Open, Doorway Catalogue

OPEN,Wuurran DOORWAY In loving memory of Aunty Pat Dacey and Virginia Kaiser

Your laughter, knowledge and presence are missed OPEN,Wuurran DOORWAY Exhibition Dates 15 December 2012 - 3 February 2013 Exhibition curated by Melanie Evans

Wagga Wagga Art Gallery Home of the National Art Glass Collection Wagga Wagga Civic Centre, cnr. Baylis & Morrow Sts PO Box 20, Wagga Wagga NSW 2650 Telephone: 02 6926 9660 Fax: 02 6926 9669 Email: [email protected] Web: www.wagga.nsw.gov.au/gallery

Edited by Melanie Evans Designed by Blair Doherty at Snap Wagga Wagga

ISBN: 0-9592153-0-1

Cover image: Lorraine Tye, Sun hat (detail) 2012, ra!a, emu feathers Photo by Drew Halyday

Wagga Wagga Art Gallery is assisted by the NSW Government through Arts NSW contentsCONTENTS

4 Foreword - Melanie Evans

6 In/Visible - Julie Montgarrett

8 Artist Works

26 Artist Information

29 Artwork List

31 Acknowledgements FOREWORD

Wuurran is the Wiradjuriforeword word for open or doorway. In bringing together this exhibition I have teased out Aunty Gail Manderson presents cultural arts programs in two local primary schools. Her contemporary further possibilities within this idea – to be receptive, to allow others to see into your world, or to be the weaving practice is taught to the next generation along with other craft activities. Aunty Gail has been a active participant in walking through a doorway opening up to new opportunities. prolific maker since she began to learn weaving in early 2010, bringing out a marvellous ability to learn new styles of weaving and adapting them to create her own work in over two hundred objects. Her latest This exhibition reveals a small part of the immense talent, sense of humour and depth within our Aboriginal interest has come from workshops she attended in Wollongong, surrounding the resurgence of making community here in Wagga Wagga, a resettlement area for many Aboriginal families within Wiradjuri possum skin cloaks. “When I put the possum skin cloak on, I can’t describe how I felt, but I was at peace. I Country. Through print, sculpture and fibre art, Wuurran gives a unique insight into our past, where our would like to make a number of cloaks for my own cultural purposes within my community as well as shared history connects us all. Wuurran allows the audience to see the importance of looking back and making a community cloak, used by Elders.” Gail Manderson, 2012 learning what is necessary to rebuild our cultural identity, our sense of belonging and our relationships with families and community. Another artist who has developed a highly diverse arts practice is Aunty Lorraine Tye. Wagga Wagga City Council this year hosted the Ngiyaginya Aboriginal Festival in which Aunty Lorraine, with the assistance of Many of the artists in the group have been involved with the Hands on Weavers (HOW Group), and its her family, created a lean-to painted on the underside with poker-work of animals from the region and predecessor, ‘Wingadhan Waggadha Waybarra: Women of Wagga Weaving’ (the WoWW Project), which was from her travels. Her knotted and looped animals reference Australian wildlife and capture the playfulness an outreach program facilitated by Wagga Wagga Art Gallery. As the members of the HOW Group and their of her journeys of discovery. “My love for animals comes from my yearning for connection to Country. extended families developed their arts practice, they have also embarked upon significant expansion and Because I grew up in the Royal Far West Homes, away from Country, life was void of experiences such as empowerment, with programs presented throughout the community – from cultural arts practice in fishing down the river or sitting by a campfire with family. The way I have found how to reconnect is primary schools, to art programs in correctional facilities. through animals and using natural products or found objects whenever possible. I didn’t concisely choose ‘Colourful Dreaming/Shine for Kids’ is a cultural program at the Junee Correctional Facility, under the the animal; it just came to be through the making process, similar to my baskets.” Lorraine Tye 2012 tutelage of Aunty Kath Withers, a Wiradjuri Elder. The program was established to encourage imprisoned Wuurran represents part of a continuum in the resurgence of traditionally based cultural craft and art fathers and their children to experience connection, expansion of thought and experience through the practices in Wagga Wagga and the Riverina. It also showcases reconciliation at a local and personal level, wonderful world of the arts. It has also been instrumental in bringing the men in the program to a place featuring several recent migrants and non-Aboriginal artists who have assisted and collaborated together. where their self confidence can be lifted. Many of the men involved in ‘Colourful Dreaming’ are now At the heart of Wuurran is the idea of ‘yalbalinya ngurra’, working side by side. All artists within this employed by the Correctional Centre in a range of roles. exhibition are open to a reconnection with Country and each other, and are searching for a place in the Aunty Kath has also significantly developed her own prints and installation work, in particular her embossed now, together. animals. These intimately executed prints represent totemic designs, and by the very process of their Melanie Evans - Curator, Wuurran creation they appear as ghosts, subtly searching for historic connection. These sit alongside other etchings that reference her weaving, based on the research of institutional collections and stories of historical and contemporary fibre art. “I weave from the heart and let my spirit Ancestors guide me.” Kath Withers, 2010

