between beauty and anxiety, the visible and the invisible.