Using glass as a medium, Yhonnie Scarce makes art that testifies to the trauma enacted on Aboriginal people and communities. She speaks about travelling to memorial sites around the world and the importance of truth-telling. “I don’t like being lied to … They were setting off bombs, and they knew there were blackfullas around in that area, but they didn’t care.”

Building on her earlier works essaying colonialism and her experience as an Iranian migrant to Australia, photographer Hoda Afshar turned to presenting the humanity of the men detained on Manus Island. “Photography has turned into this whole trend of empty landscapes – no sign of human presence whatsoever, just traces of human beings. Traces of a tyre on asphalt, rubbish, leftover food, signs that say there were people here, but no human presence. It shocks me. I think, yes, it’s important to acknowledge the history of photography, how image-making has abused and manipulated narratives. We have to acknowledge the relationship between image-making and power. But to dismantle it is not to completely avoid that dialogue.”