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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

Fiona McMonagle

Born: 1977, Letterkenny, Ireland
Works: Melbourne

Fiona McMonagle
Video: 5 minutes

Artist statement

Under Britain’s child migrant scheme – operating from the 1920s through to the late 1960s – over 130,000 children were forcibly sent to ‘a better life’ in former colonies, mainly Australia and Canada. Many were children of single mothers who had been forced to give them up for adoption, or had left them temporarily in British orphanages until they were fit to reclaim them.

The deception on the part of the British and Australian governments has only recently come to light. Instead of being given a better life in Australia, the children – whose ages ranged from three to fourteen – were sent to remote farms and state orphanages where they were put to work. They endured years of hard labour, with many subjected to physical and sexual abuse. They were lied to, often being told their parents had died or had disowned them. Parents were also misled, with those who returned to orphanages to reclaim their children rebuffed with various heartrending responses: that they had been given better lives; that they had been given to wealthier British families; that they should just forget them.

1The Scheme (5 works on calico - Girl 2), 2018. 2The Scheme (5 works on calico - Boy 3), 2018. 3The Scheme (5 works on calico - Boy 1), 2018. All by Fiona McMonagle.

In this body of work, The Scheme, I have portrayed five children, all dressed up in new clobber, smiles on their faces, preparing to embark on a journey to a better land. Originally made from paintings using ink on paper, the images were then enlarged and printed on calico using the halftone process. The choice of calico was a deliberate one, as I feel that it gives the works an aged aesthetic. The large scale is a product of some consideration, too – not just in terms of its initial impact, but to create a poster or banner effect, as though these children, full of hope and excitement, are an advertisement for the scheme itself.

1The Scheme (5 works on calico - Girl 1), 2018. 2The Scheme (5 works on calico - Boy 2), 2018. Both by Fiona McMonagle.

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Fiona McMonagle

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Marilyn Ball, Albatross, 2018 (detail) by Linde Ivimey

So Fine

Contemporary women artists make Australian history

Previous exhibition, 2018

This exhibition features new works from ten women artists reinterpreting and reimagining elements of Australian history, enriching the contemporary narrative around Australia’s history and biography, reflecting the tradition of storytelling in our country.

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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.