Miranda Hampson
“Aboriginal and Torres Strait Islander people should be aware that this interview contains names of deceased persons”.
Miranda Hampson is of Aboriginal descent (Anaiwan), she is recognised as part of the Aboriginal community at Uralla and is currently practicing on Dharawal Country. Her work is grounded in creating works based on the human experience with the aesthetics that connect her to her childhood, nature and culture. Most recently, Miranda’s work has received the major prize in the Best of City and Country Art 2024, and has been a finalist in the National Emerging Art Prize, Meroogal Women’s Art Prize, Fishers Ghost Art Award, Northern Beaches Art Prize, LEDA Art Prize, National Contemporary Art Prize and Goulburn Art Award.
Miranda, your practice intricately explores themes ranging from control to abandonment and trauma. Given your deep connection to nature and cultural heritage, how do you balance the portrayal of such intense human experiences with the tranquility and continuity that nature often symbolizes in your work?
By creating art, emotions can be externalised, opening the door to processing our experiences. Elements in nature also contribute to processing emotions by rewiring the brain and rebalancing hormones. Whilst exploring themes such as trauma and control I like to portray an uplifting spiritscape as a representation of the human spirit’s resilience but also to find the beauty in anguish. For example, the ocean does not stay the same and is constantly changing. This multi sensory nature of responding to movement of waves and being immersed in the ocean activates our entire sensory system at a cellular level. We all can relate to the human experience and how we react with the natural elements.
In your artistic narrative, you weave together personal trauma with broader cultural and historical elements. How do you navigate the interplay between personal stories and the collective histories of the Gumbaynggirr and Anaiwan people, particularly in your approach to themes like past lives and perceived mistakes?
As a First Nations person, the exchange between my personal trauma and broader cultural elements in my works, to some degree, reveals the impacts of colonisation on our way of life, how people are treated and the health of Country. Whilst I express my narrative as an individual, there are a number of shared connections experienced by First Nations people, framed by common themes including kin, Country and the importance of place. Being an Anaiwan woman, with a background in cultural heritage management and archaeology, I aim to paint a landscape of Country that creates a new dialogue about how we move forward as First Nations people in all of our diversity.
You've mentioned that both your grandmothers were artists and that art has been a therapeutic outlet for you, particularly in dealing with trauma. Can you elaborate on how the process of creating art has functioned as a form of healing or transformation for you? How do you envision your art aiding in the healing processes of your audience?
My practice is classed as ‘contemporary Aboriginal art’ and is appropriate through my own lineage and through the teachings by my Anaiwan grandmother but also influenced by my upbringing and the human experience. Art is a way of allowing emotions to complete their natural cycle, whether you are making or viewing.The intent behind my work is deeply personal but many can relate to trauma and the influence of nature. I like to leave room for interpretation in order to provide the viewer with an opportunity to connect. For example, my painting FREN.ZI was about experiencing a state of excitement and confusion whilst having to compete with those who want the same thing. This work resonated deeply with its collector as they felt like it conveyed their journey of receiving a long awaited ADHD diagnosis in adulthood.
As an Aboriginal woman, how do you find the contemporary art world receptive to the themes and perspectives you present, especially those rooted in Indigenous experiences and wisdom? What challenges have you faced in this regard, and how have you addressed them?
Art is a powerful medium that can speak to all walks of life. As an Aboriginal artist, art is one way I express my cultural views, values and experiences, however I also have the ability to articulate universal thoughts and experiences that connect with a wide range of individuals. Each mark has meaning through using symbolism and repetition in order to pick up subtle contrasts and nuances. When it comes to Aboriginal art, you are looking at the underlying ideas that arise from Country, ceremony and about peoples connections and obligations to Country. For example, in the work I mentioned earlier, ‘A Cool Burn’, I used the aesthetics inherent of cool burning, a sustainable traditional fire management technique. I was involved in many cultural burns in my time with National Parks. In my practice, I need to be able to recognise myself whilst honouring my culture. In saying that, I have received feedback that, for some, my works can be confronting. They look beautiful aesthetically and then the artist statement can really throw people. Usually these works are the ones based on the multi-generational trauma events and associated health impacts of Aboriginal people. But that just tells me that it’s even more imperative to initiate these conversations and challenge peoples thinking. There must be a balance though as if I focus on my ‘audience’ too much I lose sight of what my practice is really about. Processing life events is painful but, in turn, can be beautiful. It’s an act we do for ourselves.
The theme of ‘mental load’ is central to your upcoming exhibition. Could you discuss how this theme influences your creative process? How do you manage the mental load that comes with juggling multiple complex themes, especially when they are so closely tied to your personal experiences?
