For curator Madeline Gordon, the connection between mothers and daughters is a powerful source of inspiration and creativity. “This bond, shaped by shared experiences and generational knowledge, frequently finds its way into artistic expression,” she says. “Whether through writing, painting, sculpture, or other mediums, the complexities and nuances of their connection offer rich material for exploration and reflection.”
To explore how these familial bonds might influence creativity, Gordon has brought together three pairs of creative mothers and daughters—Genevieve de Couvreur and Bertie Blackman, Margie and Katie Stackhouse, and Peggy and Sue Pedley. “For some, art becomes a language through which they communicate, bridging generational gaps or expressing emotions that can be difficult to voice. Collaborations may reveal influences and techniques passed down or adapted, as well as themes of identity, heritage and transformation.
Even when working independently, daughters may echo their mothers’ themes or styles, either as homage or as a way of processing and redefining inherited narratives.”
In the collaborative installation Threads of Light (2025), Tasmanian artist Peggy Pedley has created a series of abstract stitched woollen tapestries that reflect her lifelong love of colour and pattern, while her daughter Sue exhibits cyanotypes made from plants gathered while tending her mother’s summer garden. Here, the connection of creativity between mother and daughter speaks softly of unconditional nurturing and quiet growth, both personal and creative.
As Gordon explains, it is a common thread that extends across the exhibition. “The resulting works not only showcase individual talents but also illuminate the ways familial relationships can shape and enrich artistic voice and vision. This dynamic ensures their art remains deeply personal, often resonating powerfully with audiences through themes of love, struggle and the ongoing dialogue between generations.”
Generational
Madeline Gordon Gallery
5 November—29 November
This article was originally published in the November/December 2025 print edition of Art Guide Australia.
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