Irene was born in Australia. So why did she need this certificate to return home?

Irene Law, born in Australia in 1900 under the name Lucy Maud Lem Cue, found herself at the center of a historical debate decades after her death. Her story, recently brought to light through an art installation by Peter Drew, highlights the complexities of identity and belonging in Australia’s colonial past. The controversy stems from a certificate she once held, which allowed her to return to Australia without facing the dictation test, a requirement imposed under the Immigration Restriction Act 1900, part of the broader White Australia policy. Steven Law, Irene’s grandson, recalled seeing a faded photograph of his grandmother in his family’s home in Northcote, Melbourne. The image depicted Irene in a stylish hat and scarf, embodying the elegance and poise associated with her. “Irene was an elegant woman; she was well spoken, well dressed. That was how we knew her,” Steven told SBS Chinese. For generations, the family had little knowledge of Irene’s early life, until the discovery of her inclusion in Drew’s Aussie poster series. Drew’s artwork, featuring archival photos from the National Archives of Australia, includes individuals who applied for exemption certificates from the dictation test. These certificates enabled non-European residents who had already lived in Australia to leave temporarily and return without undergoing the test. The process required applicants to prove they were of good character and provide written references. Irene, whose birth name suggests a non-European origin, likely needed such a certificate to return to Australia after a period abroad. Christina Law, Steven’s sister, was deeply moved upon learning that her grandmother would be featured in the series. “I was really overwhelmed and quite teary when I saw that nanna had been included in this series,” she told SBS Chinese. The emotional response underscores the personal connection many Australians feel to the legacy of the White Australia policy and its impact on families. Since 2016, Drew’s posters have sparked both admiration and outrage. Some viewers have attempted to deface the works, adding slogans questioning national identity or challenging the notion of who qualifies as “Australian.” Others have tried to remove the posters entirely, reflecting ongoing tensions around race and belonging. In response, Drew has continued to install and replace the artworks, demonstrating his commitment to preserving the historical record. When asked whether the word “Aussie” on his posters is a statement or a question, Drew acknowledged the ambiguity. “In some ways, the posters have a double meaning because the first way to read it is that the person in the poster is Aussie, and that's a celebration of them being Australian,” he explained. “But in another way, the poster is also saying that the White Australia policy is Aussie, and that's something that we don’t celebrate. So, there is a paradox because those two things are conflicting with each other.” For Steven and Christina, the posters have opened a window into a previously hidden chapter of their family’s history. They learned that Irene, despite being born in Australia, faced barriers that many Australians today take for granted. The revelation has prompted deeper conversations about heritage, migration, and the evolving definition of Australian identity. As the debate continues, the story of Irene Law serves as a reminder of the complex narratives that shape national identity. Her journey, from birth in Australia to navigating the constraints of colonial policies, illustrates the enduring struggle for recognition and rights among marginalized communities. The ongoing discussions surrounding Drew’s work suggest that these issues remain relevant, even as Australia moves toward greater inclusivity.