A story of materiality and memory which looks to the glassmaking process to record, absorb, reflect and transform its body as a means by which to translate great periods of upheaval and environmental crisis across river landscapes.

This installation brings together sky / earth / water in a moment of convergence guided by stories; old, new, and continuing. Created in acknowledgement of the country to which we belong, the water that connects and the story and song that binds and makes strong.

Eucalyptusdom reckons with our cultural history and ever-changing relationship with the gum tree, presenting over 400 objects from the Powerhouse Collection alongside 17 newly commissioned works by creative practitioners working across the fields of design, architecture, film, applied arts and performance.

Yilaaluu Cont, refers to a Yuwaalaraay concept of time embodied in the word Yilaaluu, meaning a long time ago and a long time to come. This title also reflects Lucy’s approach to making each object as a ‘tool to hold, remember and carry story’. She thinks of her creative process in terms of Yilaaluu and as a continuous journey balancing ancient technologies and those that point towards the future.

On Yuwaalaraay country, Lucy Simpson’s floating sculpture Gungandhi (2020) speaks of unbroken responsibility between people and country. At the time of making Gungandhi, the fresh water rivers and lakes of Simpson’s Ancestors had dried up. Just as these waters were hurting—significant river networks, once full of fish and mussel shell, no longer flowing—so too were the animals, trees, plants, culture and people that are usually supported by this lifeline.

An installation documenting intergenerational knowledge transfer, created in collaboration and under the mentorship of

Maker Tom Barker (Murawarri), Knowledge Holder Ted Fields Jnr (Yuwaalaraay), Photographer Chris Chen, Luke Gordon (Yuwaalaraay / Ngemba)

and the Australian Design Centre.

A body work created to acknowledge events surrounding the Hospital Creek massacre in 1859 in north-west NSW. A work featuring woven + bound skin and bones honouring the ceremony of making and importance of our remeberance, created in mourning for the loss of the three hundred or more men women and children murdered on the Goodooga Road Seventeen kilometres north of Brewarrina.

Winangaylana ngay mara, my hands remember.

A sensory body of textile, ceramic and photographic works that sing up the spirit and inner energies embedded within our cultural objects. An exploration of value, power and meaning, developed as part of a process connecting to cultural materials, philosophies and processes on and away from country.

'Yilaalu Cont' which explores time and the evolution of creative practice is one work from a larger collection that interrogated the ways in which cultural objects and materials are embedded with the spirit and history of the country from which they've come. The title, 'Yilaalu Cont', refers to time in the past tense, but also looks toward the future.