4 FOREWORD

WuurranWuurran is the Wiradjuri is the Wiradjuri word for word open for or open doorway. or doorway. In bringing In bringing together together this exhibition this exhibition I have teasedI have teasedout out Aunty GailAunty Manderson Gail Manderson presents presents cultural cultural arts programs arts programs in two localin two primary local primary schools. schools. Her contemporary Her contemporary further furtherpossibilities possibilities within thiswithin idea this – ideato be – receptive, to be receptive, to allow to others allow othersto see intoto see your into world, your orworld, to be or the to be the weavingweaving practice practice is taught is taughtto the nextto the generation next generation along with along other with craft other activities. craft activities. Aunty GailAunty has Gail been has a been a active participantactive participant in walking in walking through through a doorway a doorway opening opening up to new up to opportunities. new opportunities. prolificprolific maker sincemaker she since began she tobegan learn to weaving learn weaving in early in 2010, early bringing 2010, bringing out a marvellous out a marvellous ability toability learn to new learn new styles ofstyles weaving of weaving and adapting and adapting them to them create to hercreate own her work own in work over intwo over hundred two hundred objects. objects. Her latest Her latest This exhibitionThis exhibition reveals reveals a small a part small of partthe immenseof the immense talent, sensetalent, of sense humour of humour and depth and withindepth ourwithin Aboriginal our Aboriginal interestinterest has come has fromcome workshops from workshops she attended she attended in Wollongong, in Wollongong, surrounding surrounding the resurgence the resurgence of making of making communitycommunity here in here Wagga in WaggaWagga, Wagga, a resettlement a resettlement area for area many for Aboriginal many Aboriginal families families within Wiradjuriwithin Wiradjuri possumpossum skin cloaks. skin cloaks.“When “WhenI put the I put possum the possum skin cloak skin on, cloak I can’t on, describeI can’t describe how I felt, how but I felt, I was but at I waspeace. at peace.I I Country.Country. Through Through print, sculpture print, sculpture and fibre and art, fibre Wuurran art, Wuurran gives a givesunique a unique insight insightinto our into past, our where past, ourwhere our would likewould to makelike to a make number a number of cloaks of cloaksfor my forown my cultural own cultural purposes purposes within mywithin community my community as well asas well as shared sharedhistory historyconnects connects us all. Wuurran us all. Wuurran allows allowsthe audience the audience to see theto see importance the importance of looking of looking back and back and makingmaking a community a community cloak, usedcloak, by used Elders.” by Elders.” Gail Manderson, Gail Manderson, 2012 2012 learninglearning what is what necessary is necessary to rebuild to rebuild our cultural our cultural identity, identity, our sense our of sense belonging of belonging and our and relationships our relationships with with familiesfamilies and community. and community. AnotherAnother artist who artist has who developed has developed a highly a diversehighly diverse arts practice arts practice is Aunty is LorraineAunty Lorraine Tye. Wagga Tye. WaggaWagga WaggaCity City CouncilCouncil this year this hosted year hosted the Ngiyaginya the Ngiyaginya Aboriginal Aboriginal Festival Festival in which in Auntywhich Lorraine,Aunty Lorraine, with the with assistance the assistance of of Many ofMany the artistsof the inartists the group in the havegroup been have involved been involved with the with Hands the Handson Weavers on Weavers (HOW Group),(HOW Group), and its and its her family,her family,created created a lean-to a lean-to painted painted on the onunderside the underside with poker-work with poker-work of animals of animals from the from region the regionand and predecessor,predecessor, ‘Wingadhan ‘Wingadhan Waggadha Waggadha Waybarra: Waybarra: Women Women of Wagga of WaggaWeaving’ Weaving’ (the WoWW (the WoWW Project), Project), which waswhich was from herfrom travels. her travels. Her knotted Her knotted and looped and looped animals animals reference reference Australian Australian wildlife wildlife and capture and capture the playfulness the playfulness an outreachan outreach program program facilitated facilitated by Wagga by WaggaWagga WaggaArt Gallery. Art Gallery. As the membersAs the members of the HOWof the Group HOW Groupand their and their of her journeysof her journeys of discovery. of discovery. “My love “My for love animals for animals