iii

100 WOMEN

edited by Gillean Shaw, Keryn Stewart and Kevin McConkey

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the publisher.

The Australian Copyright Act 1968 (The Act) allows a maximum of one chapter or 10% of this book, whichever is the greater, to be photocopied by any educational institution for its educational purposes provided that the educational institution (or body that administers it) has given a remuneration notice to Copyright Agency Limited (CAL) under the Act.

©The University of Newcastle 2011 First published in 2011 by The University of Newcastle University Drive Callaghan NSW 2308 Australia (612) 4921 5000 www.newcastle.edu.au

National Library of Australia Cataloguing-in-Publication entry:

Title: 100 women / editors, Gillean Shaw,

Keryn Stewart, Kevin McConkey.

ISBN: 9780980761887 (pbk.)

Subjects: Women--Australia--Biography.

Other Authors/Contributors:

Shaw, Gillean.

Stewart, Keryn.

McConkey, Kevin.

Dewey Number: 920.720994

Set in Akzidenz Grotesk by Australian Type Foundry, Australia

Printed in Australia by Whirlwind Print

edited by Gillean Shaw, Keryn Stewart and Kevin McConkey

iii

100 WOMEN

edited by Gillean Shaw, Keryn Stewart and Kevin McConkey

iv

The StoriesContents

ElhamDoroodchi 2

SentaTaft-Hendry 4

SusanLim 6

IvyIreland 8

DeborahWright 10

MargaretOlley 12

KatherineProudfoot 14

SherelleCharge 16

LizMcMinn 18

PimpimonWongchaiya 20

NicoleGerrand 22

GivernyLewis 24

IrinaBelova 26

LizNicol 28

CatherineandJenniferStrutt 30

LaurenColthorpe 32

RionaTindal 34

PaulineChiarelli 36

FelicityBiggins 38

BronwynHall 40

RosemaryBeckett 42

KristienneThomas 44

PippaRobinson 46

CatherineBritt 48

KerryKete 50

RoxanneBlack 52

JulieAinsworth 54

TinaOffler 56

TeelaMayReid 58

Bat-shevaStewart 60

JudyVajak 62

CarolMartin 64

SamanthaMartin-Williams 66

VickiClifton 68

DianaRah 70

CateHayes 72

Cheong-ChuaKoonHean 74

KathyButler 76

JulianneButler 78

AfafGirgis 80

EmmaJackson 82

KatrinaKellett 84

ShayneBlackburn 86

PamelaConnell 88

XiaoliDeng 90

JeanetteRothapfel 92

EugenieLumbers 94

SarahHilton 96

OonaghChan 98

SarahTaylor 100

v

Contents

KatherineJonesTorres 102

CatherineMahony 104

LauraSeabrook 106

TaraMallie 108

LoisBryson 110

MahlaPearlman 112

CarolynHastie 114

PennyBiggins 116

JudithBeveridge 118

LieslTesch 120

KarenHitchcock 122

HeidiForrest 124

SarahMaddison 126

JackieSales 128

Rowena,JulianaandAngelaFoong 130

AlexiaSinclair 132

RennyChivunga 134

JenniferDuncan 136

BeibeiZhang 138

SueGould 140

SusiePorter 142

PatriciaForsythe 144

JennieThomas 146

EileenDoyle 148

JosephineTam 150

MargaretHarris 152

RachelKing 154

DoreenKum 156

MarionHalligan 158

DonnaMeehan 160

MargaretWatson 162

StephanieMoras 164

SuzePodger 166

CatherinePhoenix 168

JanicePetersen 170

RubyAndrion 172

SueMcNeil 174

JeanTalbot 176

ShelleyClark 178

RaeRichards 180

MarniJackson 182

MazSmith 184

LakinAgnew 186

VeronicaPettifer 188

KathleenKirkby 190

JacquelineKrynda 192

ChengSmart 194

vi

The WomenContents

LakinAgnew 186

JulieAinsworth 54

RubyAndrion 172

RosemaryBeckett 42

IrinaBelova 26

JudithBeveridge 118

FelicityBiggins 38

PennyBiggins 116

RoxanneBlack 52

ShayneBlackburn 86

CatherineBritt 48

LoisBryson 110

JulianneButler 78

KathyButler 76

OonaghChan 98

SherelleCharge 16

PaulineChiarelli 36

RennyChivunga 134

ShelleyClark 178

VickiClifton 68

LaurenColthorpe 32

PamelaConnell 88

XiaoliDeng 90

ElhamDoroodchi 2

EileenDoyle 148

JenniferDuncan 136

Rowena,JulianaandAngelaFoong 130

HeidiForrest 124

PatriciaForsythe 144

NicoleGerrand 22

AfafGirgis 80

SueGould 140

BronwynHall 40

MarionHalligan 158

MargaretHarris 152

CarolynHastie 114

CateHayes 72

SarahHilton 96

KarenHitchcock 122

IvyIreland 8

EmmaJackson 82

MarniJackson 182

KatherineJonesTorres 102

KatrinaKellett 84

KerryKete 50

RachelKing 154

KathleenKirkby 190

Cheong-ChuaKoonHean 74

JacquelineKrynda 192

DoreenKum 156

1

THE WOMEN

3

Afewweeksbefore,acompanyhadpresentedthetwochemicalengineerswithaconundrum:thecompanywantedtorecoverenergyfromgeothermalresourcesmoreefficiently,buttherewasnothinginthemarketplacethatenabledthemtodoso.

