35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, old post office, whittlesea road, kinglake

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, kinglake, heidelberg-kinglake road

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, heidelberg-kinglake road, kinglake national park

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsst andrews market, proctor street, st andrews

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsst andrews market, proctor street, st andrews

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsst andrews market, proctor street, st andrews

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, peter street, eltham

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, eltham, ryans road

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, eltham, bolton street

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, old eltham road, lower plenty

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, lower plenty, rosehill road

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, lower plenty, riverhill drive

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, lower plenty, rosehill road

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, eltham, fitzsimons lane, main road, roundabout

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, eltham, fitzsimons lane, main road

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, main road, montmorency

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, montmorency, were street

Intersection of Main Road and Bridge Streets, Eltham. Before reconstruction of Main Road, this intersection had deep cutting embankments on all four corners. Roadworks and private development have levelled the land on the low side of the road. The Eltham War Memorial was originally located on the north western corner. in 1919. 35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, bridge street, eltham

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, bridge street, eltham, main road

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, eltham, john street

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, eltham, arthur street

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, eltham, woodridge linear park walkway

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, eltham, nathan road

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, eltham, huntingfield court

35mm colour positive transparency (1 of 36) Mount - Agfa CS System grey 8 dotsroads, eltham, dandallo drive

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of a gum leaf and a singe root system handwoven in a colour palette of black, grey, and white.valerie kirk, tapestry, textile

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of a tree and its root system handwoven using a colour palette of black, grey, and white.valerie kirk, tapestry, textile

PASGT* Helmet with New Zealand DPCU cloth cover (*Personnel Armour System for Ground Troops (PASG) )headgear, current, army

This photograph is one of approximately 43 original photographs and photocopies of buildings, patients and staff assembled in a red covered, spirally bound photograph album (the album itself is now discarded and the images stored separately). The images in the album cover the period from the 1870s to 1965. A few photographs have inscriptions on the reverse; others had later separate labels in the album. The album was presumably compiled as a public record. It and other items came from the collection assembled by Dr Fred Stamp, the last medical superintendent of Willsmere Hospital before its closure in 1988. Original photographs have been uploaded to and described on Victorian Collections. The album itself is listed and linked separately showing the photographs in situ.A number of the photographs from the Willsmere Hospital album are confronting, especially given the condition of the buildings and facilities depicted, as well as the casual photographs of patients, which some viewers may find distressing. The album and its photographs are however an historically significant visual record of the Kew Mental Hospital, especially in the years 1951-1965.Black and white photograph of the hospital infirmary in the Kew Mental Hospital. Note the systems used to store medicines."1954"kew lunatic asylum, kew hospital for the insane, kew mental hospital, kew mental institute, willsmere mental hospital, willsmere hospital