Matters of the Heart: Pamela Croft’s Journey of Healing and History

Introduction

Pamela Croft’s art installation, “Matters of her heart 1993,” is a profound and deeply personal exploration of identity, history, and healing [1]. As a member of the Stolen Generation, Pamela uses her art to communicate her own experiences and to shed light on the broader history of forced assimilation in Australia. This installation serves not only as a means of personal healing but also as an educational tool, aiming to inform viewers about the Stolen Generation and its lasting impact.

The Artist’s Statement and Intentions

In her artist statement, Pamela emphasizes that her intention is not to assign blame but to educate. She invites viewers to engage with the artwork in a way that challenges traditional Western gallery protocols. By positioning the artwork so that viewers must stand on painted dots connecting a wooden heart, she encourages a more intimate and considered interaction.

Materials and Composition

“Matters of her heart 1993” is a mixed-media installation comprised of a variety of materials, each carrying its own symbolic weight. These materials include:

• Card
• Text on paper
• Ochre
• Hair
• Wood
• Book
• Bronze
• Twigs
• Pine frames
• Original photographs
• Copies of original documents
• Birth certificate
• Adoption paper
• Kangaroo skins
• Oil and acrylic paint
• Ink
• Rice paper

Location and Context

“Matters of her heart” is part of the National Museum of Australia Collection in Canberra and is displayed next to the Link-up display. This placement provides context, allowing viewers to understand Pamela’s personal story within the broader narrative of the Stolen Generation. The installation was initially created in 1993 and has since become a significant piece in understanding Australian history and its impact on Aboriginal communities.

Key Elements and Their Significance

Photographs and Documents

The installation includes a range of photographs and documents that hold immense power. These include:

• A photo of the artist’s great-grandmother and her family
• The artist’s original birth certificate, kept by her birth mother until she was 16
• The artist’s new birth certificate and adoption certificate from 1961
• Photos of Pamela at age 5 in 1960
• Letters between Pamela and her birth mother, some censored by her adoptive parents
• Photos with her adopted parents
• Photos of Pamela with her birth mother
• Artist’s wedding and divorce certificates
• Artist’s family photos

These images and documents trace the key moments in CroftWarcon’s life, from her early childhood to her experiences with adoption and the complexities of her dual identity.

The Floor Piece

The floor piece of “Matters of her heart 1993” is central to the installation’s meaning . It includes:

• A heart shape with concentric ochre and hair lines
• Two brass heads representing the artist and her birth mother
• The book ‘Outcasts in White Australia,’ opened to a quote by Dr. Sir Raphael Cilento

This arrangement is intended to be viewed intimately or casually, with viewers encouraged to stand on painted dots. The materials and their arrangement symbolize the artist’s journey and the connection between her Aboriginal and Western identities .

The Bleeding Heart Self-Portrait

A large framed self-portrait painting, referred to as the “bleeding heart,” reflects the two sides of Pamela: the Aboriginal and the Western. This duality is a recurring theme in CroftWarcon’s artworks. The two sides of the portrait represent her Aboriginal heritage and her life with the Paget family, marked by grief and the ever-present influence of the church . The cross, rendered in blood red, underscores this emotional and spiritual conflict .

The Use of Hair

CroftWarcon included hair in her art installation to symbolize oral history, family history, and identity. In the Aboriginal domain, hair represents oral history and maps evidence of family history. In the Western domain, hair represents DNA, which is scientific evidence of family history [11]. The artist uses hair to signify identity and to move away from the false identities she felt compelled to construct.

The Significance of Red Mounting Paper

The red mounting paper in “Matters of her heart 1993” holds significance in both Western and Aboriginal contexts. In Western terms, the red mounting paper reflects concepts of danger, blood, and red roses for death. In Aboriginal concepts, it connects to the old ways of red ochre as a healing medicine, which was ingested to heal different ailments.

Dr. Sir Raphael Cilento: A Figure of Irony

Dr. Sir Raphael Cilento’s role in Pamela s life is marked by profound irony. Cilento was a member of the Australian Government Assimilation Policy development. He advised that Aboriginal half-caste/quarter-caste children were to be taken away from their family by the age of six. Cilento’s assimilation policy contributed to Pamela’s removal from her birth mother, causing her immense grief [12]. He saw the illness that implementing his policy created in her little form. Cilento was the Paget’s family doctor and was directly involved in Pamela’s adoption at the age of six. Pamela included a quote by Cilento in her art installation to highlight the policies that led to her removal and the grief it caused. The installation contains a quote on page 27 from the book ‘Outcasts in White Australia’ identified by Pamela that refers to Cilento advising that Aboriginal half caste/quartercaste children were to be taken away from their family by the age of six. CroftWarcon’s “own grief began at her removal from her mother”.

Blending Aboriginal and Western Perspectives

CroftWarcon’s art blends Aboriginal and Western perspectives to explore identity and history by incorporating elements and symbolism that resonate with both cultures. Key aspects of this blend include:

• Dual Representation of Identity: CroftWarcon’s art reflects both the Aboriginal and Western sides of her identity [9]. Her “bleeding heart” self-portrait symbolizes this duality, with her more complete black side contrasted with her fragmented Paget life.
• Symbolism of Hair: The inclusion of hair from CroftWarcon, her mother, and her sons carries different meanings in Aboriginal and Western contexts:
  • In the Aboriginal domain, it signifies oral history and family history.
  • In the Western domain, it represents DNA, which is scientific evidence of family history.
• Significance of Red Mounting Paper: The red mounting paper has dual meanings:
  • In Western terms, it signifies danger, blood, and death.
  • In Aboriginal terms, it connects to the traditional use of red ochre as a healing medicing.
• Challenging Western Gallery Protocols: CroftWarcon’s installation challenges typical Western gallery protocols by inviting viewers to engage intimately or casually with the work. This encourages a different way of experiencing and understanding the art, potentially opening it up to interpretations beyond Western conventions.
• Reclaiming Aboriginality: CroftWarcon’s art became a vehicle for reclaiming her Aboriginal identity after experiencing taunts and racism from her adoptive family and church.
• Use of Text and Story: CroftWarcon uses text and storytelling within her art to communicate her personal story and the broader history of the Stolen Generation. This includes both written text and the implied narratives within photographs and documents.
• Critique of Assimilation Policies: By including the quote from Dr. Sir Raphael Cilento and highlighting his role in her adoption, CroftWarcon directly critiques the assimilation policies that caused immense grief and trauma to Aboriginal families.

Processing the Stolen Generation Experience

Pamela CroftWarcon’s art installation embodies her personal journey of healing and symbolically represents the experiences of the Stolen Generation, aiming to educate viewers about this period in Australian history. The installation encourages viewers to engage intimately or casually, challenging standard Western gallery conventions.

CroftWarcon’s art reflects and processes her experiences in several ways:

• Storytelling: CroftWarcon communicates her personal story and, by extension, the story of the Stolen Generation through her installation.
• Dual Identity: Her art reflects the Aboriginal and Western aspects of her identity, symbolized by the “bleeding heart” in her self-portrait. The artist’s more complete black side is contrasted with her fragmented Paget life.
• Personal Grief and Identity: The installation’s floor piece features bronze heads of CroftWarcon and her birth mother, incorporating hair from family members, symbolizing oral history, family history, and identity in both Aboriginal and Western terms. This signifies a move away from constructed, false identities.
• Impact of Assimilation Policies: A quote by Dr. Sir Raphael Cilento is included to highlight the policies that led to her removal and the resulting grief. Cilento’s role is further complicated by the fact that he was the Paget family doctor who facilitated her adoption at age six.
• Documents and Photos: Original photographs and documents, including her original and new birth certificates and adoption papers, hold significant power within the installation.
• Emotional and Physical Pain: Red mounting paper in the framed documents signifies danger, blood, and death in Western terms, while also connecting to the Aboriginal use of red ochre as a healing medicine. CroftWarcon’s early illness highlights the detrimental effects of the assimilation policy.
• Reclaiming Aboriginality: Verbal taunts about her Aboriginality from the Paget family and church marked the beginning of her journey to reclaim her identity.

