The blue section of the paining represents our amazing ocean, bays, rivers, creeks and wetlands. The white creamy section represents our coastline with the footprints imbedded into the sand tells the story of our old people who have been so connected to this coastline for many thousands of years, the mountain represents the You Yangs which holds a special part of our history here on Wadawurrung country, the 7 gathering circles in the mountain represents the 7 family groups within Wadawurrung, WAA the crow he is our protector here on country and Bundjil is our creator which is why I have implemented these 2 birds into my painting, the u shape people symbols represents my family of 5 generations still living on Wadawurrung country, my great grandmother Joye Eccles my pop norm Eccles my mum Corrina Eccles myself and my beautiful daughter Alira, the eucalyptus leaves up the top is a part of cleansing I have incorporated therese leaves because this country is cleansed everyday by he family when conducting a smoking ceremony.Painting of Eagle and Crow with water and footprints below. Brown, orange, blue, green, black used.bundjil, you yangs, wadawurrung

This piece represents the landscapes of Wadawurrung Country. It involves the oceans, the cliffs, the river, the mighty You Yangs. The circles depict gathering on Country. Be this Indigenous, Non Indigenous or both entwined.Painting of series of mountains and rivers. Brown, blue, green, yellow, white used.On bottom right-side of canvas - AJ Howellwadawurrung country, you yangs

My name is Deanne Gilson and I am a proud Wadawurrung woman living on my ancestral Country around Ballarat in Victoria. My practise aims to highlight and bring back traditional women’s symbols and ceremonial practises that reference the lived experience of my ancestors. By reviving traditional marks found on artefacts and women’s business, I am forming links with past ancestral knowledge so that is not lost and continues for the future generations. My art practice relies heavily on the use of symbols and form as a metaphor for the body. I have worked as a full-time artist for over thirty-five years. Many artworks tell stories of the spiritual aspects of culture and myths. Dreaming and Songlines, further creating a yarning space, bring the gap towards reconciliation and healing for my people and others through shared sharing stories. A main focus of my art practice tells the birthing tree and scar tree stories and how Wadawurrung women have evolved and survived, since before and after colonisation. The old symbols find new life, connecting to the contemporary ones, further connecting us all to this Country we all call home.Yaluk, Beep, Murrup, meaning Water, Country, Spirit, incorporates the traditional mark of the wave pattern (often found on wooden shields) used by my ancestors, along with the basalt plains across Wadawurrung Country. By depicting the interaction between the Water and Country, I use ancestral knowledges that are not seen but intuitive to myself, while juxtaposing them against the ancestral stone circle knowledges, embedded with the DNA of our stories. The ochre is reclaimed as real, it is marni-beek, meaning Country, in particular the white ceremonial ochre, often seen on the painted-up figure and used today to reconnect back to our ancestral memory. Reclaiming what was lost through colonisation, but still present in our Dreaming that flows on today through the water spirit. Country has no time limits and water connects to our bodies, which are made up of water. We as a clan, are still here today, living and being on Country, our ancestral spirits live on through us. The original painting is a contemporary account of using ochre to reclaim ancestral knowledge and to be part of the ceremony that is yaluk, beep, murrup. wadawurrung, deanne gilson, water, country, spirit, first nations art

