Aunty Marilyn Russell, Shellwork harbour bridge

Artist: Aunty Marilyn Russell
Title: Shellwork harbour bridge in red, blue, mauve, gold, and purple
Materials: Shells, glue, velvet, cardboard & glitter
Size: approx. 43.5 wide x 14.5cm tall x 8.5cm deep

Continuing the tradition of shellwork which has been handed down to her from her mother Esme Timbery, Marilyn Russell's work represents her connection to the past and a process of healing. Through these fine art objects, Marilyn keeps Bidjigal women's shellwork tradition alive. 

Tracing back to the early 1880s in the La Perouse area, Bidjigal women created similar items that were sold to tourists visiting the area. Prior to this time, Bidjigal people used seashells to make fish hooks, jewellery (for both men and women) as well as sacred objects. Marilyn is ensuring the longevity of this tradition by passing this practice and cultural knowledge to the next generation, just as her mother Esme did.

Originally established in the late 1800s, La Perouse remains one of Australia’s first Aboriginal missions, now deep in the heart of Australia’s biggest metropolis. 

After the bridge opened in 1932, its design appeared on wooden boomerangs crafted by local men, and women made individual models of the structure.

The sale of souvenirs at La Perouse was one of the main sources of income for First Nations people in the first half of the 20th century.

The tourist industry declined at La Perouse in the 1960s when the tram service and tourist ferry ceased operations. At the same time, First Nations souvenir makers had trouble competing with mass-produced items.

https://australian.museum/blog/science/the-sydney-harbour-bridge-and-the-aboriginal-shellworkers-of-la-perouse/