Irvinebank Massacre

Award winning artist Jennifer Herd (Mbarbarrum people) is among the founding members of Queensland’s Indigenous arts collective, proppaNOW, along with fellow artists and activists Richard Bell and Vernon Ah Kee. Her creative practice began in installation, painting, and sculpture. Much of her work speaks directly to her background in fashion design by incorporating fabric, haberdashery, printmaking, and painting. She is well-known for the use of pin holes as a metaphor for bullet holes in works on paper. While her work is delicately poised, it is also politically charged. Her motivations are focused on truth telling and aim to shine a light on the history of frontier resistance particularly in the region of her mother’s Country in Far North Queensland.

"Shields were used by Aboriginal people in Far North Queensland to ward off the intruder, the enemy and invaders of the land. Shields were used as armour and weapons, to cover and safeguard in battle. The Aboriginal peoples of North Queensland, in a response to the invasion of their land, chose the shield as a symbolic representation of resistance. And because of the distinctive nature of North Queensland shields, this mode of defence was shown to be of no protection from the guns and bullets that were used against Aboriginal people.

The shield project traces my own connections to this Country and maps a history of conflict in the region over time. Sewing was one avenue by which I could fuse past experiences and skills as a costume designer into the act of making. It was a meaningful way to connect myself to the turbulent history of this country and my people. The work articulates an intense sense of disconnection that I have personally experienced, being born ‘out of Country’ and the effect that displacement has had on all Aboriginal people.

The work reflects my own personal perspectives concerning what might be a fitting memorial for the people of Far North Queensland. Articulated through this work is a firm connection to the land and culture, which remains the primary inspiration for many Urban Indigenous artists today. It is presented in a variety of media that demonstrate an understanding of the importance of recounting history from an Indigenous standpoint and reconnecting oneself with Country. The act of transforming these ideas into artistic work has afforded me a unique opportunity to acknowledge the strength of culture and traditions in a contemporary way. Against a variety of backdrops and variety of art traditions, the work informs us about the past, present and a vision for the future." (Jennifer Herd)

The Irvinebank Massacre occurred around 8pm on Saturday 18th October 1884. Four Aboriginal people including an elderly man ‘King Billy’, two women and a 6 year old girl were attacked at their camp. They were fired upon and murdered by Sub-Inspector William A. Nichols’ team of native mounted police. The incident was reported to authorities by John Moffat (a Scottish entrepreneur), and an investigation was launched. The evidence was overwhelming with multiple people reporting hearing firearms being discharged in the area. At the scene, shell casings, bullets lodged in surrounding trees, a partially burnt Aboriginal shield, spear, and woomera (spear thrower) were found alongside a gruesome scene of partially burnt, deceased Aboriginal persons. Nichols was stood-down from his duties as Sub-Inspector, but was discharged from accusations against him as an accessory to murder. The troopers were also discharged from custody a year later as no suitable interpreters could be found.