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Nameless depicts the consequences of a policy designed to break the spirit of innocent women and force them to do things that they would otherwise find unimaginable. It is a depiction of a crime against women and the Nameless victims of the Border-Industrial Complex.

All the refugees detained in Nauru are kept there indefinitely. They are never told when, or even if, they will ever leave. There is no way to leave, to reach freedom. Abortions are illegal in Nauru and the Australian Government only permits refugee women to be transferred to Australia for an abortion after five months into a woman's pregnancy.

These women were trying to reach freedom, and the price was that their babies will be forever Nameless. They were collateral damage to suit their unapologetic strategy of Nameless dehumanization. The men making the decisions in the Australian Government were in control of these women's bodies.

My painting is a culmination of my feelings about this crime. The woman is a broken woman. She is walking toward and going to Australia. The baby inside her is scared, it's bent over and crying. I feel that Nameless does not like this dirty world. A monster's profile is in front of the baby, like he's going to swallow it. The monster is the Australian Government, a symbol I use in many of my paintings. The monster's teeth extend into the woman's hair, because she has been infected by the monster, and her actions are from a poisoned mind. I cannot judge her. I can't blame her, but l wish she could be given the antidote for the monster's venomous bite.


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