“Thatafternoon,wefoundourselveswithsomeraresparetime,”Elhamsays.“Wegotoutapieceofpaperandstartedbrainstormingtheproblem,doingcalculationsandthinkingaboutapplications.”Theresultswerestartling.“Wenotonlyfoundoutthatitwaspossibletogeneratetheelectricitybutwealsofoundouthowtoharnesstheextraheatproducedbyindustryandturnthatintoenergytoo.”Fromthatpieceofpaper,GRANEXwasborn,aninventionthathaswonElhamandherhusbandbothajudges’choiceandpeople’schoiceawardonABC-TV’sNew Inventors program.

ElhamwasborninIran,migratingtoAustraliaasateenager.“Myparentshavealwaysbeenencouragingbuttheywereneverpushyabouteducation.Whattheytriedtodowasbringupchildrenwhowereindependent,”shesays.“MysiblingsandIallstudiedorworkedindifferentcountriesandweallstilllovetotravel.”Evenwithalltheencouragementandsupportintheworld,movingtoAustraliawasn’teasy.“I’llneverforgetthedayIarrived,”she

says.“Iwasstandingintheairport,waitingformyluggage,andIcouldn’tunderstandathinganyonewassaying.Icouldn’tunderstandtheannouncementsorreadthesignsandIrealisedthenwhatachallengeitwasgoingtobe.IdecidedfirstandforemosttoconcentrateonlearningEnglish.”Forsixmonths,Elhamworkedonherlanguageskills,goingtodifferentsocialgroupsandclassesandhavingconversationswithpeople,untilshewasconfidentenoughtoapplyforuniversity.“Iappliedforengineering,andspecificallychemicalengineering,becauseyoustartwiththerawmaterialandseetheprocessallthewaythroughtotheendproduct,”shesays.“You’reinvolvedineverythingfromdefiningtheproblemtodevelopingtheproblem.That’swhatIfindsatisfying.”

ElhamgraduatedfromtheUniversityofNewcastlewithaBachelorofChemicalEngineering,firstclasshonoursandaUniversityMedal.ShethenwentontocompleteaPhDandsheisaresearchfellowatthePriorityResearchCentreforAdvancedParticleProcessing.“Ithinkit’sbecauseIaminsatiablycurious,”shesayswhenaskedaboutherachievements.“Iwanttoknowhowtheworldworks.Ifthere’saproblemIwanttoanalysetheproblemandcomeupwithasolution.Engineeringisthekeytoeffectiveproblemsolving,”shesays,“andI’minspiredbytheprospectofcomingupwiththeanswers.”

ItisclearElham’slifeisinAustralianow.“IranhasaplaceinmyheartbutIgethomesickwhenIleaveNewcastle.EverythinghaschangedinIran.Eventhesceneryischanging.I’mnotconnectedtothelocationanymore;it’sthepeopleIgobacktosee.”DidtheNew Inventorsprogramandtheinterestitgeneratedinherinventionchangeherlife?Elhamischaracteristicallydowntoearth:“It’smoreabouthavingconfidenceinyourselfratherthanexpectingotherstohaveconfidenceinyou.”Elham’sresearchgoalistodeveloptechnologyplatformsthatareenergyefficientandenvironmentallyfriendly.“Nothinginlifeisimpossible,”shesays,pausingtoaddwithapealoflaughter,“aslongasit’snotagainstthefirstandsecondlawsofthermodynamics!”

Elham DoroodchiElham Doroodchione afternoon in 2006, recovering from the social whirl of another busy Christmas, elham Doroodchi and her husband sat down with a piece of paper to do what they do best: solve a problem.

4

This fascination with the “animal within us” is still the driving force in a life spent in pursuit of Pacific and Oceanic art. Taking her from Hanover to the highlands of New Guinea, via Melbourne and Africa, Senta’s passion has sparked a life crammed with adventure.

As the founder and owner of Galleries Primitif, the oldest gallery of Oceanic art in Australia, Senta has spent more than 50 years travelling to remote areas of Polynesia, Micronesia and Melanesia in search of art and artefacts. The seeds of her career were sown early, nurtured by twin family passions for travel and art. “My mother collected art and we’ve always travelled, bringing pieces of each old country with us to the new. Our house was full of sculptures. I love sculptures. You can caress sculpture but you can’t caress a painting.”

Born in Germany, Senta came to Australia with her family as a child, and studied art education in Melbourne before joining Trans Australia Airlines (TAA) as an air hostess. It was during this time that her interest in the art of New Guinea was first realised. “TAA were putting together an exhibition of tribal art from New Guinea, and they asked me to go. It was wonderful – I got to fly back and forth to New Guinea for free, collecting art.” A two-year stint in

what was then Rhodesia followed, until Senta found herself back in Australia in 1956. She opened her first gallery not long after.

Senta estimates that she’s walked “for hundreds of miles” around different villages looking for skulls, bark paintings, masks and jewellery. Along the way, she learned how to cook human flesh—“best flavoured with coconut”—and gained her pilot’s licence, a rare achievement for a woman at that time.

Travelling to remote villages as a lone woman was not without its dangers, and Senta admits to some close shaves on buying trips. “In one village I took a Polaroid photograph. People were usually amazed to see the picture develop before their eyes like magic but this time, when the photograph developed, a line appeared down the middle of the chief. He thought it meant I was going to kill him and immediately people surrounded me with bows and arrows. The guide had to say I’d made him twice as strong and the chief finally conceded.” Quick thinking helped to turn the situation to her advantage, and Senta completed her negotiations.

