Dr. Pamela Croft: A Story of Resilience and Triumph

by Eagle Nest Art Studio | Mar 13, 2025 | Pamela Crofts Art, Art

A Story of Resilience and Triumph

The story of Dr. Pamela Croft is one of extraordinary resilience. While known for her innovative artwork, it is her journey of overcoming profound adversity that truly defines her remarkable character.

Early Struggles: The Stolen Generations

As a child of the Stolen Generations, six-year-old Pamela was forcibly removed from her mother by government authorities due to her lighter skin color. She was placed with a strict, deeply religious white couple who raised her under harsh conditions, where even minor infractions resulted in punishment. Any expression of interest in her First Nations heritage was actively discouraged, and she faced additional bullying and isolation at school.

Despite her adopted father being an accomplished artist and sign writer, he opposed her artistic ambitions. Drawing and painting became Pamela’s private escape from her restrictive home environment. When she completed year ten of school, she could not pursue her passion for art and instead worked various jobs.

Building a Family Amid Hardship

At eighteen, Pamela married and spent years traveling with her husband, working as fruit pickers and in other temporary positions. During this challenging period, she found profound joy in the birth of her two sons, David and Tim. However, her marriage was marred by domestic violence, culminating when her husband abandoned her and their young children, leaving them with few resources.

Facing this devastating situation—alone with two children and limited financial means—many would have succumbed to despair. Instead, Pamela made a pivotal decision that would transform her life: she would pursue her artistic passion while also building a secure future through education.

Turning Point: Education as Liberation

With remarkable determination, Pamela enrolled in university while creating art that honored her First Nations heritage. She incorporated elements of Australian animals and plants in her work, symbolically reclaiming the cultural identity that had been denied to her in childhood.

This period marked the beginning of her ascent from adversity. Through sheer perseverance, she progressed through her studies while raising her sons as a single mother, eventually achieving what no Indigenous woman had done before—earning a doctorate in Visual Art. This accomplishment represented not just academic success but a profound personal triumph over the systemic barriers that had been placed in her path since childhood.

Creating Stability Through Art

As her unique artwork gained recognition for its powerful connection to her heritage and past, Pamela secured a teaching position that allowed her to provide stability for her sons. Her artistic practice evolved in distinctive ways—creating “mud maps” by wading waist-deep in earth, using chainsaws to carve totems, and designing urban artworks celebrating Australia. Through these unconventional methods, she symbolically transformed the hardships of her past into expressions of cultural strength.

Her growing success as an artist and educator enabled her to travel internationally for exhibitions and residencies, including meaningful work with First Nations communities in the Northern Territory. These achievements were not merely professional milestones but represented her triumph over the circumstances that once sought to erase her identity and limit her potential.

Family Challenges and Resilience

Life continued to present challenges. After remarrying and establishing a studio on her Queensland farm, Pamela experienced the end of her second marriage and faced the tragedy of her son Tim’s wife passing away. Once again demonstrating her remarkable adaptability, she sold her farm and relocated to Bundaberg to create a home for Tim and her three grand children—”the Three Grannies” whom she cherishes deeply.

Despite officially entering semi-retirement, Pamela continued creating artwork even as her body began showing the toll of years producing physically demanding pieces. She faced multiple surgeries: a shoulder replacement, hip replacement, a serious femur fracture, and knee replacements. Yet through each physical setback, she maintained her artistic practice and continued to hold exhibitions, demonstrating extraordinary grit and determination.

A Legacy of Perseverance

Dr. Pamela Croft’s life story is a powerful testament to human resilience. From a child separated from her family and heritage, to a single mother abandoned with young children, to a woman facing significant physical challenges in later life—at each juncture, she chose to move forward with courage and creativity.

Her achievements as the first Indigenous woman to earn a doctorate in visual art, her internationally recognized artwork, and her contributions as an educator all stand as evidence of her remarkable ability to transform adversity into opportunity. The permanent display of her works in museums worldwide—including the Werldmuseum in Holland, the National Museum of Australia, and the Australian Embassy in the United States—symbolizes the enduring nature of her triumph over circumstances that might have defeated someone with less determination.

Dr. Pamela Croft’s story reminds us that with tenacity, passion, and belief in oneself, extraordinary achievement is possible regardless of the obstacles placed in one’s path. She stands as an inspiration not primarily for what she has created, but for who she has become through her journey of overcoming.