I had to stop caring what people think of me. I am using my practice to share some really raw emotions and experiences but also to put my hand up and take responsibility. I am known as a ‘people pleaser’ always wanting to accomplish things, feel validated and liked. Now I am in the mindset of “I wonder what would happen if I just told my truth and laid it all bare for everyone to see”. It feels like a sense of freedom. There are times when I have emotional meltdowns when I am painting and feel the need phone a friend. My work, ‘Yvonne’ is about the memories I have of my grandmother, a fellow artist, and is a good example of feeling all of the feels. ‘Yvonne’ ended up being a finalist in the 2024 National Emerging Art Prize in Australia. In my work “Burned” I painted a bushfire with Joan Crawford’s quote “Love is a fire. But whether it’s going to warm your hearth or burn down your house, you can never tell". I painted this piece to process the decision to leave an unhappy marriage for an alcoholic who lived in the Blue Mountains. I went out of the proverbial frying pan and into the fire. I resented this decision wholeheartedly. Bushfires can have negative connotations for people, however they are one of natures cleansing acts and that’s how I felt when I painted this.
With themes like control, sabotage, and moral dilemmas at the forefront of your exhibition, how do you tackle the ethical considerations of representing such issues? What responsibility do you feel as an artist in handling these themes sensitively and impactfully?
We all live in and engage with the world every day, inherent of that, are motivational and uplifting themes alongside those of abandonment, control and abuse. The ethics of emotion and trauma in art are complex. Therefore I remain authentic in my practice and, in turn, take into consideration how my art is created and how it's viewed. Rather than initiating a trauma response or seeking sympathy, I aim to come from a place of empowerment and strength. My work ‘A Cool Burn’ which was a Finalist in the Goulburn Art Awards, celebrates the admirable quality of courage, which is driven by conviction and determination and contrasts it with the negative behaviour of bullying which often relies on manipulation and coercion. This work contributed to identifying and breaking this relationship pattern and the constant self abandonment. I continuously navigate the delicate balance between expressing personal experiences with trauma and the narratives of others who are experiencing and/or healing from trauma.
Having studied Parks, Recreation, and Heritage with a focus on applied science, how does this background influence your artistic vision? Does this scientific perspective inform the way you conceptualize themes like uncertainty and anxiety in your work?
Growing up and identifying as a Anaiwan woman and observing our Elders such as Uncle Les Townsend*, shaped the person who I wished to become. He was a leader in the community and played an essential role in preserving, promoting, and passing down knowledge, beliefs, and practices for the betterment of generations to come. From a very young age I was exposed to First Nations traditional ecological knowledge and connection and naturally gravitated towards roles with the NSW National Parks and Wildlife Service, the Environment Protection Authority and Heritage NSW. I believe my upbringing, a degree in Photography and Applied Science and accompanying career choices have shaped my creative output as it stems from the inspiration from my Elders and community. This is my way of giving back and contributing. For example, in the work I mentioned earlier, ‘A Cool Burn’, a painting about narcissism, I used the aesthetics inherent of cool burning, a sustainable traditional fire management technique. I was involved in many cultural burns in my time with National Parks.
You've shared that your grandmothers were both artists. How do their influences surface in your work, both technically and thematically? Do you see your art as a continuation of their legacy or as a departure towards new interpretations of similar themes?
My Anaiwan grandmother (on my mother’s side) is a painter, and is still painting to this day. I can say she was definitely responsible for everything I know about art and painting. When I was struggling in my school years, we set a goal to create a portfolio for my Higher School Certificate with the potential to make it into Art Express. We each created a series of water lily paintings. Some were created using the traditional characteristics and meaning inherent in Aboriginal art, some were abstract and some had a whimsical ‘Monet’ sense about them. I didn’t make it into Art Express, however having this time with my grandmother and learning from her has proved to be invaluable. It’s interesting watching my grandmother, to this day, continue to learn and build on her art practice. She likes to try new things and this reminds me that I am still on a journey of learning and discovery. My other grandmother (on my father’s side) was my absolute rock and was the only emotional available person in the family. As mentioned earlier, my painting ‘Yvonne’ was a tribute to her and the beautiful memories she left with us as well as her artistic talent which runs through the family. She saw beauty in the simple things. I feel as no matter where my practice takes me, their influence will continue to guide me.
Looking beyond your 2025 exhibition, what themes or projects are you aspiring to explore next? How do you anticipate your artistic direction evolving in the future, especially in light of the recognition you've gained as a finalist in the Australian National Contemporary Art Prize 2024?
In 2024 I was a finalist in 8 Art Prizes in Australia and from that I picked up gallery representation through Leighton Contemporary as well as numerous exhibition opportunities within Australia and abroad. I now aim to continue cultivating my practice and focus on elements such as curation and refinement. I am currently receiving mentorship from writer and curator, Amber Creswell Bell which will contribute to where I take things next!