On another trip, she collected two skulls in Borneo and was sailing away from the island when the tribe called her back demanding their return.

“I gave the skulls back, of course. You have to be very careful, as tribal art is often very sacred and spiritual.’ She pauses, a glint appearing in her eye like a naughty schoolgirl’s. “I’ve had some fun times too. Once I bought a whoopee cushion in a little shop in Sydney and took it with me on a buying trip. When I sat on it, the tribe thought I had a spirit in my bum!”

Senta is passionate about education and its ability to equip young people for life; with her husband, Dr Peter Hendry, she has made significant donations to the University of Newcastle and intends to establish a scholarship. “I believe the way to open doors is through education. I think the most important part of living today is gaining education so you can face life without an inferiority complex. It’s such an important time being young; you can impregnate your brain with new ideas.”

Senta’s life-long dream has been to establish Australia’s first Museum of Tribal Art; a dream that is now one step closer with the donation of her personal collection to the University of Newcastle and the opening of The Senta Taft-Hendry Museum. “If I give something, I give it with a warm hand. This is the way I want to be remembered. I’ve had the opportunity to do so much in my life, and I want the same for others.”

Senta Taft-HendryWhen senta taft-Hendry was a small girl, she used to look for animals in the patterns of curtains.

7

Susan LimThesehandshavemovedwithprecisionanddelicacywithinthemostintimatespacesofpatients’bodies;gentlyprobing,invisiblymending,evenperformingtheseeminglyimpossiblefeatofturningbacktheclock.

Eversinceshewasayounggirl,SusanLimknewshewantedtobeasurgeon.“Iwasinterestedinthemorephysicalaspectsofmedicineandusingmyhands,”shesays.Susangrewupinalargeextendedfamilyofdoctors—thoughherfatherwasamechanicalengineerandhermothera“wonderful”full-timeparent—andshewasadiligentandfocusedstudentatschool.SusanwentontosuccessfullyperformthefirstcadavericlivertransplantforAsiain1990,andthepatient–inthepinkofhealthtwentyyearspost-transplant-isthelongestsurvivoroftheprocedureinAsiatodate.“Thisisimportantandmeaningfulformebecausethereisalifethathasresultedfromthisbreakthroughprocedure,andinfactanotherlifeafterthat,sincemylivertransplantpatientsubsequentlydeliveredahealthybabyboy,nowinhisteens.”

WhenthesecondwaveofsuicidebombersstruckBaliin2005,twenty-twopeople,includingfourAustralians,losttheirlives.ManymorewereinjuredandtheAustraliancommunitywentintoshock.Inthedaysthatfollowed,criticallyinjuredAustralians

wereflowntoSingapore,wheretheywereplacedinSusanLim’scapablehands.Shetreatedthevictimsofthebombing,someofwhomhadsufferedhorrificinjuries,fromwithinthehospital’sintensivecareunit,restoringthemtohealthaftersurgery.

Susan’sworkfollowingtheBalibombingswassorespectedandappreciatedbytheAustraliancommunitythatshewasbothawardedanhonorarydoctorateandreceivedapersonalmentionintheAustralianParliamentrecognisinghercontribution.ThishasreinforcedSusan’sconnectiontoAustraliaandshehassinceencouragedyoungstudentsfromAsiatopursuetheirundergraduatestudiesinAustralia.“IwonascholarshiptostudyatMonashUniversity,”shesays,“anditsetmeonthepathI’montoday.I’monlytoohappytogivesomethingback.”Withthisinmind,shehasestablishedtheDrSusanLimMedicalScholarshipfordeservingstudentsatherpreviouscollege.

AsenseofnationalpridepromptedSusantovolunteerherskillsasasurgeonintheSingaporeArmedForces,wheresheservedasavolunteercaptain.Unsurprisingly,combiningherfull-timeclinicalwork,stemcellresearchandentrepreneurialactivitieswithfivechildrenandahusbandmeansthattimeisthemostpreciouscommoditySusanhas.“Itisalwaysafinebalancingact,”

shesays.“Ihavetriedtoinvolvemyfamilyinmycareerandmychildrenspenttheirearlydaysinthewaitingroomsoftheoperatingtheatre,oratconferencesoverseas.IrememberSundayswere‘SpecialDays’whentheywouldaccompanymeonwardroundsandthenforsconesandpastriesattheDeli.”

Susanstaysmotivatedbydedicatinghertimeandefforttoresearchingcuresforherpatients’diseases.“Imeetpatientswhoselivesareturnedupsidedownwiththediscoveryofsomedreadedcancer;Iseethempersonallybattletolive,andthismotivatesmetopursueacademicresearchtotrytoworktowardsnewdiscoveriesandcuresthatcanbenefitpatientsinourlifetime,”sheexplains,asherteamresearchesadultstemcellsandbreastcancerstemcells.Medicinemoveswithastonishingpace;Susanisconfidentthatadvancesinmolecularscience,stemcells,genetherapy,mobilehealthand–futuristically–roboticsurgerywillenableusnotonlytoenjoylongevity,butalsoavastlyimprovedqualityoflife.Forthiscommitted,talentedsurgeon,thegiftoftimeisthemostpreciousofall.

A wax model of surgeon susan Lim’s hands sits in the Madame tussaud’s exhibition in singapore. nails cropped close by professional necessity and long fingers painted to a lifelike lustre, the model captures thirty years of motion in the stillness of wax.

