This Murnong was found near La Franchi's hutYellow native plant with yellow flower. The root was eaten by Aboriginal people. murnong, microseris sp., yam daisy, flora

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The murnong was one of the main food sources for First Peoples before colonisation as it grew right across Wadawurrung Dja. The introduction of the sheep and cattle saw the murnong eaten roots and all and it quickly became less plentiful. The tubers were eaten raw or roasted on a fire. Water could be added to make a paste for small children to eat. The woman’s wooden digging stick that was used to gather and harvest plants was often buried with the woman for her afterlife and is considered sacred women’s knowledge. All parts of the plants and trees were and still are honoured as sacred medicine, healing plants and bush food knowledge.Yellow flower and female figure motif on black background on outer cloak, black and white diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

Nillumbik Prize finalist (2018, 2016, 2015, 2014). The artist lives and works in Nillumbik. Abstract sculpture inspired by the artist attending a local ceremony in Nillumbik to harvest tubers of the Murnong (yam daisy), a traditional staple of the Wurundjeri people. Wirth was also inspired by the writing of Bruce Pascoe. Wirth works intuitively with awareness that meaning may be deciphered through the combination of material/mediums/techniques that she uses randomly. Through the process of experimentation and automatism Wirth allows her work to evolve organically. Wirth is represented in public art collections including: Victorian College of the Arts, Victorian Performing Arts Centre and Ararat Regional Gallery. She also completed a residency at Laughing Waters in 2012. Yellow abstract sculpture woven into a vessel with long tentacles using cotton yarn. N/Afinalist, nillumbik prize, abstract, textile, yellow, vessel, yam

This work is all about Country for Wadawurrung people, the lay of the land, food crops and the abundant recourses which sustains the Wadawurrung people. Again I have used traditional patterns and made reference to Wallaby Grass and Murnong staple foods for Wadawurrung people.Painting of river and grassland from above. Green, blue and brown used.On back left bottom corner - J.Murray.Jones 2019 'Corio'corio, wadawurrung, murnong

This plan is associated with former Ballarat School of Mines Student Richard Squire (1875-1876). Gift of the Squire FamilyParish Plan of Doroq in black ink printed on cream paper. It includes the township of Inverleigh and Barwon Rover. Some of the names on the plan are William McRobie, William MacRobie, Thomas Russell, W.C. Smith, John Bell, J. Moffatt, Thomas Moffatt, John Anderson, George Synnot, Charles Lloyd, William MacRobie, J. Flack, Alexander Campell, T. Maher, William Berthon. Thomas Jewell, James Carstairs, D. MCInnerney, F.H. Holland, Robert Morrison17 7/9 18 9 miles handwritten in pencil Photo lithographed at the Department of Lands and Survey Melbourne by T. E. McGauran 28.6.11 Price 1/-carrunge-murnong, murdeduke, carrah, shelford, inverleigh, barwon river, hesse, wingeel, george russell, george russell's pre-emptive section, john moffatt, w. c. smith, macrobie, john bell, thomas russell, t.f. mcgauran

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). This cloak represents a traditional shield and stands for strength, resilience and standing proud. It protects us as we move forward. The gold represents the gold fields of Ballarat and Golden Plains shire. It also represents fool’s gold (pyrite) as First People had no use of gold, instead the people are the gold.Black, white, and red stripe design with flower and stem motif on outer cloak. Lining is a red and white stripe motif. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Deanne states that this is her favourite season and she loves painting the small orchids as they flower after the cold season begins to clear.Black cloak with pink and purple toned flower motif on outer cloak, purple and black diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong