Mud Maps: A Journey Through Land, Memory, and Identity
In contemporary Australian art, few collections speak to the profound connection between land, cultural memory, and identity quite like Pamela Croft’s iconic “Mud Maps” series. More than mere artworks, these intricate monoprints serve as visual narratives that explore the layered histories embedded within the Australian landscape.
The Essence of Mud Maps
At their core, Croft’s Mud Maps investigate the complex tapestry of stories woven into the land itself. Through her innovative artistic process, she maps the colonial, botanical, and indigenous memories within these sites, creating connections between physical, physiological, social, spiritual, and metaphysical realms.
Croft herself describes these works as a process of rediscovering a lost unity. With her body attuned to the energies, impulses, rhythms, and flux of the natural world, each mud map functions as a “cultural text”—a dynamic record of past and present journeys imprinted upon the land.
Nature as Collaborator: The Unique Creative Process
Pamela not only makes Mud Maps, she created the Art Form. Dreaming of a collaborative process with nature that brings them into being. Created at her farm near Rockhampton, the technique involves:
Placing rag paper in tidal mudflats during low tide
Securing the papers to withstand several tidal cycles
Allowing water, mud, leaves, twigs, and other natural elements to flow over the paper
Embracing the organic patterns that emerge through this process
Perhaps most fascinating is the role played by local marine life. Fish swimming over the prints leave the imprint of their tails, while crabs walking across or burrowing beneath create delicate holes and textures. One of Croft’s most treasured pieces, “Mangrove Jack,” now housed in a collection in the United States, bears the faint imprint of a fish that temporarily rested on the paper. After nature has left its mark, Croft applies ochre to enhance the figures, completing the dialogue between artist and environment.
Mangrove jack mono-print
The Physical Price of Creation
This immersive process demanded extraordinary physical commitment. On multiple occasions, Croft found herself waist-deep in mud, sometimes struggling for over an hour to free herself. One particularly challenging experience saw her trapped in deep mud with only her loyal dog Wunndurra as witness. It was only by flattening a nearby bush and using its branches for leverage that she was able to escape.
These experiences highlight not just Croft’s dedication to her craft, but also the literal immersion in landscape that informs her work.
Mud map with Wunndurra’s footprints
Materials and Techniques
Croft’s approach to creating the Mud Maps involves a sophisticated blend of traditional and innovative techniques:
Using different colored clays as printing blocks
Incorporating mixed media elements
Working with natural materials including clay, ochre, pigment, and various paints
Applying mud and ochre directly to rag paper
Creating 2D monoprints in her studio workshop
Themes Explored in Mud Maps
The series delves into several significant themes that resonate deeply with Australian identity:
Interconnectedness
The artworks explore how stories, histories, and memories are interconnected within the earth. As Fredericks (2002) notes, Croft “moves to a greater understanding of the land” through her work, recognizing that all Australians are tied to water and land.
Identity and Belonging
By mapping colonial, botanical, and indigenous layers of memories within landscape sites, Croft investigates fundamental questions of identity and belonging.
Cultural Text
Each mud map is a cultural text—a fluid, interactive record of journeys imprinted within the Australian landscape. These maps trace the tracks of animals and people, connections and relationships to spaces and places, using symbols, patterns, and colors. The evidence of water and animals becomes stories recorded in the mud, like texts embedded within the artwork.
Mud map with Crab trails
Relationships to the Land
Croft’s work demonstrates a deep understanding of various environments—reefs, mangrove creeks, saltpans, and claypans—as well as the nomadic nature of tides. The delicate patterns left on the mud, changing with each ebb and flow of water, are depicted as spiritual waterways.
Healing
Through her attempt to harmonize with the naturally unpredictable effects of the environment, Croft’s work suggests the possibility of healing and reconciliation.
International Recognition
Pamela Croft’s Mud Maps have earned international recognition, with exhibitions in prestigious galleries across Australia and internationally, including:
Gladstone Regional Art Gallery & Museum
Bundaberg Regional Art Gallery
Rockhampton Art Gallery
Queensland College of Art in Brisbane
Booker Lowe Gallery in Houston, Texas
Chances Gallery in East Atlanta, Georgia
The Warren House in Jonesboro, Georgia
Collections in New Zealand and the World Museum in Rotterdam, The Netherlands
A Finite and Precious Collection
As Pamela no longer has access to the area where these Mud Maps were created, and due to health limitations, these works have become increasingly rare and irreplaceable. Each Mud Map is numbered and unique, preserving an unrepeatable moment in nature—a singular collaboration between artist, environment, and the creatures that inhabit it.
In a world increasingly disconnected from natural processes, Croft’s Mud Maps are powerful reminders of our inextricable connection to the land and its stories. They invite us to contemplate our place within the greater web of life and to appreciate the beauty and complexity of the Australian landscape through the eyes of an artist who has truly immersed herself in its essence.
Frequently Asked Questions
What are Pamela Croft’s “Mud Maps”?
The “Mud Maps” are a series of unique monoprint artworks created by Pamela Croft. They are created by placing rag paper in tidal mudflats and securing it during low tide, allowing the natural elements (water, mud, leaves, twigs, fish, crabs) to imprint on the paper over several tidal cycles. Croft then sometimes applied additional materials, like ochre, to further enhance the image.
What is the thematic focus of the “Mud Maps” series?
The “Mud Maps” explore themes of interconnectedness between people and the environment, particularly focusing on the Australian landscape. The artworks investigate layers of memories – colonial, botanical, and indigenous – within landscape sites, and the physical, physiological, social, spiritual, and metaphysical relationships to place. They also reflect on concepts of identity and belonging.
What materials and techniques did Pamela Croft use to create the “Mud Maps”?
Croft primarily used a monoprint technique, combined with mixed media. She used different colour clays as printing blocks. She also incorporated clay, ochre, pigment, and oil paints. The foundation of the process involved laying rag paper in mudflats and allowing the natural elements to imprint on the paper.
What is the significance of the “mud” in the “Mud Maps”?
The mud serves as a recording medium for the natural environment. It captures the tracks of animals, the ebb and flow of tides, and the overall rhythms of the landscape. The mud becomes a “cultural text” that records past and present journeys imprinted within the Australian landscape.
What kind of stories do the “Mud Maps” tell?
The “Mud Maps” tell stories of the Australian landscape, including the tracks of animals (crabs, Ibis, seagulls), the impact of tides and weather, and the connections between people and places. They also evoke how Aboriginal women have observed, hunted, and gathered in these environments.
What personal connection does Pamela Croft have to the land depicted in the “Mud Maps”?
Croft expresses a deep personal connection to the land and water, similar to the connection felt by all Australians. She integrates her own observations and experiences into the artwork, showing her understanding of the region and its diverse elements. Her work reflects a journey towards a greater understanding of the Australian landscape.
What challenges did Pamela Croft face while creating the “Mud Maps”?
The creation process was physically demanding and often challenging. Croft sometimes found herself waist-deep in mud and faced difficulties freeing herself. There was at least one instance where she became trapped and had to use branches for leverage to escape, highlighting the dedication and risk involved in her art.
Why are the “Mud Maps” considered rare and irreplaceable?
The “Mud Maps” are considered rare because Pamela Croft no longer has access to the area where they were created, and her current health limitations prevent her from continuing the process. Each Mud Map is also unique due to the unrepeatable nature of the tidal imprints and organic patterns. Every piece is numbered, further emphasizing its individual and preserved moment in nature.
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.
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.
