List of works

Shima Gholami and Adrian Potter Milete-Tsega Ogbalidet and Lisa Furno Masuma Akther and Kay Lawrence Bottom row left to right SUN , 2013 Lamp #1, 2013 Basha/Home, 2012/13 Masuma Akther, Chittagong rock maple, walnut, fret-work, carving palm leaves, cotton, beads, copper shim, Kantha embroidery, cotton cloth (mushrooms and snails), 2012, 210mm and inlay jump rings and aluminium and cotton thread h x 260mm w 1100mm h x 980mm w x 75mm d 180mm h x 360mm diam 950mm h x 2680mm w Masuma Akther, Chittagong (sheter shokal / winter morning), 2013, 285mm Oluwole Oginni and Simone Tippett Milete-Tsega Ogbalidet and Lisa Furno Top row left to right h x 360mm w Adire (Indigo Songs), 2013 Lamp #2, 2013 Kay Lawrence, Uraidla oval (summer), Kay Lawrence, Uraidla oval (magpies), batik, tie-dye, natural and synthetic bamboo, galvanised iron, enamel 2013, 150mm h x 150mm w 2013, 460mm h x 460mm w indigo, hand stitching and cotton Kay Lawrence, Uraidla oval (grass), Masuma Akther, Chittagong (gram 2100mm h x 2100mm w 290mm h x 280mm diam 2013, 280mm h x 230mm w bangla / village of bangladesh), 2012, Masuma Akther, Chittagong (shapla / 370mm h x 610mm w Oluwole Oginni and Simone Tippett Lady Narvaez Peñaloza and waterlily), 2012, 230mm h x 270mm w Masuma Akther, Chittagong (ma / Ripple (Indigo Songs), 2012 Jelina Haines Kay Lawrence, Uraidla oval (autumn), mother), 2013, 210mm h x 260mm w relief woodcuts printed on Fabriano Wildlife Hand Felted Mola, 2013 2012, 390mm h x 440mm w Masuma Akther, Chittagong (moyur / Rosapina paper Australian fine merino wool, black Kay Lawrence, Uraidla oval (sign), 2013, peacock), 2012, 160mm h 230mm w 900mm h x 2140mm w button and cotton thread 260mm h x 340mm w 1960mm h x 670mm w Kay Lawrence, Uraidla oval (produce), 2013, 160mm h x 160mm w Lady Narvaez Peñaloza and Jelina Haines 1 River – 2 Cultures Tapestry, 2013 mixed media 690mm h x 1300mm w The Third Space: Acknowledgments Craftsouth: intercultural crafting backing creative professionals Level 1, 38 Hindley Street Adelaide, South Australia 5000 T +618 8410 1822 E [email protected] W www.craftsouth.org.au

Catalogue design: Imogen Landau Design

This project has been supported by the Government of South Australia through Arts SA, the Australian Government through the Copyright © 2013. All rights reserved. Australia Council, its arts funding and advisory body, and the Visual Arts and Craft Strategy, an initiative of the Australian, State and Copyright for all completed works of Territory Governments, Multicultural SA, the Textiles Studio of the School of Art, Architecture and Design at the University of South art in this publication resides with the Australia, History SA, the Oral History Association of Australia - South Australian Branch, Next Byte Glenunga and the City of Charles Sturt. artist. Copyright for the photographic images is held by the photographer. Cover image: Shima Gholami and Adrian Potter, SUN , 2013 Copyright for written content resides with the individual authors or Craftsouth. Left page (clockwise from top left): Milete-Tsega Ogbalidet and Lisa Furno, Lamp #2, 2013; Masuma Akther and Kay Lawrence, No part of this publication my be Basha/Home (detail), 2012/2013; Lady Narvaez Peñaloza and Jelina Haines, Wildlife Hand Felted Mola, 2013; Oluwole Oginni reproduced, stored in retrieval system and Simone Tippett, Adire (Indigo Songs), 2013 or transmitted in any form or by any means without the prior permission All photography: Grant Hancock of the publisher, Craftsouth. The Third Space: intercultural crafting

The Third Space: intercultural crafting is an exhibition of new work resulting from creative partnerships between five culturally and linguistically diverse craftspeople and five South Australian artists. Commencing in May 2012, these partnerships offered participants the opportunity to work together, exchanging skills and expertise through the creation of new work.