9

“Iwasalwaysinballetconcerts,eisteddfodsandschoolplays,”shesays.“IfIamterriblyhonest,though,I’vealwayshadalackofself-belief.It’ssuchadebilitating,light-destroyingthing.”ThisdestructionoflighthasbeenonIvy’smindrecently,asshehasovercomeseriousillnessfollowingaburstectopicpregnancyandcaraccident.

“I’vehadsomehugehealthissuesinthepastyear,andImustconfessIwasreallyshakenupbythem,”shesays.“WhileIhavebeenverylucky,andterrificallyblessedinmyrecovery,theartofstillnesshasbeenahorriblelessonforme.Forbetterorworse,IhavenowexperiencedwhatitisliketobeinapositionwhereIsimplycan’tdothatthingorbethatpersonlikeIusedtobeableto.Beinginhospital,beingilltoanear-lifelesspointwasashock;thewavesandechoesthatcrashthroughintomylifenowarestillhardtoride.”

Ivymightputherheartintopoetryonthepage,butfragilityandhonestyarealsothethingsthatmakeherperformancessoappealing.Sheinvitesyouintoherinnermostsecretswithherharpmusic,ordancesacrossthestageonbrokenglassaspartofherperformanceswithpartnerJason“Dangerboy”Hodgson.Thereisahumblenesstoherwordsthatcontraststhevibrancyofherlife,perhapsareflectionofthelessons

learnedonathree-yearexchangetriptoIreland.“Ithinkallthatcold-grey-wetwasgoodformypoetry,”shesays.“Itgavemebalance.”Perhapsitwasalsoseeingthingsanew,experiencingadifferentlandscapeandattitude.

Ivycandrawstrengthfromhercontinuedsuccessonthelocalandnationalstage.In2007shewontheAustralianYoungPoets’Fellowshipandpublishedherfirstcollection,incidental complications.SheisnowstudyingforherPhDincreativewritingwhileperforminginsideshowactsandcabaretshows.

“MyPhDismotivatingbecauseIamconstantlyencouragedtoenterthingsandpublishmywork,”sheexplains.“Igetsobusy;IwouldforgettosendthingsofftoanycompetitionifIdidn’thavesomeoneremindingme.”Ivy’sparentshavealsobeensupportive,encouragingherdanceandmusicactivitiesfromanearlyageandnowbuildingpropsforherperformances.

“IwasfortunateenoughtogrowupinaverysmallcoastaltowninNewSouthWales.Bothofmyparentsgrewupinthatareatoo,sowewereverywell-rootedincommunity,”shesays.“IrememberbeingoutsidemostofthetimewhenIwasgrowingup–mostlyuptrees,onthemountain,inthelakeorintheocean.”Ivy’saffinitywiththe

outdoorshasamplifiedandnowshehasapenchantforcosmologyandmysticism.

“IwishIcouldcombineallthethingsIlove,”shesays,“butI’mthekindofpersonwhoalwaysdividesthingsup,fragmentsself,putsonadifferenthateachdaydependingonwhichjobI’mgoingto.ItwouldbeterriblyconvenientifIwereaperformance-poet,wouldn’tit?ButI’mjustnot.Idowritemusicalepicpoemsfortheharp,though,andIfindthatallthedifferentartformsI’minvolvedinallhaveacertaindialoguewitheachother.”

Ivywillcontinuetorecover,perform,write,publishandlove.Althoughthesethingswerealmosttakenawayfromher,“thethreads,”asshewritesinapoem,“aresungbackintoourbodies.”

For poet and harpist Ivy Ireland, it feels as if she was born performing.

Ivy Ireland

10

As chief executive officer of NBN Television in Newcastle, and the first woman in several senior Australian media roles, her firm handshake and friendly smile testify to a career spent building relationships. They don’t completely hide the fighter within, though; it’s there in the directness of her gaze, and a certain way of tilting her head when she’s considering the answer to a question.

Deborah’s life is one of opportunities seized with both hands. She tells the story of how as a young woman, after four days working for The Star newspaper in a junior advertising sales role, she was called into the general manager’s office. He offered her the role of features manager, a huge leap for someone with minimal media experience. “And I said ‘That’s unbelievable, that’s brilliant, thank you very much! I’ll take it.’ Then I got to the door and turned around: ‘Just one question, Brian. What, precisely, does the features manager do?’” From that initial leap of faith, her career in media is testament to her personal drive and commitment. In 2005, Deborah was appointed NBN station manager and two years later became CEO, only the second woman in Australian television to hold this role.

A life in the cut-throat world of media wasn’t what Deborah Wright had planned. When she finished school in

Newcastle, Deborah intended to become a physical education teacher, but circumstances intervened and she ended up teaching social science in Sydney’s western suburbs. After teaching in a few different schools, Deborah came to an abrupt realisation: although she loved contact with her students, teaching, or more specifically the culture of the Department of Education, was not for her. “I felt that my wings were clipped within the Department,” she says. “There was this negativity. I really didn’t want to end up like a lot of the teachers that I saw there, who just struggled, who just got by, who just existed. I saw that the kids deserved much more than that.”

During this period of her life, the death of a beloved older brother brought home the fragility of existence and the importance of making every second count. “We lost my brother from chickenpox when he was thirty-one. To me it reinforced this drive that I have in all things that I do. But more than that, it was a sense that life is a bit like a pilot lamp: it can be snuffed out at any time.” Sitting by the water on a holiday break from school, reading a local newspaper, she spotted an advertisement for an advertising role with The Star. It marked the beginning of a new career, one ideally suited to her energetic, competitive nature.

