Hayley Millar Baker is a Gunditjmara and Djabwurrung artist. Her series I Will Survive is about the cautionary tales and bush survival stories that Millar Baker heard as a child. Her Aboriginal and migrant parents and grandparents shared warnings, myths and ghost stories with her. As Millar Baker grew up, these stories evolved, becoming more emotionally charged with each retelling. As stories are retold, they are reformed and embellished, sometimes becoming more vivid and meaningful. In I Will Survive, Millar Baker inserts herself into the stories. Millar Baker says, ‘Recalling memories formed in my childhood and ruminating on these stories in adulthood, I can’t help but dissect my memory’s influences and influencers, and what roles my Aboriginal and migrant parents and grandparents played in feeding lessons and myths into my subconscious.’

Hayley Millar Baker is a Gunditjmara and Djabwurrung artist. Her series I Will Survive is about the cautionary tales and bush survival stories that Millar Baker heard as a child. Her Aboriginal and migrant parents and grandparents shared warnings, myths, and ghost stories with her. As Millar Baker grew up, these stories evolved, becoming more emotionally charged with each retelling. As stories are retold, they are reformed and embellished, sometimes becoming more vivid and meaningful. In I Will Survive, Millar Baker inserts herself into the stories. Millar Baker says, ‘Recalling memories formed in my childhood and ruminating on these stories in adulthood, I can’t help but dissect my memory’s influences and influencers, and what roles my Aboriginal and migrant parents and grandparents played in feeding lessons and myths into my subconscious.’

'A Series of Unwarranted Events' shares four stories of frontier violence faced by the Gunditjmara people, highlighting the brutal realities of the invasion and colonisation of their land. The European invasion of western Victoria was marked by violence, including countless killings and massacres of Aboriginal people. Stories of skulls nailed to doorways and rivers running red serve as haunting reminders of an unforgivable past, standing as witnesses to the strength and resilience of the Gunditjmara people. The collaged landscapes deliberately avoid showing the actual sites of violence. They remove all signs of physical trauma, focusing instead on the silence and emptiness of a scarred land and a painful history that demands acknowledgement. The work honours the resilience that endures, even as the land and collective memory bear the marks of past wounds. The Convincing Ground massacre took place between a group of sailors and the Gunditjmara - Kilcarer clan circa 1833, however the exact date is uncertain, and some international theorists consider the Convincing Ground massacre a myth. Portland shore served the Gunditjmara people as a place of ocean abundance. The circumstances are that a whale had come on shore and a Gunditjmara clan went to collect the meat as they had for thousands of years. A group of sailors protested that they had ownership of the whale as Portland now ‘belonged’ to them, and so a violent and devastating conflict started. 'Untitled (The circumstances are that a whale had come on shore)' speaks to the murders of the Kilcarer Gunditj clan over the ownership of whale meat. All members, bar two, of the Kilcarer Gunditj clan were slain. Artist Bio Hayley Millar-Baker is a Gunditjmara woman from Victoria, Australia. Through contemporary approaches to photography, she draws strength from her Gunditjmara bloodlines, history, and the landscape – confronting and crafting past, present, and future stories of South-East Aboriginal existence, and honouring the connectedness of intergenerational experiences of Aboriginality. Millar-Baker’s works draw from her grandfather’s archive, family albums, and her own treasured moments captured on and off Country. Meticulously layering, cutting, and repositioning imagery – she depicts a coexistence of times, of cultures, of transformation. Through the application of digital technologies, Millar-Baker aligns disparate times and places – melding the collected imagery from her extensive archive together as one, to tell alternative stories and histories. What would it have been like if Southeast culture had thrived in coexistence with colonisation? Through both materiality and process, Millar-Baker’s assemblages critically explore cultural practices and knowledge’s and investigate notions of blood memory, the evolution of cultural practices, and south-east Australian history, in relation to her own Aboriginal heritage. Millar-Baker’s reflective narrative process enacts a powerful social commentary that acknowledges the strength and resilience of Aboriginal Australia, reimagines what could have been, and reveals the complexities of Aboriginality now.photograph

