[5] Since moving from the city to a more rural, sea-side location in 1996, and being a prolific photographer, her portfolio has expanded to include many recognized series from then to now focusing on the stories of people in the Eden and Pambula district in New South Wales.
Maddison's projects often speak of the ties-that-bind, offering the viewers glimpses into the daily lives and rituals of ordinary citizens within their homes and neighbourhoods.
[7] However, with the advancement of technology and the introduction of the modern prints, the practice of hand-colouring photographs lost its popularity until recent times where there has been a revival.
In 2015, the National Gallery of Victoria held an exhibition featuring works by various artists, including Maddison's, that celebrates the beauty of this medium.
In a 2015 interview by Estelle Pigot,[4] Maddison expresses her concerns for the news on public broadcasting channels, which she believes cause a drift in the community.
Some of her experimental works in 2009, belonging to a project called There is a time,[6] include: 'Dead to the world', inkjet print on cotton/silk fabric, found fabric flowers sewn with cotton thread, 'Coming to the Monaro', silent video loop, 'The day I left my garden #1 & #2', perspex, glass, wood, neon light, with pressed and dried flowers on paper and 'There is a time', 2009, archival pigment prints on 100% cotton rag.
In an article published by The Australian, 1983, "Abstract painters point the way to an improving economy", Sandra McGrath commented on Maddison's work in a group exhibition titled Survey 83 at the Watters Gallery in Sydney.
McGrath made an observation on the use of the technique of hand-colouring employed by Maddison, which is not to add glamour to the subject matter as commercial photographers often do, but to create a sense of surrealism and painting-like effect to the images.