Deborah’s strength comes from many places. She credits her parents for refusing to limit her sense of her own possibilities: “I wasn’t pigeonholed into the whole ‘you’re a girl, you’ve got to do these things’ mentality,” she remembers. A keen athlete, she was encouraged to play football and cricket “with the boys”; she has a clear memory of her father holding her up to a pool table as a toddler so she could take a shot, the little girl chanting “I can. I can myself!”

Even today, sorting through the hundreds of job applications that arrive for any job in media, she looks for candidates with sporting backgrounds: “I can’t help myself. It’s the leadership qualities in sport.” Much like a champion sports team, Deborah plans to keep NBN in its dominant position by continuing to embrace new broadcasting technologies and seize opportunities as they arise.

Deborah WrightDeborah Wright likes people and they like her.

13

Margaret OlleyAlmostclaustrophobicbeautyiseverywhereinthisroom;sculpturesandflowerscompeteforspacewithscatteredcanvases,andpaintingsclusterinwildprofusiononthesiennawalls.AtthecentreofthissitsthediminutiveframeofOlleyherself,ateighty-sevenrecognisedasagiantoftheAustralianartworldandaNationalLivingTreasure.

Apainterwhoseartisticvisioncentresonthegenreofstilllifeordomesticinteriors,MargaretOlleyhasalwayspursuedhercreativevisionwithoutregardtochangesinstyleandconvention.Asayoungartist,MargarettraveledtoEuropetodrawfromthegreatartcollections,becomingpartofthecriticalpost-warculturalscene.ShemetChagall,workedwithSirFrancisRose,andsharedafternoonteaswithAliceB.Toklasinaroom“wallpapered”withthepaintingsofPicassoandBraque:“Iwassoinnocent.Ididn’tknowshemadethosefamouscookies!”

ForAustralianartists,raisedonbookplateimagesofWesternArtmasterpieces,encounteringthesamepaintingsinthefleshcanbeintimidating.“Itwaslikeyourwallcollapsingandhavingtobuilditupagain,”admitsMargaret,musingthatshe“mighthavegoneovertooearly,becauseIwasjustbeginningtomakemyownhandwriting.”ReturningtoAustraliaafterthedeathofherfather,shebattleddepressionand

alcoholism,emergingfromthesedarktimeswithanunusualdegreeofartisticclarity.Sheisfirmonthispoint:“Idon’twanttopaintdark.Peoplewhopainttheirdarkplacesarepassingontheirdark.Whowantstoknow?”

TherearetwopaintingsthatcometomindwhenonethinksofMargaretOlley.OneistheArchibaldportraitbySirWilliamDobell,showingMargaretasagloriousyoungwomaninafloatingwhitedress.Likeanygoodpicture,ithasastorybehindit.Anartistfriendhadaskedhertocometotheopeningofhisexhibitiondressedasaduchess.Withwartimerestrictingmaterialtocoupons,he“mademeadresstowearfromalotofaeroplanesilkandthetopofhisgrandmother’sweddingdress.Justthebodicepart,becausetheresthadbeeneatenawaybymoths.”TheexhibitionendedandMargaretfoundherselfonthesame“rattlingtram”asDobell,aninterminablejourneythatendedwithhimaskingifhecouldpaintherportrait.Shelatersatforhimandhepaintedtheduchessdressfrommemory.

Anotherisanearlyself-portraitofMargaretlookinginthemirrorofherSydneyflat.Despitethedecorativeaesthetic(flowers,shells,fruitandpostcardscrowdtheforeground)sheencountersherselfwithoutsentimentality;thepaintingisadepictionoftheselfthatishonest,stronganddirect.Thepaintingalsoreflectsavital

truth;anyperson,andespeciallyawoman,whohasgiventheirlifetoartisnecessarilytough.

Resistingsocialexpectationstomarryandhavechildren,Margaretchoseherowndestinywithdetermination,creditingherstrengthtoacountryupbringing,commonsenseandparentswhoencouragedautonomy.Artalwayscamefirst.“Isawexamplesofartistsmarryingandthemaledominating-andthefemalewasthebetterpainter!Andthenhavingchildren.AndIthought‘ohno,Idon’tlikethatatall.’”WhenwavesoffeminismsweptthroughAustraliansocietyinthe1960sand1970s,Margaretremembersbeingnonplussed.“Ididn’tknowwhatitwasallabout,becauseI’dalwaysdonewhatIwantedtoanyway.”

Agenerousbenefactorandpatronofthearts,MargaretOlleyhascontinuedtopaintwellintohereighties.Whenaskedwhatdriveshertokeeppainting,herresponseisimmediate:“Topushthebarriers.Everythingyoudoshouldbetherightmoment;youmustputeverythingyou’vegot—everything—intothatmoment.”

Margaret Olley died on 26 July 2011. She was 88 years old.

Margaret olley’s Paddington house is full of the sound of opera. the radio proclaims that Dame Joan sutherland has died, the announcement followed by piercing, unearthly arias.

15

ForParalympianKatherineProudfoot,thedecisiontodragherselfoutofbedononeparticulardaychangedthecourseofherlife.

“IoftenwonderwhatwouldhavehappenedifIhadn’tdecidedtogetupandgotothegymthatmorning,”shemuses,glancingdownathermuscularforearmsandsmilingatthememoryofherlifebeforeelitesport.“I’mnotsurethatIreallybelieveinfate,butit’soneofthosemomentsofbeingintherightplaceandtherighttime.It’squiteuncannyhowmuchofanimpactthatcanhaveonyourfuturedirection.”