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

Bonnie Fagan's County is Wadawurrung. Most of her early learning about her Aboriginality came from the father.Aboriginal dot painting telling the artist's learning journey. Bonnie Fagan wrote of this work: "Ochres reflect my connection with the land of my traditional Wadawurrung Country. Yellow ochre forms the background and white ochre defines my pathway, showing where I have traveled from my past and where I am heading in my future. I use reddish ochres for the larger dots along my pathway to show my footprint and for the smaller dots that ripple outwards to show how I've had some influence, either good or bad. The white lines show my pathway with an entry point from my past marking the start of my journey, a middle part showing were my life will continue. Through the middle part, my teenage years, the pathway is very windy. These years were sometime quite difficult and I struggled. The two circle areas symbolize two chapters in my life, first as a child and then as an adult, when I've felt mostly positive and safe. They are periods when I've been very open to learning, gathering knowledge from people and experiences that I trusted, and the circles within the circles symbolize the layers of support, of experience, of connection and of learning that I experienced. Strong visual symbols at the base of the painting under the first circle area represent the key figures in my learning through my childhood: my father (represented by the traditional symbol, of a man with a spear) and my mothers with me as a small child, The spirit of my paternal grandmother, my Nan, hovers above my childhood circle and near the pathway through to my teenage years, showing the strength of her influence and how she was always there guiding me." (Robyn Brandenburg and Jacqueline Z, Wilson [Eds] Pedagogies for the Future: Leading Quality Learning and Teaching in Higher Education, Sense Publishers, The Netherlands, 2013, pp40-41)bonnie fagan, bonnie chew, wadawurrung, artists, artwork, aboriginal

Image taken of the Bellarine Peninsula Tennis Association Grade 10 Premiers for Season 1982-83.1 photograph of Premiership tennis teamStanding, D. Ekstedt, R. Messinger (Capt.), B. Hardy Seated, Miss S. Campigli, Mrs M McIntosh, Mrs R Messinger, Mrs J Paech Absent, G. Bradburyleopold tennis club, bellarine peninsula tennis association, d ekstedt, r messinger, b hardy, s campigli, m mcintosh, mrs r messinger, j paech, g bradbury

Image taken of the Bellarine Peninsula Tennis Association Junior Grade 13 Premiers for Season 1982-83.1 photograph of Premiership tennis teamStanding, M. Altmann D. Cobb, G. Urquhart, S. Dawson Seated, Miss N. Cummings, Miss K. Prussner, Miss J. Flavell (Capt.), Miss A. Foot, Miss S. Knightleopold tennis club, bellarine peninsula tennis association, m altmann, d cobb, g urquhart, s dawson, n cummings, k prussner, j flavell, a foot, s knight

Image taken of the Bellarine Peninsula Tennis Association Junior Grade 11 Premiers for Season 1987-88.1 photograph of Premiership tennis teamStanding, P. Jakubiszyn, S. Roberts, B. Muller, L. Allan, T. Hooper Seated, Miss K. Zeegers, Miss C. Ford, Miss B. Marchantleopold tennis club, bellarine peninsula tennis association, p jakubiszyn, s roberts, b muller, l allan, t hooper, k zeegers, c ford, b marchant

Image taken of the Geelong Coast Tennis Association Womens Grade 20 Premiers for Season 1988.1 photograph of Premiership tennis teamStanding, Mrs H. Locker, Mrs N. Ellis, Mrs C. McLeod Seated, Mrs R. Moon (Capt.), Mrs J. Matthewsleopold tennis club, geelong coast tennis association, h locker, n ellis, c mcleod, r moon, j matthews

Image taken of the Geelong Coast Tennis Association Womens Grade 16 Premiers for Season 1989.1 photograph of Premiership tennis teamStanding, Mrs L. Robilliard, Mrs F. Lyons, Mrs C. McLeod Seated, Mrs T. Lawson (Capt.)leopold tennis club, geelong coast tennis association, l robilliard, f lyons, c mcleod, t lawson

Image taken of the Bellarine Peninsula Tennis Association Junior Grade 11 Premiers for Season 1988-89.1 photograph of Premiership tennis teamStanding, N. Foord, C. Wright, J. Saliba, G. Zanoni Seated, Miss N. Miles, Miss L. Priceleopold tennis club, bellarine peninsula tennis association, n foord, c wright, j saliba, g zanoni, n miles, l price

Image taken of the Bellarine Peninsula Tennis Association Junior Grade 10 Premiers for Season 1989-90.1 photograph of Premiership tennis teamStanding, S. Price, L. Meadley, G. Lewandowski Seated, C. Farrell, N. Stanborough, S. Coxall, A. Rovereleopold tennis club, bellarine peninsula tennis association, s price, l meadley, g lewandowski, c farrell, n stanborough, s coxall, a rovere