comes comesfrom my from yearning my yearning for connection for connection to Country. to Country. extendedextended families families developed developed their arts their practice, arts practice, they have they also have embarked also embarked upon significant upon significant expansion expansion and and BecauseBecause I grew upI grew in the up Royal in the Far Royal West Far Homes, West Homes, away from away Country, from Country, life was life void was of void experiences of experiences such as such as empowerment,empowerment, with programs with programs presented presented throughout throughout the community the community – from – cultural from cultural arts practice arts practice in in fishing fishingdown thedown river the or river sitting or bysitting a campfire by a campfire with family. with family.The way The I have way foundI have howfound to how reconnect to reconnect is is primaryprimary schools, schools, to art programs to art programs in correctional in correctional facilities. facilities. throughthrough animals animals and using and natural using natural products products or found or objectsfound objects whenever whenever possible. possible. I didn’t Iconcisely didn’t concisely choose choose ‘Colourful‘Colourful Dreaming/Shine Dreaming/Shine for Kids’ for is Kids’a cultural is a cultural program program at the Juneeat the CorrectionalJunee Correctional Facility, Facility, under theunder the the animal;the animal; it just came it just to came be through to be through the making the making process, process, similar similarto my baskets.”to my baskets.” Lorraine Lorraine Tye 2012 Tye 2012 tutelagetutelage of Aunty of KathAunty Withers, Kath Withers, a Wiradjuri a Wiradjuri Elder. The Elder. program The program was established was established to encourage to encourage imprisoned imprisoned WuurranWuurran represents represents part of parta continuum of a continuum in the resurgence in the resurgence of traditionally of traditionally based culturalbased cultural craft and craft art and art fathers fathersand their and children their children to experience to experience connection, connection, expansion expansion of thought of thought and experience and experience through through the the practicespractices in Wagga in WaggaWagga Waggaand the and Riverina. the Riverina. It also showcasesIt also showcases reconciliation reconciliation at a local at aand local personal and personal level, level, wonderfulwonderful world ofworld the arts.of the It hasarts. also It has been also instrumental been instrumental in bringing in bringing the men the in men the program in the program to a place to a place featuringfeaturing several several recent recentmigrants migrants and non-Aboriginal and non-Aboriginal artists whoartists have who assisted have assisted and collaborated and collaborated together. together. where theirwhere self their confidence self confidence can be canlifted. be Many lifted. of Many the menof the involved men involved in ‘Colourful in ‘Colourful Dreaming’ Dreaming’ are now are now At the heartAt the of heart Wuurran of Wuurran is the idea is the of idea‘yalbalinya of ‘yalbalinya ngurra’, ngurra’, working working side by side side. by All side. artists All withinartists thiswithin this employedemployed by the Correctionalby the Correctional Centre Centrein a range in a ofrange roles. of roles. exhibitionexhibition are open are to open a reconnection to a reconnection with Country with Country and each and other, each andother, are and searching are searching for a place for a in place the in the Aunty KathAunty has Kath also has significantly also significantly developed developed her own her prints own and prints installation and installation work, in work, particular in particular her embossed her embossed now, together.now, together. animals.animals. These intimatelyThese intimately executed executed prints represent prints represent totemic totemic designs, designs, and by andthe veryby the process very process of their of their MelanieMelanie Evans - Evans Curator, - Curator, Wuurran Wuurran creationcreation they appear they appearas ghosts, as ghosts, subtly searchingsubtly searching for historic for historic connection. connection. These sitThese alongside sit alongside other etchings other etchings that referencethat reference her weaving, her weaving, based onbased the onresearch the research of institutional of institutional collections collections and stories and storiesof historical of historical and and contemporarycontemporary fibre art. fibre “I weave art. “I weavefrom the from heart the and heart let andmy spiritlet my Ancestors spirit Ancestors guide me.” guide Kath me.” Withers, Kath Withers, 2010 2010