OnthatSaturdayKatherine,aPhDstudentinspeechpathology,walkedintothecampussportscentreatthesametimethattheAustralianParalympicCommitteewasrunningatalentsearch.Itwasabright,sunnymorningandKatherinewasthinkingaboutherwork-out,abreakfasttofollowandthepossibilityofadayatthebeachwithfriends.Outofcuriosity,shestoppedattheregistrationdeskandwasofferedtheopportunitytotryoutfortheAustralianParalympicteam.

Katherinehascerebralpalsy.Shespenttherestofthedayatthegym,swimmingtimedlaps,running,jumping,throwingandhavingallaspectsofhercardio-vascularfitnessmeasuredandtested.

Whenshefinishedeachexercise,theorganiserswouldmakenotesontheirclipboards,andleadhertothenexttestingstation.“It’sreallyhardwhenyou’redoingthesetests,becauseyoudon’tknowwhatkindofstandardthey’relookingfor;you’renotsureifyou’vedonewellornot,”sheremembers.“ItwasareallypleasantsurprisetoopentheletterinthemailafewweekslaterandfindoutthatI’dbeenselected.IfeltthatI’dbeengivenanopportunityanditwasuptometoseeifIcouldtakeittothenextlevel:that’ssomethingIreallyembraced!”

ThetestingindicatedthatKatherinewasanaturalathlete,ideallysuitedtoeventsthatrequirethrowingactionslikeshotput,discusandjavelin.Shewasassignedathrowscoach,andplungedintoarigoroustrainingschedulethatcompletelyre-organisedherlife.AlthoughKatherinelovedthechallengesofhernewrole,pushingherbodytothelimittookitstoll.“I’vebrokenmyrightelbowtwiceandhurtmyshoulderafewtimes,”shesays,grimacinginrememberedpain.

Herperseverancepaidoff,though,andbythefollowingyearshewascompetingattheCommonwealthGamesandthenattheWorldChampionshipsintheNetherlands.ThepaceofherprogressionastonishedevenKatherine.

“Itwasareallyfasttransitionfromjustdoingthingsrecreationallytogettinginvolvedinelitesport,”shesays.

ForKatherine,thehighlightofhersportingcareersofarhasbeenwinningasilvermedalattheParalympicGamesinBeijing.“It’snotalwaysaneasythingtothrowapersonalbestataninternationalcompetitionwith80,000peoplelookingon,”shelaughs.

Katherineiseffusiveaboutthepotentialofsporttobuildself-confidence,friendshipsandtenacityinallpeople,regardlessofphysicallimitations.“EverythingParalympicsportstandsforispositive:you’relookingatagroupofpeoplewhoareovercomingsignificantdisabilitiesinordertocompeteandachievetheirgoals,”shesays.

An extra hour or two of sleep doesn’t mean much to most university students, except maybe to those sleeping off the excesses of the night before.

Katherine Proudfoot

16

Her physical grace is so profound that you become aware of both the positive and negative spaces of her body: the way she moves an arm and displaces air, an elegant twist as she turns to answer a question. Even the straight lines of a chair look crude against the flow of her long neck and spine.

As a little girl, Sherelle pestered her parents for ballet lessons. But they, having read an article by a famous dancer that said children should not start dancing until age seven, urged against formal instruction. Sherelle, stroking a sleek wing of hair away from her face, remembers the turning point for their change of heart. “I was about six at the time and my father invited his boss over for dinner. I told my father’s boss how my mean parents didn’t let me go to ballet lessons!” Capitalising on that strategic move, Sherelle started lessons the next day.

The desire for perfection in movement became unquenchable. “I left school when I was fifteen because I had to study dancing full time,” she says. “It was six o’clock in the morning to nine o’clock at night, five days a week, and then on Saturday nine until five. I didn’t have a personal life for

about two years.” During this time, a judge at a Sydney eisteddfod commented on her lyrical, theatrical style, observing that she was “a European dancer”. It was a judgment that would prove to be prescient.

At age seventeen, Sherelle left her close-knit family in Newcastle and traveled to Europe, determined to win a place with one of the major dance companies. “I spent six weeks travelling around Europe, sleeping on trains and auditioning the next day,” she remembers. “Then I would sleep on a train to get to the next city.” With many of the world’s best young dancers making the same pilgrimage, the competition for places was fierce. “It is cut-throat,” Sherelle admits, “but if your approach is honest, you can’t be treated unfairly by others.”

Sherelle was offered a place with Bayerisches Staatsballett, the highly regarded Bavarian State Ballet, based in Munich. Over the next sixteen years she would rise through the corps de ballet to become principal dancer. She lived in an intensely emotional world, fraught with the ever-present risk of physical injury. “After a performance the adrenaline is pumping until three o’clock in the morning,” she says. “This is the

danger with dancers: they develop such a pain barrier that they work past injuries. I worked on a broken toe; you push your body beyond the limit.”

In 2005, Sherelle danced the leading role of the Marschallin in Graeme Murphy’s The Silver Rose, a character especially choreographed for her. Two years later, she retired from ballet. “I knew that I was at the peak of my game and I didn’t want to fall down the other side,” she says. “I didn’t want to have people saying ‘can she get off the stage now, please!’”.