Image taken of the Bellarine Peninsula Tennis Association Junior Grade 8 Premiers for Season 1989-90.1 photograph of Premiership tennis teamStanding, N. Foord, S. Meadley, J. Cairncross, A. Madex Seated, N. Vanos (Capt.), L. Price, C. Cummingleopold tennis club, bellarine peninsula tennis association, n foord, s meadley, j cairncross, a madex, n vanos, l price, c cumming

Image taken of the Bellarine Peninsula Tennis Association Junior Special 3 Grade Premiers for Season 1992-93.1 photograph of Premiership tennis teamStanding, L. Nash, A. Holland, B. Jones, J. Cairncross Seated, M. Dutton, G. Lewandowskileopold tennis club, bellarine peninsula tennis association, l nash, a holland, b jones, j cairncross, m dutton, g lewandowski

Image taken of the Geelong & District Churches Tennis Association Section 13 Junior Champions for Season 1995-96.1 photograph of Premiership tennis teamStanding, Emma Botten, Kristy Botten Seated, Tracey Miles, Lauren Humphriesleopold tennis club, emma botten, kristy botten, tracey miles, lauren humphries, geelong & district churches tennis association

Image taken of the Geelong Winter Tennis Association Women's Mid-Week Section 10 Premiers for Season 1996.1 photograph of Premiership tennis teamStanding, Mary Maxsted, Sandy Hornsey Seated, Julie Watson, Anne-Maree Hoare (Capt.), Fiona Castleleopold tennis club, geelong winter tennis association, mary maxsted, sandy hornsey, julie watson, anne-maree hoare, fiona castle

Image taken of the Bellarine Peninsula Tennis Association Grade 9 Premiers for Season 1996-97.1 photograph of Premiership tennis teamStanding, T. Heeman, R. Barker, J. Heeman, D. Pierce Seated, A. Featherstone, K. Featherstone, K. Paech, C. Towartleopold tennis club, bellarine peninsula tennis association, t heeman, j heeman, r barker, d pierce, a featherstone, k featherstone, c towart, k paech

Image taken of the Bellarine Peninsula Tennis Association Learners 2 Grade Premiers for Season 1997-98.1 photograph of Premiership tennis teamStanding, R. Stennett, C. Wasylewski, C. Henderson Seated, M. Stennett, A. Jarczak, J. Neville, D. Robinsonleopold tennis club, bellarine peninsula tennis association, r stennett, m stennett, c wasylewski, c henderson, a jarczak, j neville, d robinson

Image taken of the Geelong Winter Tennis Association Mixed Grade 11 Premiers for Season 1998.1 photograph of Premiership tennis teamStanding, R. Barker, A. Debooy, P. Roberts Seated, K. Featherstone, N. McGuinness, J. Roberts, J. McGuinnessleopold tennis club, geelong winter tennis association, r barker, a debooy, p roberts, k featherstone, j mcguinness, n mcguinness, j roberts