Land is mother, we live with the land – not off the land. This artwork comes from Millar-Baker’s 'Toongkateeyt (Tomorrow)' series, which sees the mashing of Countries to create imagined landscapes that embody both birth country (Wathaurong) and ancestral country (Gunditjmara). 'Toongkateeyt' takes an introspective exploration of contemporary Indigenous connection to land and identity post-colonisation. Using images she took herself and those taken by her grandfather, Millar-Baker focuses on places that have played an important part in her family’s intergenerational experiences. Artist Bio Hayley Millar-Baker is a Gunditjmara woman from Victoria, Australia. Through contemporary approaches to photography, she draws strength from her Gunditjmara bloodlines, history, and the landscape – confronting and crafting past, present, and future stories of South-East Aboriginal existence, and honouring the connectedness of intergenerational experiences of Aboriginality. Millar-Baker’s works draw from her grandfather’s archive, family albums, and her own treasured moments captured on and off Country. Meticulously layering, cutting, and repositioning imagery – she depicts a coexistence of times, of cultures, of transformation. Through the application of digital technologies, Millar-Baker aligns disparate times and places – melding the collected imagery from her extensive archive together as one, to tell alternative stories and histories. What would it have been like if Southeast culture had thrived in coexistence with colonisation? Through both materiality and process, Millar-Baker’s assemblages critically explore cultural practices and knowledge’s and investigate notions of blood memory, the evolution of cultural practices, and south-east Australian history, in relation to her own Aboriginal heritage. Millar-Baker’s reflective narrative process enacts a powerful social commentary that acknowledges the strength and resilience of Aboriginal Australia, reimagines what could have been, and reveals the complexities of Aboriginality now. Each work in this series is built from hundreds of individual layers and photographs. Each rock, tree, animal etc. was photographed individually and cut out to create a new landscape depicting the ‘mashing’ of ‘countries’ and a personalised experience existing today as an Aboriginal person. photograph

work on paper, photograph, inkjet, first nations artist, female artist, self portrait, clones, binoculars, ocean, sea, rocks, shoreline

work on paper, photograph, inkjet, first nations artist, female artist, self portrait, clones, rocks, hair

Purchased through the Horsham Art Gallery Trust Fund, 2020silver gelatin photographs

Hayley’s work intricately weaves multifaceted Indigenous feminine narratives, offering poignant reflections on identity, spirituality, and the human psyche, rooted deeply in her personal experiences and cultural identity. Centring on the nuanced psychological landscapes of Indigenous women, Hayley portrays their profound emotional and mental depth while exploring culturally influenced perspectives that honour their indomitable spirit and innate spirituality. Employing her conceptual and abstract artistic vision, Hayley utilises oblique storytelling techniques to challenge conventions and push boundaries in photography, collage, film, and video. Her work resonates with deep emotional intensity, inviting audiences on evocative and non-linear journeys of discovery and interpretation that unfold and evolve over time.In Life, In Death series australian photography, first nations photography, female photographer, identity, spirituality, first nations

She was like the lizard that fell into the water and became a crocodile works with land through photographs that are cut, reassembled, and sutured into collaged forms. The seams have been left open; the ruptures are central to each work. Observing the sutured landscapes becomes a meditation on responsibility and on the uneasy coexistence of care, complicity, and inherited harm. The collages return the act of looking back onto the viewer, presenting their scars. To engage with them is to confront one’s position within ongoing colonial systems and to acknowledge the violences that remain embedded in the land and in the systems that have fractured its sovereignty. To look to the land is to feel the weight of what has been done to it and to those who belong to it, while recognising how it continues to nourish, restore, and strengthen. Looking demands attentiveness and accountability, insisting on the ethical and relational dimensions of vision itself. The images collaged throughout She was like the lizard that fell into the water and became a crocodile combine photographs taken by the artist on unceded Country in south-western Victoria over the past decade —across the lands of the Wauthaurong, Bunurong, Wadawurrung, and Gunditjmara —with archival material sourced from the State Library of Victoria of the same areas. The archival images, produced exclusively by white colonial settler photographers, documented and mapped the land, creating visual records that both precede and actively participate in the colonial inscription of place. By bringing these materials into dialogue, the work creates a confrontation between lived Indigenous presence and the extractive logic of the colonial archive.A series of ten photographic collages 2O.5 X 15CM EACHfirst nations art, aboriginal australian art, gunditjmara culture, djabwurrung culture, indigenous knowledge systems, indigenous sovereignty, cultural reclamation, cultural memory, storytelling, contemporary indigenous identity, aboriginal women, womanhood, motherhood, indigenous feminism, spirituality, first nations, photography