The exhibition is an extension of Craftsouth’s three-year Traditional Craft Skills Workshop program Lady Narvaez Peñaloza (Colombian string bags Milete-Tsega Ogbalidet (Eritrean basketry) Shima Gholami (Iranian wooden inlay) Oluwole Oginni (Nigerian indigo dying) Masuma Akther (Bangladeshi quilt embroidery) that provides opportunities for craftspeople new to and molas) and Jelina Haines (textiles/fibre) and Lisa Furno (jeweller) and Adrian Potter (wood worker) and Simone Tippett (printmaker) and Kay Lawrence (textiles) Australia, in particular refugees, to share their skills Lady Narvaez Peñaloza learnt weaving (fish trap making) from Milete-Tsega Ogbalidet, from She often uses unconventional Shima Gholami moved from Iran Based on the elegant geometry Originally from Nigeria, Oluwole water, and sees many parallels Traditionally, Kantha embroideries Their collaboration draws on the and cultural background with the wider community to make Colombian mochilas her adopted grandmother. Central Eritrea, learnt to weave found and discarded materials to Adelaide in 2009 to pursue her of vintage harp guitars, Oginni’s artistic gifts were in the way water moves and the were made by women in Bengal traditions of Kantha, translated (bags) from natural fique fibre Being an older sister caring for the graphic, colourful designs of combined with toys, fabric, Doctorate in Australian Studies. these musical instruments noticed and encouraged from way people come together, mix from recycled household textiles. into the context of their lives in while reconnecting with and celebrating their string when she was a child. Her her siblings in a rural community Eritrean baskets from her mother metals, thread, paper and wood She holds a Masters and a are precursors of Potter’s later, a young age. He began his art and grow. She is a swimmer and Worn lengths of cloth were Australia. Each artist has used traditional craft practices. grandmother learnt these skills in the Philippines, she also had and other family members when while experimenting with the Bachelor of Arts from Azad more ambitious woodwork and career as an apprentice in the occasional surfer. To her, water stitched together with running scraps of left-over cloth to stitch from her mother which she then to learn to make other practical she was a child. The baskets are visual aesthetics of colour, University in Tehran, specialising furniture. In more recent work workshop of a renowned textile is a universal amniotic that stitch to make durable quilts, or images of Basha/Home. While passed down to her daughters. products which were traded in the woven out of brightly coloured repetition and movement. She in the traditional arts and crafts he has explored a dialogue artist, focusing on batik and soothes, nourishes and inspires. embroidered with symbolic motifs Kantha embroideries often Workshops have included Iranian wooden inlay and Later in life, Lady learnt the markets or swapped for food. wools wrapped around plant takes pleasure in the reactions of Iran. She learnt the fine art of between form, function tie-die. In Nigeria the art of to mark life cycle occasions. combine many images on one embroidery, Nigerian indigo dyeing, Bangladeshi traditional forms of molas from fibre and are primarily used her work elicits, especially when Persian illumination in her youth and concept. indigo dying is kept secret and When Simone became a regular Masuma Akther learnt to cloth, these embroideries have quilt embroidery, Sudanese beading, molas of an indigenous woman in Panama. Their collaborative works were for the storage and serving of observers are not always sure in the 1990s and wooden inlay passed between generations. participant in Oluwole’s Nigerian embroider from her mother in been stitched separately and While the experience led to new motivated by interest in food and as decorative objects. what the ‘lovely’ neckpiece by respected master craftsperson Shima and Adrian set out to Oluwole’s knowledge of the indigo workshops with Craftsouth, Bangladesh before training to grouped on the wall to create Colombia, Afghan embroidery, Eritrean basket developments in her craft practice acknowledging the multi- Since moving to Australia in they are looking at once was. Soleiman Saeidabadi and make an object that combined process grew out of supporting they discovered a synchronicity be a teacher and completing a a combined story of the weaving and Middle Eastern knotted rug weaving. it was also tinged with sadness cultural diversity of