4 5 IN/VISIBLE MENDING in/A visiblebasket begins with a circle of thread and a bundle of reeds,mending sometimes sea-grass, ra"a or paper twine. Research has shown that both enriched and impoverished environments have a psychological and physical Materials change by circumstance but the circle remains. A needle eye carries the supple, resilient e!ect upon us. Our sense of well-being and resilience are immediately a!ected as our brain responds to thread-line again and again through that space between, across place and time. Two hands hold focus certain experiences and places. A deep and focussed involvement can change the way we look at things, a close and thoughts entwine. Memory, presence and purpose across deep and shallow time towards a change that can create quiet but valuable di!erence in our perception as it alters and refocuses our cultural renewal. awareness, allowing us to be relaxed and alert at the same time. A close focus on making, takes attention away from the relentless chatter and worries in our minds. Even better, if that making has a resonance in John McPhee,1 in trying to fathom the extraordinary age of the earth speaks of deep time. His words deep time with generations past. suggest a time of starlight and carbon dust so distant from us as to be almost incomprehensible. But through the rocks and fossils of our ancient fragile continent especially, that past is certainly with us. In Djon Mundine wrote in 2002, that ’references to cultural tradition and artistic statements of identity are contrast, shallow time suggests recent time – of beings in living memory, the here and now; the recent needed as never before’. He believes that art-objects play a critical role: ‘In indigenous society, art objects past. Between this deep and shallow time is a layered, complex, entwined space of beginnings and endings; are made as a form of communication with the world outside. This gesture of communication is in e!ect a of myth and story and generation upon generation across country threading through the living space of statement of identity within a world in a state of ﬂux, as well as a redeﬁnition within Aboriginal society, and culture and clan. in relation to the ‘outside’ world, a re-statement of who we are.’ 4

