Late last year, I took part in a project called FACING OUT which was a portrait exhibition highlighting the strength, resilience, and diversity of LGBTQIA+ people, community, and experiences in the Sunraysia region. Those taking part were photographed with the intent of presenting a diverse view of queer people in Sunraysia. There was the opportunity for people to decorate masks to wear if they weren’t able to appear in their portraits. Being creatively minded, I decided that I would still decorate a mask, even though I didn’t need to wear it.

The thing about me is that where ever I go, I bring my Ancestors with me; I carry my community with me. This project was no different. I don’t like to be the focus of attention, but a conduit through which the voices of those who aren’t able to speak are heard. My mask represented those queer Blak people who have come before me, but aren’t with us anymore. Our affirmation of Always Was, Always Will Be extends to our queer identities as First Nations people, too; we have always been here. I wanted to pay homage to those whose footsteps I follow.

The whiteness of the mask represents the funerary paint which was worn as a sign of mourning in traditional Aboriginal society. The symbols represent journeys and connection to Country. The fact the the piece is a mask signifies the extreme degrees of existence and duality: Life and Death. I celebrate the lives of the queer Blak people who have paved the way for me and so many others; I mourn their loss; I acknowledge their perpetual power.

It never even occurred to me to show the mask as a separate piece to the portrait. When it was suggested to me that it would be good to display it as part of an upcoming exhibition of my work, I decided that I would. Here is the piece mounted, and a picture of my nieces with my portrait at the opening:

Photographer Kate Baker captured my idea perfectly