Conclusion

“Matters of her heart 1993” is a powerful and multifaceted artwork that serves as a testament to Pamela CroftWarcon’s resilience and her commitment to truth-telling [1]. Through a blend of personal narrative, historical context, and symbolic materials, CroftWarcon invites viewers to confront the complexities of the Stolen Generation and to reflect on the ongoing journey of healing and reconciliation in Australia.

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FAQ on Pamela CroftWarcon’s “Matters of her Heart”

• What is “Matters of the Heart” about?
• “Matters of her Heart” is an art installation by Pamela CroftWarcon, a member of the Stolen Generation. It tells the story of her journey and, symbolically, the broader experiences of the Stolen Generation. It delves into themes of identity, loss, healing, and the impact of forced removal and assimilation policies on Aboriginal children and their families.
• What is the artist’s intention behind creating “Matters of her Heart?”
• Pamela CroftWarcon’s intention is twofold: personal healing and public education. She seeks to heal from her own experiences as a member of the Stolen Generation. She aims to educate viewers about this difficult period in Australian history, highlighting the impact of government policies on Aboriginal people without assigning blame but fostering understanding.
• What are some of the key elements included in the “Matters of her Heart” installation?
• The installation incorporates a variety of elements, including framed images and documents (artist’s birth certificates, adoption papers, family photos), ochre, hair, wood, bronze heads, and a book (“Outcasts in White Australia”). There is also a painted floor piece with dots meant to be stood upon. These components are carefully chosen to convey the complexity of her story and the broader themes related to the Stolen Generation.
• How does the artist use symbolism in the artwork?
• The artist uses symbolism extensively. For example, the two brass heads represent Pamela and her birth mother, with hair from family members symbolizing oral history and DNA (both Aboriginal and Western concepts of lineage). The book “Outcasts in White Australia” has a quote exposed referring to the government’s assimilation policy of removing half-caste children at the age of six. This is relevant because Pamela was adopted at age six due to this policy. The red mounting paper used to frame some of the documents represents both Western concepts of danger and blood, as well as Aboriginal concepts of ochre as healing medicine. The bleeding heart in her self-portrait reflects the two sides of Pamela, the Aboriginal and the Western domains.
• What role did Pamela’s adoptive parents play in her life, and how is this reflected in the artwork?
• Pamela’s adoptive parents, the Pagets, were central figures in her life after her removal from her birth mother. The artwork reflects the complexities of this relationship, including their strict religious upbringing and the suppression of her Aboriginal identity. The artist’s letters, photos with the Pagets, and censored correspondence from her birth mother illustrate this dynamic. Photos of Pamela Paget were taken on Sundays, ‘The Lord’s Day.’
• How did Pamela’s Aboriginal identity impact her experiences in school and her early life?
• Pamela faced racism and discrimination in school, including being placed in a ‘Special class’ with other Aboriginal and Torres Strait Islander students. She was taunted with racist names and felt embarrassed when her birth mother visited. The artwork references the impact of this racism on her self-esteem and the “armour” she developed to protect herself. Even her church ‘family’ made her feel guilty because she was Aboriginal.
• What significance does Pamela CroftWarcon place on the role of love and justice in her life and work?
• The artist admires bell hooks and includes a quote by the author. Pamela sees herself as a ‘seeker on the path that is about love. She sees feminism and anti-racist struggles as part of it. She believes love is an action and that justice demands integrity.
• How did Dr. Sir Raphael Cilento play a role in Pamela’s story?
• Ironically, Dr. Sir Raphael Cilento, a member of the Australian Government Assimilation Policy development, who advised that Aboriginal half-caste/quarter-caste children were to be taken away from their family by the age of six, was the Paget’s family doctor–who adopted Pamela at the age of six due to his intervention.