Sherelle returned to Newcastle with her partner Joerg to a house bought unseen, and a job in human resources at the University of Newcastle. She is currently studying towards a management qualification and plans to continue with postgraduate study next year. Sherelle’s passion for dance remains undiminished; as well as mentoring principal ballerinas of the Australian Ballet in interpretation of the Marschallin, she adjudicates ballet competitions – including, in a twist of fate, the Sydney Eisteddfod, the competition that first inspired her European journey.

Sherelle Chargesherelle Charge inhabits the space around her like a fluidly moving sculpture; like many ballerinas, sherelle seems born to be in motion.

19

Liz McMinnGrowingupinacountrytown,shemarriedherboyfriend,andtheymovedtoaremoteminingtowninWesternAustraliafarfromfamilyandfriends.Itwasherethatherhusbandbecameviolent.TheyreturnedtoNewSouthWales,whereaconversationwithherdoctor,amanshetrusted,changedherlife.“Hesaid,‘ifyoustay,you’regoingtogetkilled.He’sgoingtobeingaol,andwho’sgoingtoraiseyourchildren?’”Lizpackedherbagsandleftwithhertwosmalldaughters.

“Ispentaboutsixyearsasasingleparent,”shesays.“Myself-esteemwasverylow.Ihadtobasicallyre-buildmylife,soIwaitressedandcleanedmotelrooms,justtogetbackonmyfeetfinancially.Atthattimenotmanywomenweredivorcedsoitwashardtoclimboutofthat.”Climboutofitshedid,though,graduallymovingintobetterpaidemploymentandslowlyre-assemblingthepiecesofherfragmentedsenseofself.Shewasfortunateenoughtomeetakind,lovingman,whomshemarried.

Despiteahappyfamilylifeandasupportivepartner,Lizstillfeltthatsomepartofherremainedfrozen,asifshewaslivingbehindawallofglass.“Irememberbeingonatrainandhearingpeopletalkaboutthebeautifulcountryside,andIcouldn’tseewhattheyweretalkingabout,”shesays.“Itfrustratedme:itwasjusttreesandcows.”Inherforties,duringaplane

flighttotheNorthernTerritory,Lizfeltsomethingshiftinsideher.“IlookedoutofthewindowandIcouldjustseeasunburntcountry,”sheremembers.“AndIfoundmycolour-it’stheonlywayIcandescribeit.Ihavealwaysthoughtofitintermsofhavingmycolourstolen.Lifewasalmostblackandwhite,andquitedetached.”Thechangewasprofound,itseffectsripplingthrougheveryaspectofherpersonalandprofessionallife.Inherwords,Liz“realisedthatImadelifehappen,ratherthanhaveithappentome.”

Liznowworkstomakesurethatpeoplefromlowsocio-economicstatuscommunitieshavethesameaccesstoeducationaseveryoneelse.Afewyearsago,shetookheryoungdaughterMegtoseeanexhibitionofEgyptianartefactsattheUniversityofSydney.TheirconversationwithMegthatdaywasthegenesisofagreatidea.“Whilewewerethere,sheturnedtomeandsaid‘youknow,Icanseemyselfhere’,”Lizremembers.“Hercommentwaslikealightgoingonforme.”LizrealisedthattakingMegtovisitauniversityhadeffectivelyturnedanintimidatingunknownintoapositive,concretereality.

Liztooktheideabacktohercolleagues,leadingtotheestablishmentoftheMEGS(MakingEducationalGoalsSustainable)program.MEGStakesyear6and7highschoolstudentstouniversity,vocationaleducationand

workplacesettings,threeyearsinarow,withafamilymember.“Thisprojectisaboutengaginglowsocio-economicstatusfamiliesandgivingthosestudents,atanearlyenoughstage,themotivationtoattainthelevelofeducationtheyneedtomoveintouniversityorvocationaleducation,”Lizexplains.“Orwhateverthey’dliketoachieve!”Atitsheart,MEGSisaboutempowerment:encouragingpeopletobelieveinthemselves,valuetheirlivesandembracenewchallengesandpossibilities.AsLizsoeloquentlydescribesit,it’saboutlivingincolour,notblackandwhite.

Liz McMinn’s story is one about power, and how it can be denied, abused or enabled. When Liz was a child, an extended family member abused her. For years she suffered the effects of somebody else’s crime, putting up a wall between herself and the world.

21

Duringthe1980s,PimpimonworkedasanurseattheheightoftheHIV/AIDSera,whichhitThailandhard;later,asaspecialistinmentalhealth,shewatchedtheglobal“epidemic”ofmentalillnessimpacthercountry’sill-preparedhealthsystem.AsapostgraduatestudentofuniversitiesinEnglandandAustralia,sheknewthathealthsystemsacrosstheworldwerestrugglingtocopewiththesameissues.“Projectsandideasrelatedtomentalhealtharenotwellsupported,”Pimpimonexplains.“Thishappensinmostcountries,butthesituationisworsefordevelopingcountries,andevenworseiftheprojecttargetspeoplewithchronicmentalillness.”

Theyoungestdaughterofalovingfamily,PimpimonwasborninThailand’sPhayaoprovince.Shesmilesassheremembershowpleasedherfamilywerewhenshesecuredalecturingpositionatanursingcollege“justfiveminutesdrivefromhome”andhowherfathercriedwhenshetoldhimthatshe’dwonagovernmentscholarshiptostudyabroad.“Hewassoproudofme,”shesays.“Sadly,hediedbeforemygraduation.”Alovedchildhaslittlefearoftheopenroad:Pimpimon’sfatherencouragedhertopursuehighereducationandgavehertheconfidencetostudyabroad.LikePimpimon’sunderstandingofmentalhealth,itwasarelationshipculturallyatoddswiththemainstream.

