In addition to appearing as the small figure of a woman in "A Golden Hour", Deborah Vernon Hackett was also the subject of a portrait, painted around 1908, again during Fuller's time in Perth. Anne Gray, the head of Australian art at the National Gallery of Australia, observed of Fuller's approach to the newspaperman's wife, that:Fuller portrayed her sitter sympathetically, capturing the young woman's grace and charm. But she also conveyed the complexity of the young Mrs Hackett's character through her soft, feminine, pale-blue dress counterpoised by the dramatic black hat and direct gaze. Fuller painted other works for the Hacketts. In a 1937 piece reflecting on early twentieth-century art in Western Australia, a reviewer recalled:Dr. (later Sir Winthrop) Hackett was a great patron of Miss Fuller, and he was a constant visitor to her dignified studio, above his office in the old West Australian Chambers. The first portrait I saw Miss Fuller working on was of Mrs. E. Chase ... The portrait was a commission from Dr. Hackett, and was destined to hang in his gallery. Miss Fuller painted Lady Hackett both before and after her marriage, and one particularly happy picture of her is as a young girl gathering wildflowers in the Darlington hills. Her portraits of the first Hackett babies were charming studies of childhood. Biographer Joan Kerr speculated that it may have been Jane Sutherland who introduced Fuller to Theosophy, a spiritual and mystical philosophy that teaches the unity of existence and emphasises the search for universal wisdom. Described by art historian Jenny McFarlane as "the most important counter-cultural organisation of the late nineteenth and early twentieth centuries", it was influential throughout Fuller's life. Fuller, one of numerous Australian artists who became theosophists, including Violet Teague, Vida Lahey and Ethel Carrick, joined the society in Perth on 29 May 1905, after hearing charismatic theosophist Charles Webster Leadbeater during his lecture tour. Bessie Rischbieth was a feminist who joined at the same time, and together they influenced the movement's development in early twentieth century Perth. Fuller was variously secretary, treasurer, and librarian of the local branch of the Theosophical Society. Fuller had a studio in Perth, first at St Georges Terrace and later in the premises of "The West Australian", and the Society used these for their meetings. In 1906 Fuller's portrait of feminist and theosophist Annie Besant was among the paintings exhibited at the West Australian Art Society's annual exhibition.