Once we mount the Armour

by Eagle Nest Art Studio | Mar 8, 2025 | Pamela Crofts Art, Art

Pamela Croft’s Artistic Journey in the 1980s: The “Once We Mount the Armour” Series

Introduction: Meeting Pamela Croft

Pamela Croft is an important Australian artist who created fascinating artwork during the 1980s. From 1983 to 1988, she developed her artistic voice and created powerful pieces that explored who we are and how we protect ourselves from the world. Her most famous work, the “Once We Mount the Armour” series, used many different materials and art forms to show how people build walls around themselves for protection.

This blog will take you through Pamela’s artistic journey in the 1980s, with a special focus on her “Once We Mount the Armour” series. We’ll look at the different types of art she made, what they mean, and why her work is still important today.

Early Works: Finding Her Voice (1983-1985)

When Pamela began making art in the early 1980s, she experimented with different materials to express her ideas. She worked with clay to create ceramic plaques (flat decorated pieces) and made totems by combining tree trunks with ceramic plates. She also incorporated natural materials like feathers, bark, and wattle in her sculptures, connecting her art to the natural world.

During this time, Pamela created drawings that showed her interest in identity and belonging. “Alone,” a self-portrait made with pastel crayons, gave viewers a glimpse into how she saw herself. Another drawing called “Dispossessed” (1985) used ink and pencil on paper to explore feelings of not belonging or being out of place.

These early works show that Pamela was already thinking about important questions: Who am I? Where do I belong? How do I fit into the world around me? These questions would become central to her later, more famous artwork.

The Birth of “Once We Mount the Armour” (1986-1987)

By 1986-1987, Pamela’s work had evolved into something more complex and powerful. She began creating her most important series, called “Once We Mount the Armour.” This collection of artwork used many different materials and art forms, including:

• Videos
• Live performances
• Sculptures made of bronze, ceramic, and resin
• Prints made using a special technique called lithography
• Handmade paper works
• Masks

The title “Once We Mount the Armour” is important. To “mount” armor means to put it on, like knights did long ago before battle. But Pamela wasn’t talking about real metal armor. She was talking about the emotional armor people wear to protect themselves from getting hurt.

What Did Pamela Mean by “Armour”?

Imagine you’re starting at a new school. You might act tougher or cooler than you feel because you’re scared of not fitting in. Or maybe you wear certain clothes to look like everyone else. This is a kind of “armor” – not made of metal, but made of behaviors and appearances that protect your feelings.

Pamela’s art explores this idea deeply. She wrote that armor can serve many purposes:

• “To protect the mind, soul, heart and the physical body”
• To create “emotional suits of protection, barriers against intimacy”
• To provide “disguises, allowing the ‘acting out’ of acceptable western behavior and image”

But she also discovered something important: “The suits of armour proved to be more of an emotional prison than a protection.” In other words, the walls we build to protect ourselves can turn into cages that trap us.

Pamela shared her personal experience: “By using the armours, I had learnt to hide me: my identity; my traumas; my pain; and my vulnerability to others.” Her artwork helped her understand how she had been hiding her true self behind different kinds of armor.

The Mannequin: A Powerful Symbol

One of the most interesting parts of Pamela’s “Once We Mount the Armour” series was her use of mannequins – those human-shaped forms you see in store windows displaying clothes. She described the mannequin as an “empty vessel,” meaning it looks like a person on the outside but has nothing inside.

This made the mannequin a perfect symbol for what happens when people hide behind armor. They might look fine on the outside but feel empty or disconnected on the inside. The mannequin became a way for Pamela to show how people become “projectors of images” – like screens that show what others want to see instead of who they are.

Amazing Artworks from the “Once We Mount the Armour” Series

Let’s look at some of the specific artworks Pamela created as part of this series:

Individual Material Studies

Pamela created separate sculptures exploring each material on its own:

• “Once We Mount the Armour 1987 Bronze Sculpture”
• “Once We Mount the Armour 1987 Resin Sculpture”
• “Once We Mount the Armour 1987 Ceramic Sculpture”

The resin sculpture won First Prize at the 1988 Art to Wear Expo, showing that Pamela’s art could be worn like clothing, connecting directly to the idea of armor as something we put on.

