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Sins Against Sovereignty - Envy
2026
2 AP, Edition of 10
560mm x 380mm
Silk screen print on somerset
Sins Against Sovereignty series sits inside a body of work titled Propagammin Propaganda that explores the (NOT SO) Deadly Sins and begins with: Envy.
Sins Against Sovereignty - Envy responds to CIAF’s 2026 theme Reclamation & Regeneration by confronting ongoing attempts to claim, distort, or diminish First Nations sovereignty.
This work centres Pauline Hanson, whose public statements about First Nations people and in particular her claim of being “Indigenous” or “native to the land” embody the entitlement and envy that continue to shape national discourse.
This work exposes the desire to possess what was never ceded, revealing how colonial narratives still try to occupy our cultural, political and creative spaces.
Through this piece, there is a reclamation of that space. Presence, authority and continuity are asserted. Reclamation is both resistance and regeneration, a re-centering of Blak voices, Blak histories and our right to define ourselves on our own terms.
Clea North is a proud Mithika and Gunggari woman living and working on Gubbi Gubbi Country.
Art has been a passion for Clea from a very young age, though for much of her life her creative practice remained personal — a form of therapeutic self-care rather than something she pursued professionally. She is now creating and sharing her work with broader audiences.
Having dedicated her career to education as a First Nations teacher, Clea extends this commitment through her art, using her creative practice to share culture, knowledge and stories with others.
Sins Against Sovereignty - Envy
2026
2 AP, Edition of 10
560mm x 380mm
Silk screen print on somerset
Sins Against Sovereignty series sits inside a body of work titled Propagammin Propaganda that explores the (NOT SO) Deadly Sins and begins with: Envy.
Sins Against Sovereignty - Envy responds to CIAF’s 2026 theme Reclamation & Regeneration by confronting ongoing attempts to claim, distort, or diminish First Nations sovereignty.
This work centres Pauline Hanson, whose public statements about First Nations people and in particular her claim of being “Indigenous” or “native to the land” embody the entitlement and envy that continue to shape national discourse.
This work exposes the desire to possess what was never ceded, revealing how colonial narratives still try to occupy our cultural, political and creative spaces.
Through this piece, there is a reclamation of that space. Presence, authority and continuity are asserted. Reclamation is both resistance and regeneration, a re-centering of Blak voices, Blak histories and our right to define ourselves on our own terms.
Clea North is a proud Mithika and Gunggari woman living and working on Gubbi Gubbi Country.
Art has been a passion for Clea from a very young age, though for much of her life her creative practice remained personal — a form of therapeutic self-care rather than something she pursued professionally. She is now creating and sharing her work with broader audiences.
Having dedicated her career to education as a First Nations teacher, Clea extends this commitment through her art, using her creative practice to share culture, knowledge and stories with others.