“Inmyculture,daughtersusedtoreceivelesseducationthansons,”Pimpimonexplains.“Mymothergrewupinaprivilegedfamilybutonlyreceivedabasiceducation.Thenshewassenttothetowntolearnhairdressing.Meanwhile,herbrothersweresenttoteachingcollegeinanothercityandbecameteachersinpublicschools.Mymothermarriedandbecameahousewife,andherlifedependedonherhusband.”

AftercompletingherMastersinAdvancedNursingintheUnitedKingdomandadoctorateinMentalHealthNursinginAustralia,PimpimonreturnedtoThailandwithafreshperspectiveonlocalhealthissues.Shewasdeterminedtoinitiatechangestothewaymentalhealthwasbeinghandledinhercommunity.Toherhorror,shediscoveredthatduringherabsenceteachinghoursforthementalhealthsegmentofthenursingcoursehadbeencut.“Thestudentsusedtospendsixorsevenweeksonthissegment,”shesays.“Now,onlyfourweeksareallocatedforamentalhealthplacement.Thisisinsadcontrasttothementalillnessepidemichappeninginthiscountry.”

Despiteherenergyandcommitment,Pimpimonsometimesexperiencesintensefrustrationinherprofessionalsphere.“Itissometimesexhaustingto

explaintopeoplethereasonswhyitisnecessarytoprovidehelpforthosewhoareatriskofmentalhealthproblems.Weurgentlyneedmoreresourcestopreventandcombatmentalhealthdisorders.”Shesmiles,lookingrathertired.“Therearen’tanymajorobstaclesinmypersonallife,butthereareconsiderableonesinmywork.”

Pimpimonworkstoovercometheseobstaclesthroughcollaborationandcommunication.Knowingthattheproblemofmentalhealthistoobigforjustonecountrytohandle,anddeterminedtoprovideleadershipinherown,Pimpimonrespondedbycreatinganinternationalunit,forminglinkswithnursinginstitutionsinJapan,TaiwanandAustralia.Astheonlylecturerwithanoverseasdoctorate,sheestablishedaninternationalvolunteerproject,aimingtoimprovethelanguageskillsofstaffandstudentsandbuildabroaderperspectiveonmentalhealthtreatment.Progressisslow,butsteady.Mentalhealthissuesmaythreatenhercountry,butPimpimonWongchaiyaisonewomanworkingtotrytostemthetide.

In her lifetime, Pimpimon Wongchaiya has seen three devastating waves break across her home country of thailand, only one of which— the 2004 tsunami—the world outside could see.

Pimpimon Wongchaiya

196

The WritersKatharine Gillett

KatharineGilletthasaPhDinCreative

WritingfromtheUniversityofNewcastle,

andabackgroundincommunity

publishingandculturaldevelopment.

Sheiscurrentlythecoordinatorofthe

NewcastlePoetryPrizeandin2011

willtakeupthepostofDirectorof

theHunterWriters’Centre.Shelives

inNewcastlewithherhusbandand

twochildren.

Helen Hopcroft

HelenHopcroftisanartistandwriter

whogrewuponinTasmaniaandnow

livesinNewcastle.Aftercompletinga

FineArtsdegreeattheCentreforthe

Arts,Hobart,shetravelledtoLondonto

completeaMastersdegreeinPainting

attheRoyalCollegeofArt,whereshe

sharedastudiowithartistDamienHirst.

Asuccessfulexhibitingartistwhohas

wonnumerousawards,Helenhas

writtenforCeramic Art & Perception

magazine,theAustraliannewspaper,the

Sydney Morning Herald,NAVA

Quarterly,unsweetened,ArtsHub.com

andvariousotheronlineorprintmedia

publications.Heleniscurrentlyworking

onacrimenovelsetinNewcastle.

Keryn stewart

KerynStewartisawriterandeditor

fromNewcastle,Australia.Sheholds

afirstclassHonoursdegreein

EnglishliteraturefromtheUniversity

ofNewcastle,withafocusonAustralian

literature,andhaspublishedworkin

anumberofscholarlypublications.

Shehasseveralyearsexperiencein

editingforonlineandprintpublications,

andaninterestincreativenon-fiction.

197

The PhotographersPhotographersparticipatedinthis

projectaspartofaWorkIntegrated

LearninginitiativeattheUniversityof

Newcastle.ThirdyearPhotomedia

studentswereinvitedtocollaborate

withprofessionalwriterstoproduce

portraitsofthewomenprofiled.

Theprojectprovidedstudentswith

theopportunitytointegratetheory

andpracticeinareal-lifesetting

aspartoftheirstudy.

Additionalphotographsweretaken

byUniversitystaffandformer

students.Inlinewiththeaims

oftheproject,thecontributing

photographersareallwomen.

Patricia Aguado

elaine Bull

Lanelle Lee Chin

sally-Ann Constable

Fiona Crane

Bree Cunningham

Fiona Galbraith

Justine Gaudry

eryca Judy Green

Michelle Groth

Kylie Harris

emily Hitchcock

Helen Hopcroft

Miranda Lawry

Fiona Lee

Renee Malby

Dominique Mathisen

Anna Morewood

sarah Morewood

Keren-suzanne nicholson

Gillean shaw

Alison smith

samantha Arnull thondavada

198

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199

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