Go behind-the-scenes as Keith Wikmunea's 'Lots of White Cockatoo' is conserved

Thu 23 Jul 2026

When the acquisition Theewith Yot. A! | Lots of White Cockatoo 2024 by artist Keith Wikumena arrived at QAGOMA it was packed in a very large wooden crate, wrapped in bubble wrap plastic after being on display and then in storage.

The artwork is made from Milkwood which are native trees of the genus Alstonia (like the Northern Milkwood, Alstonia actinophylla) known for their thick, corky bark and milky white sap. These cyclone-resistant trees grow across northern Australia and the Cape York Peninsula and this tree was harvested locally by the artist.

The first step after it arrived was for it to undergo freezing treatment as part of the Gallery’s IPM program to eliminate any risk of insect activity which is a risk for untreated non-commercial wood components. After the treatment was complete, the work was unwrapped and the tree component was found to be heavily affected by an array of different coloured mould, most likely due to being wrapped in plastic for a period while it was stored and shipped. Untreated wood that has not been kiln dried is at a higher risk of mould growth due to the higher moisture content in the wood. Fortunately the accompanying bird sculptures were unaffected.

The mould affected artwork

Cleaning was safely undertaken in a well-ventilated area using PP&E to remove the mould and the surface sprayed with an 80:20 solution of ethanol:water to kill any remaining spores. Testing was undertaken to determine if the mould staining in the paint could be removed however this was unsuccessful so it was time to move onto other more drastic options which would require consultation with the artist.

Removing the mould & paint from Keith Wikumena’s tree Theewith Yot. A! | Lots of White Cockatoo

Discussions with Curatorial staff and the artist resulted in a plan for the paint to be removed and then the artist would travel to Brisbane from his home in Aurukun, Far North Queensland to repaint the tree. The strategy of removing the paint also minimised any risk of remaining microscopic mould spores reactivating at a later date. The paint was removed and then hand sanded to ensure the natural undulations in the timber were not compromised.

Another preventive conservation task was to provide a custom crating system that would allow the tree to be stored and moved safely.

Custom crating system prepared for Keith Wikumena’s tree Theewith Yot. A! | Lots of White Cockatoo

Keith Wikumena preparing white & rust ochres to repaint Theewith Yot. A! | Lots of White Cockatoo

Once the artist was onsite at QAGOMA for the repainting, we met with him and talked about his process for collecting the wood, preparing it and details about the materials used in his paint which are recorded in the Gallery’s database for future generations.

Watch Wikumena install and repaint Theewith Yot. A! | Lots of White Cockatoo in the Queensland Art Gallery Foyer as he talks us through the creation of the sculpture.

Keith Wikmunea repaints Theewith Yot. A! | Lots of White Cockatoo

Keith Wikmunea Theewith Yot. A! | Lots of White Cockatoo 2024

Liz Chapman is Conservator (Sculpture), QAGOMA

On display in Great and Small: Kindred Creatures in Indigenous Australian Art
21 June 2025 – 3 May 2027
Queensland Art Gallery
Galleries 1 & 2 (Dr Paul Eliadis AM Galleries)

Queensland Art Gallery | Gallery of Modern Art (QAGOMA)
Brisbane, Australia