Lithograph Prints

Pamela created a special kind of print called a lithograph. She made a series of six prints called “the Armour 1987.” These prints were shown in many different places over the years:

• Little Masters That Contemporary Artspace (Brisbane, 1987)
• Protector Spirits of My Life at Queensland Aboriginal Creations (1991)
• Whispers of Wisdom at Nona Gallery (1999)
• Subversions at Griffith University (1994)

She also created another print series called “We Can Mount the Armour 1987” using wax, gouache, oil, and pastel on paper. These were shown in exhibitions like “Gatherings” at the Brisbane Convention Centre (2001) and “No More Secrets” at Casula Powerhouse in New South Wales (1998).

Handmade Paper Mask

Pamela created a mask using paper she made herself. This was also shown at the 1988 Art to Wear Expo. Think about what a mask does – it covers your face and can change how others see you. By making the mask from handmade paper (which is delicate and can tear easily), Pamela showed how fragile our fake identities are.

Bronze, Ceramic & Resin Sculpture (1987)

One of the most important pieces combined three very different materials – bronze, ceramic, and resin. Each material tells part of the story:

• Bronze is strong and lasts a long time, like the protection we want
• Ceramic looks solid but can break easily, like our hidden vulnerability
• Resin starts as a liquid and hardens into a clear coating, like how we create artificial shells around ourselves

This sculpture was shown in exhibitions called “Duality..my story, my place” at Brutal Galerie in Brisbane (1990) and later at the Booker-Lowe Gallery in Houston, USA (2003).

Works in Progress

Interestingly, Pamela also exhibited unfinished works, like “Once We Mount the Armour 1987 Artist’s Handmade Paper Work in Progress.” She showed ceramic works before they were completely fired, letting people see the process of creating art, not just the finished product. This approach fits perfectly with her theme of revealing what’s normally hidden.

Beyond Sculpture: Performance and Video

The “Once We Mount the Armour” series wasn’t limited to physical objects. Pamela also created:

Video Works

While we don’t have many details about these videos, they were an important part of the series. Videos can show movement and change, perhaps demonstrating how people put on or take off emotional armor.

Performance Art

Pamela performed parts of “Once We Mount the Armour” at the Tropicarnival Gold Coast Festival. Performance art uses the artist’s body and actions to express ideas. By performing her exploration of armor, Pamela could show in real time how people adopt different identities and protective behaviors.

These more dynamic art forms allowed Pamela to show that armor isn’t just an object – it’s something we actively create and maintain through our behavior.

Other Important Works from the 1980s

While “Once We Mount the Armour” was Pamela’s main focus, she created other significant artworks during this time that explored similar themes:

“Resurrection”

This sculpture combined marble, brass, bronze, feathers, and bullet shells. The title suggests rebirth or coming back to life. By using bullet shells (which are connected to weapons and harm) alongside feathers (which are soft and fragile), Pamela created a powerful contrast between danger and vulnerability.

“Mother Spirit”

This collage used paperbark and feathers, natural materials that connect to the Australian landscape. The title suggests a spiritual connection to motherhood or ancestral wisdom, perhaps exploring another kind of identity beyond the artificial armor we create.

“Searching for Identity”

This work directly addressed the theme of trying to figure out who you are – a journey that many people can relate to, especially teenagers and young adults who are discovering themselves.

The Impact of Pamela’s Work

Pamela’s “Once We Mount the Armour” series was shown in many different places, from art galleries to festivals. This shows that her ideas connected with many different people. Some important places her work was exhibited include:

• Little Masters That Contemporary Artspace (Brisbane)
• Brutal Galerie (Fortitude Valley, Brisbane)
• Nona Gallery
• Griffith University
• Brisbane Convention Centre
• Booker-Lowe Gallery (Houston, USA)
• Casula Powerhouse (New South Wales)

The fact that her work traveled to Houston shows that her ideas about armor and identity spoke to people beyond Australia. This international recognition is impressive for an artist who was just establishing herself in the 1980s.

Why Pamela’s Work Still Matters Today

Even though Pamela created the “Once We Mount the Armour” series in the 1980s, her ideas are maybe even more important today. Think about how people present themselves on social media – carefully choosing the best photos, writing the perfect captions, and creating an online identity that might be very different from their real life. This is a modern form of “mounting the armour.”

Pamela’s observation that armour can become a prison is especially relevant now. Many people feel trapped by the perfect images they create online, always needing to live up to an impossible standard. Her artwork reminds us to question whether our protective layers are helping us or hurting us.