Photo of Hayley Burnett playing netball and an article mentioning the Loddon-Campaspe zone netball championships.education, primary, golden square laurel st p.s., golden square primary school 1189 collection - newspaper cuttings, hayley burnett, kate monotti, maureen egan

Black and white photograph of students Dale Talbot and Hayley Smith at Lakes Entrance Secondary College Debutante Ball. Lakes Entrance Victoriaschools, celebration

This outfit was donated by Hayley Martin. It was worn by two generations of the family, Hayley's mother and later by Hayley herself. Throughout the 1960s and early 1970s the six members of the Martin Family generally spent at least a week each year at Falls Creek, staying at Spargo's Lodge. The Martins then bought a share in Diana Lodge and stayed there frequently until the late 1970s. The sweater (HEAD brand) was purchased at Molony's at Falls Creek.This item is significant as it is indicative of the apparel worn by skiers at Falls Creek in the 1960s and 1970s.Black woollen stretch pants with white line pattern. A woollen cap completes the outfit.women's ski attire, molony ski shop, cuming's ski hire

Set of three news paper clippings from The Age? Natage? about the launch of the 2018-2019 Melbourne Art Trams Project. .1 - item written by Oslo Davis, with a photo of 3003 Oli Ruskidd standing in front of the tram. .2 - Photos Hayley Millar Baker, Oslo Davies, Michael Leunig and Mirka Mora, which art trams are which .3 - image of four of the trams - titled Tramspotting.Has a $15 price label on rear.trams, tramways, transporting art, art trams, decorated trams, tram 3003

Coloured photograph of the GSPS Grade 6 Basketball Team. The girls are wearing yellow tops and blue shorts. Their names are:- Jordana Diss, Gayle Hanley, Hayley Smith, Kimberlie Watson, Melissa Moore and natalie Caldwell.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - photograph - gspsgrade 6 basketball team 1993, jordana diss, gayle hanley, hayley smith, kimberlie watson, melissa moore, natalie caldwell

Coloured photograph of the Golden Square Primary School Grade 6 Netball Team 1993. Their names are:- Jordana Diss, Sheree Poulter, Lauren Reidy, Hayley Smith, Gayle Hanley and Melissa Moore. Two girls in the centre are holding a netball.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - photograph - jordana diss, sheree poulter, laurne reidy, hayley smith, gayle hanley, melissa moore

.1 - Digital pdf file from the Yarra Trams Web file for the 2018 - 2019 Art Trams, Transporting Art - list the tram and artists and gives a background for each artist. Also has links to find the tram on TramTracker. Was part of the Melbourne International Arts Festival. .2 - digital pdf file - providing details of each tram, the artist, tram number and details along with images. Tram and Artist 2009 - Hayley Millar Baker 273 - David Larwill 2054 - Stephan Baker 2012 - Valerie Tang 3003 - Oli Ruskidd 5106 - Troy Innocent 5002 - Nick Howson 3532 - Oslo Davis .3 - Award Announcement 13/12/2018 accessed 9/5/2019 from http://artsreview.com.au/melbourne-art-trams-peoples-choice-award-announced/ Winner Valerie Tang See Reg item 5542 for newspaper cuttings.trams, tramways, transporting art, art trams, decorated trams, tram 2009, tram 273, tram 2054, tram 2012, tram 3003, tram 5106, tram 5002, tram 3532

