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Audio description
3 minutes 19 seconds
A larger than life portrait of Australian performer Deborah Mailman. 1.8m high x 1.5 wide An unframed canvas work suspended behind glass. The original work is recessed in a larger, dark wood frame. Deborah is seated on the ground, barefoot and cross legged. The canvas onto which she has been painted is repurposed wool-bale jute; coarse, careworn, stained and dimpled, perforated in places from use, it bears letters and numbers relative to its previous life.
In the top left, stencilled black letters DM, below it - CRT- adjacent to Deborah’s shoulder and almost halfway down the work, a nine digit batch number with a miniature map of Australia stamped in its centre. Continuing down, by her knee, the word WOOL upside down. In the bottom left corner Evert’s concertina-like signature. On the other side, above her knee also upside down CLASS 1A
The jute wall meets a similarly coloured floor.
Deborah sits with her arms behind her body, her weight resting on her bottom and her hands, torso straight, legs crossed.
Her dark curly hair is drawn away from her face, centre parted and a curl is escaping from behind her left ear. She isn’t wearing any jewellery. Deborah’s skin is golden brown. Her head is angled slightly, her right ear out of view. She has a high forehead, her brow offers the suggestion of a furrow rising from between dark, manicured eyebrows and dark eyes. An even, rounded, prominent nose above wide, full, red-painted lips. Her lush mouth is closed, the edges turned up leaving small, vertically angled creases where the corners of her mouth meet her otherwise creaseless cheeks. She is looking out, beyond us, her gaze unfocused.
She wears a long-sleeved kaftan, its collar rising to meet her rounded chin on her right, and sliding perilously close to falling off and down her left arm. An opalescent, rounded shoulder and the shadowed crevice of her collar bone bared to our gaze.
The robe’s deep V- neck hints at a braless cleavage, her lower body lost in the stiff folds of her white kaftan, its shade and texture contrasts dramatically; her smooth brown skin against the large, coarse, beige-and-tan jute squares behind.
Her right knee is exposed where the robe has been pushed back. The flesh of her thigh and shin are pressed together, the underside of her knee in shadow and the rest of her leg disappears into wild sea of material in her lap.
At her left bent knee, material falls a short distance to the floor and covers her shin, leaving only her left, arched foot exposed, toes relaxed.
It is a full-length kaftan, ending beyond her crossed legs, outlining her calf and shin in the material. On the floor in the bottom right, 7 letters, inclusive of S’s and N’s, it’s not clear what it says, letters splayed from her knee down her shin. At the bottom of the frame, on our left, the way light hits the tendons of her ankle gives the appearance of streak of golden body paint from her ankle to the bones of her foot.
Audio description written by Emma Bedford and Jody Holdback and voiced by Emma Bedford
The Gallery’s Acknowledgement of Country, and information on culturally sensitive and restricted content and the use of historic language in the collection can be found here.
oil on jute (frame: 178.0 cm x 148.0 cm, support: 167.0 cm x 137.0 cm)
Deborah Mailman AM (b. 1972), Bidjara and Māori (Ngāti Porou and Te Arawa) actor and singer, was in her early twenties when she co-devised and appeared in the one-woman stage show Seven Stages of Grieving, which was later staged in London. In 1998, for her performance in the film Radiance, she became the first Aboriginal woman to win Best Actress at the AFI Awards; five years later she was named the NAIDOC Person of the Year. In 2012, she won Best Lead Actress for her role in The Sapphires (2011) at the AACTA Awards. For Mabo (2012) and Redfern Now: Promise Me (2015), she won Most Outstanding Actress at the 2013 and 2016 Logies. In 2019 she starred in the ABC series Total Control, for which she won the AACTA Award for Best Lead Actor in a TV drama; the second series was filmed in 2021.
Evert Ploeg painted this work on a panel of jute which he sourced from an old wool bale located in the rafters of his barn-like studio. 'I needed someone who was earthy, Australian, and my mind just naturally went to Deborah.' In speaking about the portrait to the Sydney Morning Herald, Mailman said: 'I feel he has brought to light a deeper, more contemplative side of myself.' The work was a 1999 Archibald Prize finalist.
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