The different materials Pamela used also tell us something important: some armor looks strong but is fragile (like ceramic), while other types seem delicate but are surprisingly resilient (like handmade paper). This teaches us that strength and vulnerability aren’t always what they seem.

The Artist Behind the Armor

What makes Pamela’s exploration of armor especially powerful is that she wasn’t just observing other people – she was reflecting on her own experience. She wrote about how she had used armor to hide her identity, traumas, pain, and vulnerability from others.

This personal connection makes her artwork authentic and moving. When Pamela created mannequins wearing different types of armor, she wasn’t just making an interesting sculpture – she was exploring her emotional journey and inviting viewers to think about theirs too.

Materials and Meanings

One of the most fascinating aspects of Pamela’s work is how she used different materials to express different ideas. Here’s what some of her materials might represent:

• Bronze: Strength, permanence, traditional protection
• Ceramic: Appearing solid but fragile
• Resin: Transparency, artificial coating, manufactured protection
• Handmade paper: Personal creation, fragility, natural protection
• Feathers: Lightness, natural armor (like birds have)
• Bullet shells: Violence, extreme protection, weaponized defense
• Marble: Cold beauty, hardness, classical imagery
• Tree trunks: Rootedness, natural strength
• Bark: Protective outer layer from the natural world

By combining these materials in unexpected ways, Pamela created rich visual conversations about different types of protection and vulnerability.

Artistic Process and Evolution

Pamela’s work evolved significantly between 1983 and 1988. Her creative journey shows how an artist develops their unique voice:

1. Early explorations (1983-1985): Simple materials, direct expressions of identity and displacement
2. Concept development (1986): Beginning to explore the armor theme
3. Full realization (1987-1988): Creating the complete “Once We Mount the Armour” series across multiple media
4. Recognition and exhibition (1988 and beyond): Sharing her work with wider audiences

This evolution shows that big artistic ideas don’t usually appear overnight. They develop gradually as the artist experiments, reflects, and refines their thinking.

Lessons We Can Learn from Pamela’s Art

Pamela’s “Once We Mount the Armour” series teaches us several important lessons:

1. Protection can become a prison: The walls we build to keep ourselves safe can end up cutting us off from others and from our own authentic feelings.
2. Identity is complex: We all have multiple layers to who we are, and sometimes what we show the world is very different from how we feel inside.
3. Materials have meaning: The physical substances we choose to express ourselves (whether in art or in what we wear) communicate messages about who we are.
4. Vulnerability takes courage: Showing our true selves, with all our fears and imperfections, is difficult but necessary for real connection.
5. Art can heal: By exploring her relationship with armor through art, Pamela found a way to understand and express complicated feelings about identity and protection.

Conclusion: Pamela Croft’s Lasting Impact

Pamela Croft’s journey as an artist in the 1980s shows the power of art to explore deep human experiences. Through her “Once We Mount the Armour” series, she created a visual language for understanding how we protect ourselves and what we might lose in the process.

Her work reminds us to be mindful of the armor we wear – to ask ourselves whether our protective layers are serving us well or restricting our growth and connections. By using mannequins, masks, and diverse materials, she made visible the often-invisible ways we shield ourselves from vulnerability.

What makes Pamela’s work especially valuable is how it spans from personal experience to universal human concerns. Her exploration of armor speaks to anyone who has ever hidden their true feelings, adopted a different persona to fit in, or struggled with being authentic in a sometimes-harsh world.

From performances at the Tropicarnival Festival to prize-winning sculptures at the Art to Wear Expo, from lithographs displayed in Brisbane galleries to exhibitions in Houston, Texas, Pamela Croft’s art has traveled far and connected with many different viewers. Her artistic legacy continues to remind us of the delicate balance between protection and authenticity, between the armor we mount and the vulnerability we need to truly connect with others.

As we navigate our own identities in today’s complex world, Pamela’s insights about the double-edged nature of armor remain as relevant as ever – perhaps even more so in our digital age of carefully curated images and online personas. Her art invites us to look beneath the surface, to recognize our own armor, and to consider when it might be time to set it aside.

FAQ: Pamela Croft’s “Once we mount the armour” (1983-1988)

Q1. What are the primary artistic mediums and forms explored in Pamela Croft’s portfolio “Once we mount the armour”?

