Rumours of True Things continues Vaughan’s ongoing process-based investigations in how we sense, feel and experience the natural world around us. In this immersive installation of works, Vaughan examines the fleeting life cycles of local flowers and grasses, rendering their ephemeral states in permanent forms. These works vary in scale between the macro and micro – from dioramic assemblage works Vaughan titled third hands, to large bud-like forms cast in fibreglass, and hand-whittled wooden compositions. Elements of this exhibition were informed by Vaughan’s recent research into the colonial and historical displays of flora, such as the cuttings and pressings at herbaria, centres of botanical discovery and research. Such records are inherently extractive, albeit also educational. Taking inspiration from the specificity and precision of archival, conservationist methodologies, this work presents a more cacophonous and entangled nature, where conceptions of any singular specimen in isolation are cast aside. Informed by this research, Vaughan playfully de-stabilises traditional museological methods of display, placing her works on and alongside a series of recycled and deconstructed plinths, highlighting the waste inherent in exhibition deinstallation, and the gap between how plants are experienced in an organic, natural environment, and how they are displayed institutionally; in a rarefied, rigid and hierarchical manner. Rumours of True Things serves as an enveloping environment, drawing connections between desire, perspective and value in how we conceive of our local ecologies and the fragile ephemerality of our world.