Murrup Laarr translates as 'Ancestral Stones' in Wadawurrung. This artwork by Dr Deanne Gilson is located in the North Gardens Indigenous Sculpture Park. The park is a significant project for the City of Ballarat and features works by Aboriginal and Torres Strait Islander artists, celebrating the richness and diversity of culture and telling important cultural stories. Dr Deanne Gilson is a Wadawarrung Traditional Custodian and established artist. She installed the first artwork commissioned by the City of Ballarat for the Sculpture Park in early 2019. Murrup Laarr is a contemporary artwork consisting of a traditionally-built stone hut in the middle of a circle of basalt standing stones, marked with ceramic plates reflecting the stories and symbols of dreaming, memory, ceremony.The artwork is of aesthetic and cultural, social and spiritual significance to the people of Ballarat and to Wadawurrung peopleA traditional hut made from river stone and stacked rocks, with the hut surrounded by large basalt rocks with plaques featuring unique designs on stoneware plates imbedded into them. Murrup Laarr (Ancestral Stones), 2019 / By Deanne Gilson / Wadawurrung people have always used stones to mark places of ceremony and important business. The stones are the holders of memory and knowledge, Country and Spirit. They mark the cosmos and seasons. They follow the sun, marking the summer and winter solstice, important dates for planting and harvesting and telling stories of past, present and future. / The stones are alive and still present. Murrup Laar has been created using local basalt stones to tell Wadawurrung stories of dreaming, memory and ceremony. / “Creating Murrup Laarr (Ancestral Stones) at this time has placed Aboriginal people and practices back on Country and created a place to tell our stories. I am very honoured to have had this opportunity. An Aboriginal stone circle existed in Ballarat pre-colonisation; by putting back what was lost throughout colonisation I pay homage to my ancestors, past, present and emerging”/ – Deanne Gilson, March 2019 murrup laarr, wadawurrung

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 circle and diamond pattern are ancient symbols used by Wadawurrung people dating pre-colonisation on possum skin and kangaroo skin cloaks, other artefacts like spear heads (carved), wooden shields, stone tools and caves were painted with blood, ochre and bound with grass tree sap, black wattle tree sap and kangaroo fats. The diamond pattern was a strong design used by men on shields and women on baskets and adornments. Shields were taken from the tree in the colder months when the tree was cold as the wood came off cleaner. Ochre colours of red, white, yellow and charcoal were often used to colour in and decorate the skin side of possum skin cloaks, wooden shields, spear heads, baskets and some coolamon bowls.The design for this cloak has been simplified from the original artefact design.Cloak with black and white diamond and circle design on outer cloak and coral and white line pattern within lining. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung, first nations, cloak

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 colours of this cloak refer to natural pink ochre and indigenous flowering plants on Wadawurrung Dja. The pink ochre is sourced by Deanne Gilson at Black Hill in Ballarat, Victoria. Men also made woven dilly bags to hold their possessions in. The basket making was an ongoing aspect of daily life for Wadawurrung people and often done in cooler months when the weather was too bad to go outside. Many women and family groups had their own style and techniques that were traded amongst other groups. Wadawurrung women had a particular stitch they used and incorporated elaborate symbols into the basket designs. Tammy Gilson’s weaving represents this stitch. This cloak pays homage to them and the changing seasons as they created, particularly the cooler months leading into the warmer season when several gum blossom flower. This cloak was worn once by artist Deanne Gilson at a formal opening at the Art Gallery of Ballarat in 2022. A Welcome to Country ceremony was performed while wearing it.Pink native flower in baskets motif on a pink background on outer cloak, pink 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

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 sacred banksia tree was a favourite for Wadawurrung people. Flowering before deep Winter, the banksia was used for spear making and other wooden tools. The sap was drunk as a sweet drink and the seed pods used for water straining and fire sticks. The banksia tree flowers at the time when fire sticks farming is practiced marking the days before the coldest days and nights and the hotter days.White, orange, and yellow banksia design on outer cloak, yellow and white circle and diamond 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

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). Bunjil the eagle used to be a man called Karringalabil. As a man he created the first man and woman out of bark from the sacred manna gum tree and clay from the river bed. He created the plants, animals, mountains, waterways, sky and under Country. After which he turned himself into an eagle. He has two wives, Kunuwarra the black swan sisters. After he completed all of creation he flew up into the sky at Lal Lal Falls and he now watched over us as a star in the night sky and as an eagle by day.Brown, red and white tone feather motif with yellow eye design on outer clock, red 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

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). Waa the Crow Totem Cloak (Waa represents our ancestors watching over us). Waa and all the birds get their names by the sounds the bird makes.Blue feather motif with blue star background on outer clock, blue and black feather 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

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

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