Pamela Croft’s portfolio from 1983 to 1988 encompasses a diverse range of artistic mediums and forms. These include videos (“I can be your angel,” “Once we mount the armour”), performance art (Tropicarnival Gold Coast Festival), two-dimensional artworks (oil and watercolour paintings, ink and pencil drawings, pastels, gouache, lithograph and collagraph prints), and three-dimensional artworks (sculptures utilizing materials such as tree trunks, ceramic plates, feathers, bark, wattle, bamboo, wax, gauze, brass, string, wood, marble, bronze, bullet shells, sandstone, artist’s handmade paper, wool, roses, and photos).

Q2. What central concept or idea appears to drive the artistic explorations within “Once we mount the armour”?

A central concept driving Croft’s work during this period is the ambiguity surrounding the relationship between people and fashion, particularly the notions of “tribal stature and armour.” She explores how the human form and masks become sites for decoration and projection, while mannequins represent “empty vessels” embodying armour. This armour serves as a multifaceted symbol: protection for the mind, soul, heart, and physical body; emotional barriers against intimacy; and disguises for enacting socially acceptable Western behaviors and images.

Q3. How does Croft interpret the symbolic function of “armour” in her art?

For Croft, “armour” is not simply a physical covering but a complex metaphor for emotional and psychological defense mechanisms. She sees it as a way individuals attempt to protect themselves – their identity, traumas, pain, and vulnerability – from others. The mannequin, as an “empty vessel,” becomes a potent symbol of these emotional suits of protection and the barriers they create in interpersonal relationships.

Q4. According to Croft, what is the paradoxical outcome of using “suits of armour”?

Despite the initial intention of protection, Croft reflects that these “suits of armour” ultimately proved to be “more of an emotional prison than a protection.” By adopting these defenses, she learned to conceal her true self, hindering genuine connection and trapping her within the very barriers meant to safeguard her.

Q5. What is the significance of materials and techniques used in Croft’s sculptural works like “Resurrection” and the “Once we mount the armour” series?

Croft’s sculptural works demonstrate a deliberate and often unconventional use of materials. Pieces like “Resurrection” (marble, brass, bronze, feathers, bullet shells) and the various iterations of “Once we mount the armour” (bronze, ceramic, resin, artist’s handmade paper) suggest a process of assemblage and juxtaposition. The combination of natural elements (feathers, paper), industrial materials (brass, bronze, resin), and even remnants of conflict (bullet shells) likely contributes to the thematic exploration of protection, vulnerability, and identity.

Q6. How do titles like “Dispossessed,” “Alone,” and “Searching for identity” in her earlier works from 1985-1986 relate to the broader themes in “Once we mount the armour”?

These earlier titles offer insight into the personal and emotional landscape that informs the later “armour” series. Themes of displacement (“Dispossessed”), isolation (“Alone”), and the quest for self-understanding (“Searching for identity”) suggest a pre-existing vulnerability and perhaps a need for the kind of protection symbolized by the armour. These works lay the groundwork for the exploration of how individuals construct and inhabit protective facades.

Q7. What does Croft’s mention of disguises and “acting out’ of acceptable western behaviour” imply about her observations of identity and culture?

This statement suggests Croft is critically examining the pressures to conform to dominant Western societal norms. The idea of disguises and “acting out” implies a performative aspect to identity, particularly for non-Aboriginal peoples (as indicated in the preceding sentence in the source). The “armour” then becomes not just a personal defense but also a means of navigating and potentially concealing one’s true self within a specific cultural context.

Q8. How does the inclusion of exhibition history contribute to understanding the significance of “Once we mount the armour”?

The extensive list of exhibitions, including “Art Bilong Tudei,” “The National Aboriginal Art Award,” and “You came to my country and didn’t turn black,” alongside galleries like Queensland Aboriginal Creations and Kung Gubunga Dreamtime Gallery, highlights the recognition and diverse contexts in which Croft’s work was shown. The inclusion in Aboriginal art-focused exhibitions suggests her work may also engage with themes of Indigenous identity and experience, while broader art awards and gallery shows indicate a wider artistic resonance with the themes of protection, identity, and societal pressures explored in “Once we mount the armour.”

Mud Map Collection an Iconic and Unique Australian Art

by Eagle Nest Art Studio | Mar 2, 2025 | Pamela Crofts Art, Art

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.

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.

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.

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

by Eagle Nest Art Studio | Feb 25, 2025 | Pamela Crofts Art, Art

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.