``Newspaper clipping from the "Post", 19-11-96, P2. Festival fever at ParkwoodParkwood Secondary College year eight woodwork students Hayley, Leoma, Kate and Alison are perparing for the "Parkwood Festival 1996" taking place 10am-4pm on Saturday, November 30. `

Black and white photograph "Written on back of photograph" Ringwood State School- Class photograph, Grade 3A, 1969. Front Row- L to R: Michelle Matheson, Hayley Brownrigg, ?, ?, Jeanette Trotter, ?, ?, ?, ?. Teacher: Miss Federman

Coloured photograph of the Golden Square Primary School No. 1189 - Grade 3/4 1995. Their names are:- Back Row:- Ella Hudson, Kim Martin, Kelvin Tognolini, Denae Trickey, Raphaella Walker, Kenneth Swinnerton, Hailey Buck, Jessica Middleton, Michelle Noulton, Emma Singe, Clinton Lawson. Middle Row:- William Kirby hayley Smith, Emma Tremain, Keegan Butler, Ben Allen, Naomi Doolan, Megan Bourke, Mathew Wynne, Mrs. Julie Gibson (Teacher). Front Row:- Hayley Burnett, Steven Theobold, Cameron Grant, Rebbecca kalms, Joanne Preece, Benjamin Kenyon. Absent: Julia Holt. On the right of the names is an oval sketch of the school.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - golden square primary school no. 1189 - grade 3/4 1995, ella hudson, kim martin, kelvin tognolini, denae trickey, raphaella walker, kenneth swinnerton, hailey buck, jessica middleton, michelle noulton, emma singe, clinton lawson, willian kirby, hayley smith emma tremain, keegan butler, ben allen, naomi doolan, megan bourke, mathew wynne, mrs. julie gibson (teacher), hayley burnett, steven theobold, cameron grant, rebbecca kalms, joanne preece, benjamin kenyon, julia holt

Coloured photograph of the Golden Square Primary School 1997 Year 5/6 R pupils and their teacher. Most of the children are wearing school uniform. Their names are: Back Row: Mathew Wynne, Penny Gloster, Emma Tremain, Hayley Smith, Mr Shane Rodda (Teacher), Bradley O'Connor, Stuart McCorkelle, Mark Noulton, Hiley Buck, Ella Hudson, Stacy Fiske, Rebecca Kalms. Middle Row: Hayden Donaldson, Rebecca Hosking, Luke Anderson, Denae Trickey, Lisa Russell, Daniel Larson, Ben Allen, Bowen Diss. Front Row: Steven Theobold, Cameron Grant, Hayley Burnett, Sarah Oakes, Julia Holt, Rodney Weeks, Joshua Skinner. Absent: Matthew Peacock. Oval sketch of the school on the right of the names.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - photograph - golden square primary school 1997 year 5/6 r, mathew wynne, penny gloster, emma tremain, hayley smith, mr shane rodda (teacher), bradley o'connor, stuart mccorkelle, mark noulton, hiley buck, ella hudson, stacy fiske, rebecca kalms, hayden donaldson, rebecca hosking, luke anderson, denae trickey, lisa russell, daniel larson, ben allen, bowen diss, steven theobold, cameron grant, hayley burnett, sarah oakes, julia holt, rodney weeks, joshua skinner, matthew peacock

