Corroded rod with a square shaped shaft end to end.archaeology, historic building, former royal mint

Corroded tack with rectangular shaft narrowing to a blunt tip. The head is covered with lead.archaeology, historic building, former royal mint

Square-shaped nut with a circular perforation measuring 1.3cm with interior grooves.archaeology, historic building, former royal mint

Alloy clock hand with a circular plate and pointed tip. archaeology, historic building, former royal mint

Dressing table box with hinged lid made from Xylonite. Has 5 compartments. Part of a set.personal hygiene, nail care

With silver top and handle and red velvet base, with round ends. One end has embossing.Embossed with silver stamp.nail buffers, manicure equipment, toiletries, gibson collection

Uncle Brian McKinnon (b. 1957 – d. 2023) was a Geelong-based artist and descendent of the Amangu and Wongai people of Western Australia. He created powerful mixed media works that explore his campaign for Aboriginal rights and his childhood experiences growing up in Western Australia. Scars is a deeply personal and political work that reflects on some of the ways in which Aboriginal people have historically been discriminated against and marginalised because of the colour of their skin and cultural practices. Originally exhibited with two other paintings, it was also made in honour of the artist’s children and their struggle to maintain positive self-esteem. Uncle Brian McKinnon said his children inherited keloids from their ancestors: ‘These keloids look like body scars. In this work, I have placed them in the past and the presence of their ancestors through the act of beautifying the marks, which reflect the landscape and the identity of the person wearing the beautification marks. Although the marks on my children are not so beautiful and they are ostracised because of them, this made me think of racist policies and of course the referendum and when my people were seen for the first time as being human.’