Chewing it over

There's a lot to work through in your post Nalda. This is a little like a cow with two stomachs, isn't it? You ruminate first and then I take over. From fodder to dairy.

You write about a liking for found objects and mention the work that came from a doona found on the side of the road. You say that stitching grass onto it goes some to making a West Australian myth. I like the way you work combines the two cultures of the west, colonial and indigenous. It's the strangeness of their juxtaposition that your work seems to express so well (writing as someone who grew up in the state).

I was interested to read about the technical challenges in using grass. The bale of grass from Tom Price seemed a boon. This bounty reminds me of other stories from furniture makers in Victoria who have struck it lucky with timber finds. Many of these depend on the generosity and skill of others, such as millers and farmers.

You say that for many years you didn't include anything foreign into your fibre mix. I'm curious what made you change that and introduce other elements. Can you remember when it happened?

Interesting how you reflect on the freedom that fodder gives you. And how you describe it as more like drawing than painting. I know that the discipline of drawing is being approached quite broadly these days. I'd like to see how they look at your work.

Working with indigenous women is a large part of your practice. You have conducted countless workshops with both indigenous and non-indigenous artists. What impressions do you have of how they both approach making?