ABOUT

Fiona Kelly McGregor is a Sydney author and performance artist. She writes novels, essays, articles and reviews, most of which can be accessed here. Since 1993, she has published seven books, most recently Buried not Dead.

Published by Giramondo in 2021, Buried not Dead is a collection of essays focussed mainly on performance and Sydney, featuring long form artist profiles of Mike Parr, Latai Taumoepeau, and Bev Nicholas (Cindy Ray) to name a few, as well as memoir, history and accounts of Sydney’s queer performance culture going back 30 years. In 2022, Picador will publish the first in a duet of novels based on the life of Iris Webber, petty criminal active in Sydney’s sly-grog era during the 1930s-1950s.

Fiona’s latest novel, Indelible Ink won Age Book of the Year and was shortlisted for several other awards. It was published in the UK by Atlantic, and in French translation by Actes-Sud. Fiona’s travel memoir Strange Museums can be purchased here. All her previous books won or were shortlisted for prizes, including the Steele Rudd Award for Suck My Toes which has been re-issued by Scribe as an ebook entitled Dirt, along with Au Pair.

Fiona is also known for an extensive repertoire of performance art. Beginning with collaborations at queer dance parties and cultural events in the 1990s, she moved to a solo practice in 2007. Her most recent performance work was the 2020 photographic series Moving Masks done in response to the onset of Covid-19.

From 2008-2011 she created the multidisciplinary Water Series, exploring the fundamental substance of water in the context of rising sea levels, environmental degradation in Australia, and the human body. Group shows include ‘Performance Presence/Video Time’ and ‘Same River Twice’ at Australian Experimental Art Foundation. In 2016, McGregor performed with USA artist Sheree Rose as part of ‘The Patient’, curated by Bec Dean at UNSW Galleries.

Fiona has lived and worked on Borogegal, Birrabirragal and Gadigal land for most of her life. She pays her respects to the traditional owners of these places – part of the Guringai and of the Eora/Darug nations – past, present and emerging.