Australia 2003, Milete, who also runs a practiced both on a professional their skills and diverse back- the dyers who supplied the with the meaning and flow that Master’s degree in Botany. After importance of ‘home’ in their as many of the indigenous and the traditional customs of catering business and has been Both Milete and Lisa approached level in her home country. grounds. The fret-work was textile artists in the region. water and indigo symbolize for migrating to Australia with her lives. Masuma has stitched traditions are disappearing. their distinct but interrelated a leader within the community their partnership with the adapted from a carpet design each of them. Indigo Songs family, the Traditional Craft Skills traditional Kantha motifs like Craftsouth values the importance of facilitating cultures (both Lady and Jelina’s of Eritrean women in Adelaide, desire to move away from the Adrian Potter is a designer- that Shima worked on whilst Simone Tippett is an Adelaide is an exploration of the strength Project run by Craftsouth enabled the lotus and the peacock, creative projects that result in new connections Jelina Haines migrated to heritage share the influence of has taught her traditional skills familiar and try something maker and artist whose work studying at University and artist who works with a variety and nature of indigo, reflecting her to teach her embroidery as well as her memories of with diverse communities. We are proud to see this Australia in 1997 from the Spanish occupation). Their through Craftsouth’s program new. Combining their skills, most often takes the form of incorporates many traditional of printmaking processes. Her the influence of both their skills, along with a sense of their Bangladeshi village life. Kay’s Philippines. She is of Austronesian, work incorporates culturally of workshops. they experimented with natural furniture. He is also recognised Persian motifs representing passion is learning and sharing Nigerian and Australian cultural context, to groups of stitched cloths are centred on exhibition tour to Prospect Gallery, Art Images and Spanish and Malay-Filipino significant figurative images, materials to create lampshades for his public art, examples of animals, plants and flowers. at a grass-roots level, working heritage through the use of women in Adelaide. This is the Uraidla oval, just down the Murray Bridge Regional Gallery and thank them for descent. She specializes in the motifs, colours, shapes and Lisa Furno is a relentless collector with a handmade aesthetic. which can be seen in and with traditional craftspeople, traditional Nigerian Yoruba where she met Kay Lawrence road from her home. Ovals are working with us to showcase the results of this field of textile and fibre art, environmental elements and whose studio is full of found around Adelaide. A meticulous contemporary practitioners, designs and new processes. and taught her to embroider. often the centre of community weaving, costume design, demonstrates their shared belief objects from various jaunts to craftsman, with a background in emerging artists and the Adire means unity in diversity Kay also trained as an art life in Australian country towns, highly successful and culturally significant project. printmaking, art management, in the importance of maintaining far away places that inspire her. mechanical engineering, Potter general community. She runs and is a literal and metaphorical teacher before developing a but they are also places where We hope this exposure will promote an ongoing cataloguing and the preservation their respective cultural Roaming the world is essential began making furniture after a weekly printmaking class at reflection of their creative distinguished career as an art magpies forage and grasses interest in the Traditional Craft Skills Workshop of historical records for which identities and connection to the to the health of her practice and producing a series of guitars Union St Studios and worked for collaboration. educator and artist working flourish in spots that the she has been academically countries they call home while allows her to glean the vibrancy early in his career (1988-1990). many years at local swimming with a range of textile media. mower can’t reach. program and extend the audience of these trained. Like Lady, Jelina was reflecting their new place in of people, places and cultures. pools. She is fascinated by established and emerging artists and their work. taught traditional Filipino today’s world.