Jenna Lee is a Gulumerridjin (Larrakia), Wardaman and Karajarri Saltwater woman with Japanese, Chinese, Filipino and Anglo-Australian ancestry. Based in Naarm (Melbourne), all aspects of her cultural identity inform her arts practice as she explores language, materiality, and the transformation of inherited narratives.
'Growth After the Fire' explores themes of resilience, and renewal, as Jenna represents the intricate cycles of destruction and regeneration that define both the natural world and our inner landscapes. This body of work is shaped by the duality of fire—its destructive power, yet crucial role in fostering new beginnings and growth.
Installed in the Town Square Vitrine Gallery along Fish Lane, the public instalment of the artworks enables a connection to the wider community as Jenna creates a tribute to the wisdom of fire-adapted landscapes, a metaphor for the enduring strength of First Nations peoples.
Jenna's chosen medium is paper from the book 'Aboriginal Words and Place Names' by A.W Reed which attempts to capture the Aboriginal language without the consideration of diversity amongst Aboriginal people. Reed fails to acknowledge the connection between language and lineage as most of the words are listed without correlation to a specific language group.
The ignorance of this anthropological attempt becomes the main material within 'Growth After Fire' as Jenna uses the pages of the book to construct sculptural artworks allowing new narratives to emerge.
Her woven Grass trees form a core motif representative of her ongoing artistic practice. The tree itself requires fire for healthy growth which connects to Indigenous knowledge of land and fire management. The other word for Grass trees, ‘Black Boys’, speaks to the intersection between language, environment and culture.
The small installation of pigment jars contain burnt remnants of Reed’s flawed book as Jenna symbolises the reclamation of language. Each jar is labeled with the Gulumerridjin word for fire, ‘Guyu-Gwa’, offering new meanings within the journey of relearning language. The use of burnt books speaks to the erasure of knowledge and stories, yet also reflects the resilience of narrative and memory. The artistic process of each letter being punched onto a label represents the ritual of practice and memorisation during this learning process.
Jenna further explores this relationship between language and regeneration through fire as she burns specific language words onto paper. She has also removed the unprovenanced words, a gesture to return those words to their respective Countries through the smoke emitted. The only worlds left remaining are to do with the labelling and description of ancestral material culture. These words include ‘balarr’ (light), ‘belpbela’ (firestick), ‘irribuk’ (to light/lighter) as well as the repetition of the word ‘guyu-gwa’ (fire).
Jenna’s new work 'Loose Leaf (litter)', is representative of the build up of the highly combustible Eucalyptus leaf litter. These leaves symbolise the strength and endurance of Country, with the pages of Reed’s book cut into the shape of Darwin Woolybutt leaves. Depicted not only for their connection to Gulumerridjin country, but also for the multi-use functionality as the leaves are scattered amongst fallen branches ready to combust, further contextualising these fire-adapted landscapes.
'Growth After the Fire' inspires a deeper understanding of the regenerative power of both nature and spirit, highlighting the journey of resilience and renewal. By drawing a parallel between the cycles of destruction and growth in nature and within ourselves, Jenna’s installation along Fish Lane discusses the wisdom of fire-adapted landscapes and honours the enduring strength of First Nations peoples. The installation encourages audiences to reflect on how both destruction and renewal play a part in shaping who we are, and the world around us.
Edited by Makayla Dass, 2025.
