Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork

Object. An Old Gold Chocolate Box Embossed & Raised Letters & Decoration. Gold Box with Title Old Gold Chocolates - A Great Assortment of Centres. Markings & Inscriptions: Box Cover Printed by Sands & McDougall Pty Ltd K8 Stamped. Badges. Hand Written.MacRobertson Melbourne, Australiadomestic equipment, food storage & preservation, containers chocolate box, http://www.cv.vic.gov.au/stories/built-environment/macrobertsons-confectionery-factory/

merri-bek public art collection

28 pages. 25cm. BMDHS Location: AR/SU4non-fictionA souvenir booklet produced in Bacchus Marsh to commemorate 100 years since the arrival of European colonists in the district Bacchus Marsh in 1836. It contains a brief history of European settlement in the area and a description of some of the major industries and infrastructure of the region. Also included are several black and white images of significant local buildings, parks, geographic features and a group portrait of shire councilors; Published by The Lady Publishing Company, Melbourne, 1936. Edited by F. C. McC Crisp; Online edition accessible from State Library of Victoria at: https://find.slv.vic.gov.au/permalink/61SLV_INST/1sev8ar/alma998374713607636bacchus marsh history, centenaries bacchus marsh

"Wingrove Cottage" was built 1858/59 for Charles Symons Wingrove, long serving Secretary and Engineer to the Eltham District Road Board and Shire Council. Sitauted on Main Road Eltha, it is on the Victorian Heritage Database and considered locally significant. In 1989 when this photo was taken the building was being used as a community clinic.See Victorian Heritage Database citation https://vhd.heritagecouncil.vic.gov.au/places/6357435mm colour positive transparency (1 of 28) Mount - Kodak KodachromeProcess Date MAR 89Meltham, main road, wingrove cottage, wingrove cottage community clinic

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.

The passenger list is for the 1849 voyage of the Emmi (anglised to Emmy) which departed Hamburg on 6 September 1849 and arrived in Post Phillip on 19 December 1849. The immigrants included August Schwerkolt who later settled in Mitcham.non-fictionPassenger list for the 1849 voyage of the Emmy which departed Hamburg on 6 September and arrived in Port Phillip on 19 December. schwerkolt august, emmy, germantown, emmi