Waymarking / Painting / Undertow

This research proposes that the work of migration does not end at the point of arrival but continues over time. It takes this enduring legacy and refashions it as a tool for critical analysis within a lutruwita/Tasmania context. The exhibition of paintings, Waymarking/Painting/Undertow, examines multifaceted experiences of migration, drawing from Haddon’s journey from the UK to lutruwita. Each painting acts as a ‘way marker’, marking moments in his journey and weaving them with broader historical narratives. This approach emphasises the ongoing and complex negotiation of self and belonging, highlighting the intersections of personal history with the collective experiences of migration.

This work falls within the field of migratory aesthetics, a framework that scrutinizes the fluid and evolving nature of identity as it traverses various cultural, historical, and geographical landscapes. The paintings depict interconnected narratives where historical references are juxtaposed with personal stories, cultural signifiers, and artistic influences. This method challenges and circumvents conventional representations of place and belonging, suggesting that landscapes—whether physical, emotional, or cultural—are in a continuous state of transformation and flux. The diverse painting techniques, ranging from slick enamel surfaces to textured impasto, mirror the fragmented and evolving nature of memory and identity, which are central to the migratory experience.

The significance of this creative research lies in its ability to evoke intricate relationships between migration and the complex histories of lutruwita/Tasmania. It actively interrogates and deconstructs concepts of place and belonging, revealing a hidden ‘undertow’ of emotions, memories, and historical narratives. The research benefitted from the national exposure afforded by Bett Gallery and received significant peer reviews through local print media, national online arts journal, and ABC radio interview.