108 Bargara Rd
Bundaberg East, Qld, 4670
Dr Pamela Croft, an Indigenous Kooma clan Euahlayi Nation woman and member of the Stolen Generations, uses art as a pathway to healing and self-discovery. Her exhibition, My Bothways Identity, explores the duality of living in two worlds—Indigenous and Western—and themes of belonging, resilience, and cultural connection. Central pieces include a bronze mannequin with eagle wings, representing her totem and identity, and works like Not Quite White, Not Quite Right and Mud Maps, which symbolise her personal struggles, healing, and connection to Country. Dr Croft’s art also addresses domestic violence, aiming to inspire dialogue, healing, and understanding.
Art has the powerful ability to tell stories that words alone cannot capture, and for Dr Pamela Croft, it has been both a reflection of her identity and a pathway to healing. An Indigenous Kooma clan Euahlayi Nation woman from the Stolen Generations, Dr Croft is an artist, educator, survivor of domestic violence, devoted mother and grandmother, IMPACT supporter, and advocate for resilience and cultural understanding. Her recent exhibition, My Bothways Identity, delves into the complexities of living in two worlds, weaving personal stories with broader educational messages.
Dr Croft’s artistic journey began in the mid-1980s as a means of processing her life’s challenges. Born to an Indigenous mother, placed into care, and eventually adopted by a white family, she grew up grappling with the duality of her identity. Her upbringing in a white household often conflicted with her Indigenous roots, leaving her feeling displaced in both worlds.
It wasn’t until the early 1990s, when she took an academic position in the Northern Territory, that she encountered the concept of “both ways” learning. This philosophy, championed by Indigenous elders, emphasises the importance of integrating Western and Indigenous knowledge systems.
This concept became a turning point for Dr Croft, enabling her to embrace her identity fully. Her artwork reflects this journey, intertwining imagery and symbolism from both her Indigenous heritage and her experiences in the broader Australian society. My Bothways Identity showcases this duality, with each piece exploring themes of belonging, resilience, and cultural connection.
The centrepiece of the exhibition is a bronze mannequin adorned with eagle wings, symbolising Dr Croft’s totem. The figure stands surrounded by circular imagery reminiscent of the Aboriginal home symbol but reinterpreted without traditional U-shapes. Incorporated into the piece are deeply personal elements, including hair from her sons, grandchildren, and mother. In Aboriginal culture, hair is significant for its spiritual connections, adding an intimate layer to the artwork. The inclusion of natural materials like ochre, pumice stones, Milbi turtle shells, cuttlefish, and freshwater & saltwater mussel shells further tie the piece to her cultural heritage.
Other works include Not Quite White, Not Quite Right, a kangaroo skin inscribed with her birth certificate and bloodied cross, symbolising her internal struggles with identity and the sense of not fully belonging to either her black or white heritage, and Mud Maps, delicate rag paper imprinted with natural marks from the tides, representing her journey of healing from past trauma and her connection to Country.
These themes of conflict and reconciliation are central to her artistic practice, which she describes as both private and public: “Everything I do is to help myself see who I am, but there’s always a public reason too.”
Dr. Croft’s art also addresses her experiences as a survivor of domestic violence. One of her earlier works (not in the My Bothways Identity exhibition), Just Another Rag Doll, symbolises the trauma of being "bashed, bullied, and thrown around." This piece became a powerful statement of her resilience and marked the beginning of her journey to reclaim her identity and heal through creativity.
Her commitment to raising awareness extends beyond her art. Dr Croft participated in IMPACT Community Service’s Clothesline Project, that took place as part of the Zonta Club of Bundaberg’s 16 Days of Activism campaign. The project featured shirts created by individuals affected by domestic violence, each telling a story of survival and hope.
By sharing her story and creating art that inspires dialogue, Dr Croft hopes to empower and educate others to confront difficult truths and find strength in their journeys. Through initiatives like the Clothesline Project and her deeply personal works, she envisions a future free from violence, where compassion and understanding pave the way for healing and unity.
Please note: This website may contain references to, or feature images, videos, and voices of Aboriginal and Torres Strait Islander peoples who have passed away.
