The former Kew Lunatic Asylum, was commenced in 1856 and opened in 1872. At various stages of the institution's history it was named the Kew Lunatic Asylum (1872-1956), Kew Mental Hospital (1956-1960s), Willsmere Mental Hospital (c.1960s-1982), and the Willsmere Unit (1982-1989). Most of the records relating to this former institution are held by the relevant Government Department or by the Public Record Office Victoria. Due to the location of this institution in Kew, the Kew Historical Society also holds an extensive photographic archive as well as significant collections of personal papers collected by staff who worked there.This photograph is one of a series donated to the Society by the photographer, taken following the closure of the Willsmere Unit, and before its redevelopment as a private residential complex. The series is historically significant in that it depicts interior and exterior views of the former institution that were subsequently altered or demolished during redevelopment. A number of the 'views' are socially significant as they allow us to examine the ways in which public institutional architecture in the 19th and 20th centuries responded to the needs of those with perceived mental health issues. Colour snapshot of a part or section of the former Willsmere (Kew) Mental Hospital, taken following its decommissioning and before its sale and redevelopment.kew lunatic asylum, kew mental hospital, willsmere mental hospital, willsmere unit, health & human services, mental health, institutional architecture

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.