Up On Anzac Hill

 

 1999-2006, 92 x 182 cms

 

Lawrence and Julie Hayes are depicted with their three youngest sons at sunset, standing beside the War Memorial. Two Japanese tourists turn from the panoramic vista to watch Lawrence and Julie.

 

The town forms the background of the painting that contains many of the sites contested by the Hayes at the Land Hearings during the late 1990s. Anzac Hill, now part of the canon of tourist sites, is also a sacred site, as indeed are most eminences. Did the Japanese realise the monument, in part, referred to the War with them? Other anomalies persisted. A sign acknowledging Untyeyetwelye as an important Corkwood Dreaming for Arrernte was placed adjacent to the memorial in the mid 90s and is dutifully signed at the base of the ascending road. Clearly, its significance as a place for women who avoid men is sited. Without pause, the non-Aboriginal signage celebrates men with a concrete phallic cairn. Lest we forget what: the cancellation of one sign with another? Or their peaceful co-existence?