These baskets and woven forms are vital to the process of shaping and sustaining meanings of culture and It is a great privilege to participate in the making of the baskets – to learn, to listen and begin to understand identity of the first Australians. They are also a vital part of a process of repair; toward an invisible mending the vitality of a kind of in/visible mending. To witness, first hand, cultural renewal against the odds, through of culture disrupted and community damaged by brutality and grief. Aunty Lorraine Tye, Wiradjuri Elder said, perseverance, joy and much laughter. As Aunty Patsy Cameron observed, ‘The baskets tell the story of our “I started weaving when I was a kid at the Royal Far West Children's Home in Sydney. I have kept on with all survival. Our precious tradition continues.’ 5 sorts of craft over the years. I have learnt the looping technique and make animals - crabs, yabbies, turtles, Julie Montgarrett - 2012 fish, lizards. The ideas just pop into my head and it's just what I am comfortable with. All my family are into craft and they are my best critiques. I can get completely lost in it and I hate it when I have to miss out on 1. John McPhee’s theories quoted in Stephen Happel, Deep time and Shallow time, Metaphors for Conflict and Cooperation in the the Monday sessions and the ladies’ company. I would like to keep on going with the weaving and make an Natural Sciences. The European Legacy: Toward new Paradigms. Vol 1, Issue 5, 1996. http://www.tandfonline.com/doi/abs/10.1080/10848779608579638 income from it and hope that I am still weaving when I am 90, as I fully intend to be around then.” 2 2. Aunty Lorraine Tye, (2011) HOW - Hands on Weavers group, Wagga Wagga Oral History Recording, Riverina Community College. Sitting in company again, encircled like makers past – this is you, this is us, making in country and Edited by Lawrence 'Loddi' Whitmore community. The space between encloses and comforts. Julie Gough, Curator of Tayenebe and Tasmanian 3. Julie Gough, (2009) Tayenebe: Tasmanian Aboriginal Women’s fibre work, Tasmanian Museum and Art Gallery catalogue, p. 14 Aboriginal artist, writes of weavers of the past and of the present making work which, ‘was also a means to 4. Djon Mundine, (2002) Between two worlds, Art Monthly Australia 150 pp. 25-26 pass on and continue traditions: older women could teach the younger, stories could be shared. The 5. Aunty Patsy Cameron, Tasmanian Aboriginal academic and author of (2010) Grease and Ochre: the Blending of Two cultures at the hidden or almost forgotten comes forth when remembered in hand with objects.’ 3 Colonial Sea Frontier. Fullers Bookshop, Hobart.

6 IN/VISIBLE MENDING

A basketA visiblebasketbegins beginswith a circlewith a of circle thread of threadand a bundle and a bundle of reeds, of sometimesreeds,mending sometimes sea-grass, sea-grass, ra"a or ra paper"a or twine.paper twine. ResearchResearch has shown has shownthat both that enriched both enriched and impoverished and impoverished environments environments have a havepsychological a psychological and physical and physical MaterialsMaterials change change by circumstance by circumstance but the but circle the remains. circle remains. A needle A needleeye carries eye carriesthe supple, the supple, resilient resilient e!ect upone!ect us. upon Our us. sense Our of sense well-being of well-being and resilience and resilience are immediately are immediately a!ected a! asected our brainas our responds brain responds to to thread-linethread-line again and again again and through again through that space that between,space between, across acrossplace and place time. and Two time. hands Two holdhands focus hold focus certaincertain experiences experiences and places. and places. A deep A and deep focussed and focussed involvement involvement can change can change the way the we way look we at lookthings, at things,a a close andclose thoughts and thoughts entwine. entwine. Memory, Memory, presence presence and purpose and purpose across acrossdeep and deep shallow and shallow time towards time towards a a changechange that can that create can quietcreate but quiet valuable but valuable di!erence di!erence in our perceptionin our perception as it alters as it and alters refocuses and refocuses our our culturalcultural renewal. renewal. awareness,awareness, allowing allowing us to be us relaxed to be relaxed and alert and at alertthe sameat the time. same A time. close A focus close on focus making, on making, takes attention takes attention away fromaway the from relentless the relentless chatter chatter and worries and worries in our minds.in our minds.Even better, Even better,if that makingif that making has a resonance has a resonance in in John McPhee,John McPhee,1 in trying1 in totrying fathom to fathom the extraordinary the extraordinary age of theage earthof the speaks earth speaksof deep of time deep. His time words. His words deep timedeep with time generations with generations past. past. suggestsuggest a time ofa time starlight of starlight and carbon and carbon dust so dust distant so distantfrom us from as to us be as almost to be almostincomprehensible. incomprehensible. But But throughthrough the rocks the and rocks fossils and offossils our ancientof our ancient fragile continentfragile continent especially, especially, that past that is certainlypast is certainly with us. with In us. In Djon MundineDjon Mundine wrote inwrote 2002, in that2002, ’references that ’references to cultural to cultural tradition tradition and artistic and artisticstatements statements of identity of identity are are contrast,contrast, shallow shallow time suggests time suggests recent recenttime – timeof beings – of beingsin living in memory, living memory, the here the and here now; and the now; recent the recent neededneeded as never as before’. never before’. He believes He believes that art-objects that art-objects play a criticalplay a criticalrole: ‘In role: indigenous ‘In indigenous society, society, art objects art objects past. Betweenpast. Between this deep this and deep shallow and shallow time is timea layered, is a layered, complex, complex, entwined entwined space ofspace beginnings of beginnings and endings; and endings; are madeare as made a form as aof form communication of communication with the with world the outside.world outside. This gesture This gesture of communication of communication is in e! isect in ae !ect a of mythof and myth story and and story generation and generation upon generation upon generation across acrosscountry country threading threading through through the living the space living ofspace of statementstatement of identity of identity within awithin world a inworld a state in aof state flux, ofas flux,well asas wella redefinition as a redefinition within Aboriginalwithin Aboriginal society, society, and and cultureculture and clan. and clan. in relationin relation to the ‘outside’to the ‘outside’ world, aworld, re-statement a re-statement of who of we who are.’ we 4 are.’ 4

