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 First Nations Choreographer, Dancer, Teacher and Mentor. A Wiradjuri woman from Western NSW, Jo was raised and still lives in Dharug and Gundungurra Country in the Blue Mountains with her family.

Jo has worked as an Independent Artist nationally and internationally for over thirty years. She founded her dance collective Wagana in 2007 and works extensively in Aboriginal communities across Wiradjuri, Dharug and Gundungurra Country.

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.

Vera Hong is a director, cinematographer, editor and producer working across documentary and installation contexts. Her practice moves between screen and exhibition, shaped through close collaboration and a deep engagement with place and lived experience. She is a member of the Australian Cinematographers Society, Australian Directors Guild, and Screen Producers Australia.

Craig Bender is a cinematographer and CASA-certified commercial drone operator working across documentary and artist moving image. With a background in photographic practice and technical production, his experience spans camera, lighting and post-production, supporting complex and remote productions.