Interview
Artist Interview: Stacey Edwards & Thelma Beeton
Exploring Culture and Identity: An Interview with Stacey Edwards and Thelma Beeton Over the past month, Creative Spaces had the pleasure of visiting artists Stacey Edwards and Thelma Beeton at their studio in Boyd Studios to explore their creative processes and inspirations. Recently awarded a 12-month residency, Stacey and Thelma are two extraordinary Indigenous artists who bring unique styles and rich cultural histories to their work. Through their art, they delve into themes of identity, heritage, and healing. As they embark on this exciting new chapter, we spoke with them about their artistic journeys, sources of inspiration, and their goals for the residency.
Stacey Edwards: Reclaiming Culture Through Art
Stacey Edwards’ art is a deeply personal exploration of identity and healing. Her connection to the Taungurung and Boonwurrung peoples stretches back six generations, but as the grandchild of the Stolen Generation, much of her cultural heritage was lost along the way.
“Growing up, I didn’t have the cultural connections I wanted,” Stacey shares. “My grandfather and his siblings were removed under the Aboriginal Protection Board, so traditional language and customs weren’t passed down to me. It’s been a long process of trying to reconnect with my roots.
Her breakthrough came when she met an Elder while working at the Koorie Heritage Trust.
“It was like a light bulb went off,” Stacey recalls. “I realised my art didn’t have to follow the traditional dot painting style—it could be something more personal to me, something tied to my own history and culture.”
This realisation led her to the diamond patterns that now feature prominently in her work, inspired by traditional shields and artefacts from South-Eastern Australia.
“Finding the diamond patterns felt like coming home,” Stacey says. “It was a healing process. Instead of focusing on the trauma and loss from the past, I was able to embrace my culture in a new way.”
Stacey’s creative process is organic and intuitive.
“I usually start with a colour—it’s all about how I’m feeling in that moment,” she explains. “From there, the diamonds take shape, and the piece starts to come alive. It’s all very instinctive.”
Her use of bold, bright colours and strong geometric patterns reflects her family and her connection to her Country.
“My family is bold and vibrant, and that comes out in my work,” she says. “I feel like I’m capturing that energy, as well as the healing power of reconnecting with my culture.”
Stacey’s art isn’t just about personal healing—it’s also about addressing the larger issues facing Indigenous people today.
“I use my work to highlight the ongoing struggles for Indigenous rights and the challenges that Indigenous women face, particularly in the justice system,” she explains. “Art is a powerful way to start conversations about these issues.”
During her time at Boyd Studios, Stacey is excited to focus more on the professional side of her art.
“This residency gives me the time and space to take my practice more seriously,” she says. “I’m hoping to explore new mediums, like lino printing, and really dive deeper into my work.”
Looking to the future, Stacey sees her art evolving even further.
“I imagine my work eventually moving into the digital world, through prints and licensing. I’m excited to see where this journey takes me,” she shares.
Thelma Beeton: Bringing the Spirit of the Tasmanian Emu to Life
For Thelma Beeton, her connection to her totem, the Tasmanian Emu, is at the core of her art. Her family history is deeply tied to Cape Barren Island and the Palawa people, and the Tasmanian Emu has become a symbol of her heritage, guiding her artistic practice.
“The Tasmanian Emu is like a spirit guide to me,” Thelma explains. “It’s what gives my art focus and purpose. Almost everything I paint revolves around the emu, and it helps me stay grounded in my work.”
Thelma’s journey as an artist started early. Growing up in Swan Hill, Victoria, she was introduced to art through school competitions and cultural activities.
“My first painting was when I was nine, for an Aboriginal art competition,” she recalls. “It was a picture of a river, trees, a kangaroo, and an emu. That painting ended up being exhibited in the Melbourne Museum, and it’s still there today.”
Despite starting her career as a graffiti artist, Thelma’s work has evolved to include bold, primary-coloured backgrounds and 2D depictions of emus.
“The graffiti influence is still there, though,” she admits. “I use a lot of bright, multi-coloured backgrounds and cartoonish styles in my paintings. It’s part of who I am as an artist.”
Recently, Thelma has started incorporating landscapes into her work, drawing inspiration from her memories of family outings.
“I like to paint what I know,” she says. “For example, I’ve started painting beach landscapes because they remind me of trips I took with my Auntie. It’s all very personal.”
Thelma’s art also serves as a way to teach others about her culture and heritage.
“I hope that by visiting my exhibitions, people will learn about the Tasmanian Emu and Palawa culture,” she says. “I want to show them that there’s so much more to learn about our history and traditions.”
One particularly powerful moment in Thelma’s career was her participation in the ‘Dark Mofo’ festival in Tasmania.
“During the festival, an emu egg was found on the beach—something that hadn’t happened in 200 years. People said that because I paint the Tasmanian Emu, I’d brought its spirit back. It was a really emotional experience, and it was on the news. People were crying—it was incredible.”
At Boyd Studios, Thelma is focused on creating as much work as possible for her upcoming exhibitions.
“I’ve got an exhibition at Fitzroy Library from April to July, and another one at Seventh Gallery in September,” she shares. “I’m also excited to experiment with new materials, like clay and plaster. My dream is to create a giant emu sculpture one day—a million-dollar emu!”
Looking Ahead: New Beginnings at Boyd Studios
As they settle into their residency at Boyd Studios, both Stacey Edwards and Thelma Beeton are filled with excitement for what the next 12 months will bring. For Stacey, it’s a chance to dive deeper into her exploration of identity and healing through art, while Thelma is focused on expanding her artistic horizons and working towards her dream projects.
Despite their different styles and backgrounds, both artists share a passion for storytelling and preserving their cultural heritage. Through their art, they hope to inspire others and continue conversations about identity, healing, and Indigenous rights.
The next year at Boyd Studios promises to be a period of growth and creative exploration for Stacey and Thelma, and we can’t wait to see the incredible work they’ll produce.