Baker and Grocer store, cnr. Main Road and York Street, Eltham, early 1900s. Sign on side of building "Baker, Grocer & Summer Drinks" This image appears to be of the baker/grocery store after it was purchased in 1902 by Mrs Sarah Burgoyne and her husband, John James Thomas Burgoyne. It is possible that Mrs Sarah Burgoyne is the lady in front of the store with her eldest daughter, Charlotte and youngest son, James. Another daughter (Frances) and the family dog are watching from the doorway. In 1902 Mrs Sarah Burgoyne purchased from Wilfred Henry Johnston, the property on the southern corner of Main Road and York Street, Eltham, which consisted of a store and bakery establishment occupied by Mr. Luther Haley whose lease had expired around the same time. Mr. Haley had not been prepared to leave as he was unable to secure at Eltham a suitable house in which to carry on his business. Wilfred Johnston applied for an eviction of Hayley, which was heard at Eltham Courthouse in August 1902. Hayley advised he was building a place near the railway station which he expected to be done in about three weeks’ time. The court gave him the three weeks to vacate. Hayley’s new premises near the station became the present shopping district’s first shop and he ran it successfully till 1917 when the family moved to Clifton Hill, and he became a publisher. Their eldest child Leslie drowned in the Diamond Creek in early 1904, aged 12.Sepia photograph mounted on cardeltham, eltham bakery, grocer, john james thomas burgoyne, main road, sarah jane burgoyne (nee benson), summer drinks, york street

Coloured photograph of the Laurel Street Primary School, Golden Square, Grade 3 Netball Team. Their names are:- Jordana Diss, Lauren Reidy, Hayley Smith, Donna Lea, Natalie Caldwell. Photo taken in the library. Girls wearing blue skirts and G. S. P. S. t shirts. In front of them is a board with the school name, year and grade and a netball.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - g s primary school grade 3 netball team 1990, jordana diss, lauren reidy, hayley smith, donna lea, natalie caldwell

Colour photograph : netball team 1980. Grade 4 team. Back row: Tracey Tesch. Brooke Donellan. Middle row Mrs. M. Dalrymple ( coach) Jodi O'Shea, Nicole Brown, Marlo Schade, Hayley Kurzke, Maree Mountjoy, Mrs. P. Thompson ( coach ) Front row Kerrie Lukeis, Lyndal Illig, Carla Jeffrey, Lisa Hocking, Maxime, Green, fiona Mason, Julie thompson.bendigo, education, golden square primary school

