Abstract This article focuses upon homes and domestic textile traditions as sites where disavowed settler colonial pasts linger. Through art practice, I dwell upon ancestral home-making traditions to investigate my inherited “genealogical ghostscapes” and to acknowledge how ghosting traditions pass along generationally. In specific art works from my 2017 exhibition, Domestic Arts, I scrutinize domestic matter to reveal how since 1838 family members have recalibrated regions of South Australia with imported rhythms and patterns of home-based labor, including making and maintaining comforting textiles. These familiar materialities become the conduit to recognizing the unsettling truths of settling. Overall, it is the use of time-consuming and repetitive methods, similar to those worked by ancestors on their home-fronts, that has become a means of conjuring an embodied way of understanding my settler colonial ancestry. The transfiguring of settler colonial textile traditions into works of art becomes a collective form of protest that invokes an unsettling strategy of recognition. This truth-telling is directed towards not only the under-scrutinized home-making labors of women, but also the ongoing legacies of whiteness and privilege that continue to deny pasts and continue to have repercussions in Australia today.

中文翻译：

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令人不安的安顿真相：家纺中的幽灵

摘要 本文重点关注家庭和家庭纺织传统，这些传统是被否认的殖民者殖民历史挥之不去的地方。通过艺术实践，我专注于祖传的家政传统，以调查我继承的“家谱幽灵”，并承认幽灵传统是如何代代相传的。在我 2017 年展览“家庭艺术”的特定艺术作品中，我仔细审视了家庭事务，以揭示自 1838 年以来，家庭成员如何以进口的家庭劳动节奏和模式重新调整南澳大利亚地区，包括制作和维护舒适的纺织品。这些熟悉的物质成为认识令人不安的定居真相的渠道。总体而言，这是使用耗时且重复的方法，类似于祖先在他们的家中工作的方法，这已成为一种方式，使人能够以一种具体的方式来理解我的定居者的殖民血统。将殖民者殖民纺织传统转变为艺术作品成为一种集体抗议形式，引发了令人不安的承认策略。这种实话实说不仅针对女性未经过充分审查的家务劳动，而且针对持续否认过去并在今天继续在澳大利亚产生影响的白人和特权的持续遗产。