Leanne Tobin is a multidisciplinary artist of Irish, English and Aboriginal heritage descending from the Buruberong and Wumali clans of the Dharug, the traditional Aboriginal people of the Greater Sydney region. Leanne works collaboratively with community groups, local schools and institutions using her art to tell local stories and to evoke an environmental conscience and respect towards the land and its original people. Her art practice seeks to encourage an open and honest dialogue about the past and to nurture, respect and care for Country, paying homage to our Old People and their legacy.

Megan Cope is a multidisciplinary artist and Quandamooka woman from Moreton Bay, South East Queensland. Her sculptural installations and socially engaged public art practice centres Indigenous stewardship, cultural continuum, and custodial ethics, often blurring the line between maker, material, and audience.

Her ongoing work Kinyingarra Guwinyanba (2022–) is a living sculpture in the intertidal zone on Minjerribah (North Stradbroke Island), created on and for Country in collaboration with her community; "off Country" iterations have shown at Hawai'i Triennial 25 and Busan Biennale 2022.

She has exhibited internationally at Sharjah Biennial 16, Thailand Biennale 2025, the Biennale of Sydney, Van Abbemuseum, and Palais de Tokyo, with solo shows including Whispers at Sydney Opera House (2023) and Fractures and Frequencies at UNSW Galleries (2020–21). Her work has featured in major national surveys — the Adelaide Biennial, NGV Triennial, The National, and Defying Empire at the NGA.

In 2024 she received the Creative Australia Award for Emerging and Experimental Arts. As Official War Artist for the Australian War Memorial (2017–19), she produced the Fight or Flight series. She is a member of proppaNOW, recipient of the 2022–24 Jane Lombard Prize.

Julie Gough is an installation, sound, and video artist, writer, and a curator of First People’s Art and Culture at the Tasmanian Museum and Art Gallery in Hobart. Gough’s research and art practice involves uncovering and re-presenting subsumed and often conflicting histories often referring to her family’s experiences as Tasmanian Aboriginal people. Julie is Trawlwoolway through her maternal family, and her Traditional homeland is Tebrikunna in far north eastern Lutruwita / Tasmania, her Briggs-Johnson-Gower family have lived in the Latrobe / East Devonport region of the island since the 1840s. Julie’s paternal heritage is mostly Scottish and Irish.

Julie holds a PhD from the University of Tasmania (2001), Masters degree (Visual Arts) University of London (Goldsmiths College)(1998), BA (Visual Arts) Curtin University West Australia (1994), BA Honours (Visual Arts) First Class, University of Tasmania (1995) and BA (Prehistory/ English Literature), University of West Australia (1987).

Fiona Foley is Badtjala artist, curator, writer and academic. She pursues a diverse artistic practice encompassing painting, printmaking, photography, sculpture, mixed-media work, found objects and installation. Her work examines and dismantles historical stereotypes and explores a broad range of themes that relate to politics, culture, ownership, language and identity.

r e a is an artist, curator, activist, researcher, cultural educator and creative thinker

r e a (they/them) is from the Gamilaraay/Wailwan and Biripi peoples of NSW, they currently live and work between the Blue Mountains & naarm. r e a is an experimental interdisciplinary artist / curator / activist / researcher/ cultural educator and creative thinker. Their creative practise-led research extends over three decades, their art often focuses on unveiling the silence of the colonial archive. Their creative research extends into the reclamation and reframing of the bla(c)k queer body, as they re-story Indigeneity and bla(c)kness! Their extensive research includes the examination of contemporary discourses, which as yet have not changed the colonial narrative of Aboriginality. r e a’s work is centred in the visual arts and located in experimental digital technologies that intentionally, disrupt and disturb a history of silence. Their art consciously draws on a legacy of lived experiences, ancestral knowledge and the impact of intergenerational trauma, grief and loss. ‘My art is the practice of reclamation; a disruption of the colonial gaze through re-storying the blak-body as a point of protest.’

Jo Clancy is a Mother, Daughter, Sister and Aunty to many. She is a First Nations Choreographer, Dancer, Teacher and Mentor. A Wiradjuri woman born and living on Darug and Gundungurra Country. Jo commenced her full-time dance training at NAISDA Dance College in 1990 and then went on to Western Sydney University where she became the first Aboriginal person to gain a BA in Dance in NSW. She founded her company Wagana in 2007 and is currently Head of Cultural Practice at NAISDA. Her works include Bangalang for the Commonwealth Youth Dance Festival, Glasgow, Sum of our Ancestors for Dance and the Child, Copenhagen, Gaurii for the Commonwealth Games Art and Cultural Festival 2018 and Wirawi Bulbwul for Dance and the Child 2019. Wagana have been the Australian representatives at the Honolulu Festival in Hawaii since 2016 and foster an ongoing Sista collaboration with the Raven Spirit Dancers, Vancouver.

Jo makes dance with and for her community as a legacy for the continuation of NSW Aboriginal dance and storytelling. Her practice draws upon her connection to people and place. She draws inspiration from people and places she feels open hearted with and works with children, young people, dancers and artists, who are in turn, open hearted with her. My dance collective Wagana means ‘dancing now’ in my Grandmother’s Wiradjuri language, a language she and many other Aboriginal people were denied to speak in the wake of colonialism.Through Wagana, I seek to connect and empower Aboriginal women to their First Nations’ heritage through the sharing of cultural dance, songs and stories. My dances and songs come from an embodied and spiritual knowing inherited from my grandmother, my great grandmother and undoubtedly all of the great women from my clan who have come before me

Aunty Sharyn Halls is a respected senior Gundungurra Elder and a founding member of the Gundungurra Aboriginal Heritage Association Inc., known for her tireless advocacy in protecting cultural heritage and caring for Country in the Blue Mountains, Greater Sydney, and surrounding regions.