 To see them on the wall and to see all the women, and particularly the number of Indigenous women being represented in the show is fantastic. Women have to work ten times, a hundred times harder than men to even get to the same level of representation that a lot of the men do as well. And even just that colour on the walls shouts out that these stories are important. It's really just beautiful to be in that space. My thesis was exploring Aboriginal identity through self-portraiture. So that particular work, bunya pines are my totem. I made a crown of thorns, a bunya crown, and I put this crown around my head. The bunya pine leaf, it's sharp, it's razor sharp. And I painted it myself with the colour red across my nose, which is also known as marucci. And marucci was the burial paint that we wore when we were burying our people. There was the red and the white, and the white was also important sort of body paint and so reflecting that sort of colour of the red ochre. And so that work was really about me having to fight for my country and being angry and having to sort of put one foot in front of the other every day and just kind of go, enough's enough, stop destroying our land, stop killing the environment, stop killing my sacred trees. But also there's that sadness and this grief about the loss and impact of development on my country. Well I have a possum skin cloak. It's a collaborative work, so it's not just my work and a lot of the Kaia students, some lecturers and people around Queensland College of Art have participated in that. But it was also the contemporary Aboriginal community of Brisbane of the time were invited to come and put their bush tucker stories on the cloak. So it's a collaborative work and many voices in this case. I started making cloaks as a connection through to my Aboriginal family, my Watharong connections, my great-grandmother Annie and she would have probably worn possum skin cloaks and her mother definitely wouldn't have worn them. You know I was looking at the didactic before and probably, you know, one didactic alone, 80% of that had some QCA connection, whether it's whether they're teaching there, whether they've graduated from there, whether they've done some postgraduate studies there. So I think, you know, we're really, really doing extremely well. Despite huge leaps and bounds we've made, I still believe that, you know, women artists are greatly, greatly underrepresented right across the board and even within the institution in that sort of area of leadership and particularly arts leadership. Well I think it's a necessary dialogue that we need to have and when you look at the calibre of the artists too and from the last 100 years and all the different periods that they've catalogued here, the voices of the women are really strong and it's really an honour to be part of that.