This is a set of 12 photographs of a 4th Field Survey Squadron OC’s parade at Keswick Barracks, Adelaide SA in 1987. The OC - MAJ Peter Cates presented the Defence Force Service Medal to personnel in recognition of 15 years of efficient remunerated service, or the Clasp for 5 years of additional service. This is a set of 12 photographs of a 4th Field Survey Squadron OC’s parade and the presentation of the Defence Force Service Medal, at Keswick Barracks, Adelaide SA in 1987. The colour photographs are on 35mm negative film and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 96 dpi. .1) - Photo, colour, 1987. At left – SSM WO1 Bill Griggs. Front rank L to R: SPR Todd Hayley, CPL Roger Graf, CPL Jamie McRae, CPL Dave Irving, SPR Richard Cocker, LCPL Peter McCurdy, SPR Steve Ellis, CPL John Ratcliffe. Centre rank L to R: CPL Terry ‘TJ’ Wicker, SPR Perry Langeberg, unidentified, CPL Jeff Prince, SPR Bruce Graham. Rear rank L to R: SPR Shaun Hynes, SGT H. ‘Jock’ Young. Supernumerary on right: WO2 Brett ‘Dutchy’ Van Leeuwen. .2) - Photo, colour, 1987. Inspection L to R: SSM WO1 Bill Griggs, 2IC CAPT Terry Lord, OC MAJ Peter Cates. Front rank L to R: CPL Jamie McRae, SPR Richard Cocker, LCPL Peter McCurdy, SPR Steve Ellis. Centre rank L to R: SPR Perry Langeberg, CPL Peter Hardy, SPR Steve Nokes. Rear rank: SPR Damien Killeen. .3) & .4) - Photo, colour, 1987. Presentations: OC MAJ Peter Cates presents the Defence Force Service Medal to WO2 Brett ‘Dutchy’ Van Leeuwen. Background L to R: SSM WO1 Bill Griggs, SPR Todd Hayley, CPL Jamie McRae. .5) - Photo, colour, 1987. WO2 Brett ‘Dutchy’ Van Leeuwen departs with his Defence Force Service Medal. At far left – SSM WO1 Bill Griggs. Front rank L to R: SPR Todd Hayley, CPL Roger Graf, CPL Jamie McRae, CPL Dave Irving, SPR Richard Cocker. Centre rank L to R: CPL Terry ‘TJ’ Wicker, CPL Dave Longbottom, unidentified, Rear rank L to R: SGT Mick Hogan, SGT Stu Symonds. .6) & .7) - Photo, colour, 1987. Presentations: OC MAJ Peter Cates presents the Defence Force Service Medal to SGT H. ‘Jock’ Young. Background L to R: SSM WO1 Bill Griggs, SPR Todd Hayley, CPL Roger Graf, CPL Jamie McRae. .8) - Photo, colour, 1987. SGT H. ‘Jock’ Young departs with his Defence Force Service Medal. At far left – SSM WO1 Bill Griggs. Front rank L to R: SPR Todd Hayley, CPL Roger Graf, CPL Jamie McRae, CPL Dave Irving, SPR Richard Cocker. Centre rank L to R: CPL Terry ‘TJ’ Wicker, CPL Dave Longbottom, unidentified, Rear rank L to R: SGT Mick Hogan, SGT Stu Symonds. 9) - Photo, colour, 1987. Presentations: OC MAJ Peter Cates presents the Defence Force Service Medal to CPL John Ratcliffe. Background L to R: SSM WO1 Bill Griggs, SPR Todd Hayley, CPL Roger Graf, CPL Jamie McRae. 10) - Photo, colour, 1987. Presentations: OC MAJ Peter Cates presents the Defence Force Service Medal to CPL John Ratcliffe. Background L to R: SSM WO1 Bill Griggs, SPR Todd Hayley, CPL Roger Graf. .11) - Photo, colour, 1987. CPL John Ratcliffe departs with his Defence Force Service Medal. At far left – SSM WO1 Bill Griggs. Front rank L to R: SPR Todd Hayley, CPL Roger Graf, CPL Jamie McRae, CPL Dave Irving, SPR Richard Cocker. Centre rank L to R: CPL Terry ‘TJ’ Wicker, CPL Dave Longbottom, unidentified, Rear rank L to R: SGT Mick Hogan, SGT Stu Symonds. .12) - Photo, colour, 1987. Parade handover L to R: 2IC CAPT Terry Lord, OC MAJ Peter Cates. Background L to R: SSM WO1 Bill Griggs, Front rank: SPR Todd Hayley, CPL Roger Graf, CPL Jamie McRae..1P to .12P – There are no personnel identified. ‘Medal Presentation 1987 WO2 VAN LEEUWEN SGT YOUNG CPL RATCLIFFE’ annotated on negatives sleeve.royal australian survey corps, rasvy, 4 fd svy sqn

Coloured photo of the Grade 4 Netball - C2 - Premiers Team of 1981. Photo taken in library. The girls are wearing yellow t-shirts with a printed emblem and Golden Square printed on them and dark blue skirts. The coach, Marion Dalrymple is wearing a light pink jacket and a white dress. The names of the girls are: Shannon Kurzke, Melanie White, Kylie Breheny, Janine Strauch, Tanya O'Shea, Angela Cumming, Sally Cantwell, Hayley Bish and Melinda Tipple.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - photograph - photograph grade 4 netball c2 - premiers, marion dalrymple, shannon kurzke, melanie white, kylie breheny, janine strauch, tanya o'shea, angela cumming, sally cantwell, hayley bish and melinda tipple

Black and white photograph - Grade 4B, 1970."Attached to photograph" Back Row- L to R: No names 2nd Row- L to R: No names 3rd Row- L to R: ?, Leanne Jones, Lois Kelly, Cheryl Pendegast, ?, Theresa Hurley, Jeanette Trotter, ?, ?, ?. Front Row- L to R: Jenni Haggar, ?, Hayley Brownrigg, Louise Roth, Alison Craig, ?, Christine Allender, ?, ?. Teacher: Miss A. Douglas