These basketsThese baskets and woven and wovenforms areforms vital are to vitalthe processto the process of shaping of shaping and sustaining and sustaining meanings meanings of culture of culture and and It is a greatIt is aprivilege great privilege to participate to participate in the making in the making of the basketsof the baskets – to learn, – to to learn, listen to and listen begin and to begin understand to understand identityidentity of the firstof the Australians. first Australians. They are They also are a vitalalso parta vital of parta process of a process of repair; of repair;toward toward an invisible an invisible mending mending the vitalitythe vitalityof a kind of ofa kindin/visible of in/visible mending. mending. To witness, To witness, first hand, first cultural hand, cultural renewal renewal against against the odds, the through odds, through of cultureof culture disrupted disrupted and community and community damaged damaged by brutality by brutality and grief. and Aunty grief. LorraineAunty Lorraine Tye, Wiradjuri Tye, Wiradjuri Elder said, Elder said, perseverance,perseverance, joy and joy much and laughter.much laughter. As Aunty As PatsyAunty Cameron Patsy Cameron observed, observed, ‘The baskets ‘The baskets tell the tellstory the of story our of our “I started“I startedweaving weaving when I whenwas a Ikid was at a the kid Royalat the Far Royal West Far Children's West Children's Home inHome Sydney. in Sydney. I have keptI have on kept with on all with all survival.survival. Our precious Our precious tradition tradition continues.’ continues.’ 5 5 sorts ofsorts craft of over craft the over years. the Iyears. have learntI have thelearnt looping the looping technique technique and make and animals make animals - crabs, - yabbies,crabs, yabbies, turtles, turtles, Julie MontgarrettJulie Montgarrett - 2012 - 2012 fish, lizards.fish, lizards. The ideas The just ideas pop just into pop my into head my and head it's and just it'swhat just I amwhat comfortable I am comfortable with. All with. my familyAll my arefamily into are into craft andcraft they and are they my arebest my critiques. best critiques. I can get I can completely get completely lost in itlost and in I ithate and it I whenhate it I whenhave toI have miss to out miss on out on 1. John McPhee’s1. John McPhee’s theories theoriesquoted in quoted Stephen in StephenHappel, DeepHappel, time Deep and time Shallow and time,Shallow Metaphors time, Metaphors for Conflict for andConflict Cooperation and Cooperation in the in the the Mondaythe Monday sessions sessions and the and ladies’ the company.ladies’ company. I would I likewould to keeplike to on keep going on withgoing the with weaving the weaving and make and an make an Natural SciencesNatural Sciences. The European. The European Legacy: TowardLegacy: new Toward Paradigms. new Paradigms. Vol 1, Issue Vol 5, 1, 1996. Issue 5, 1996. http://www.tandfonline.com/doi/abs/10.1080/10848779608579638http://www.tandfonline.com/doi/abs/10.1080/10848779608579638 incomeincome from it fromand hope it and that hope I am that still I am weaving still weaving when I whenam 90, I am as I90, fully as intend I fully intendto be around to be around then.” 2then.” 2 2. Aunty 2.Lorraine Aunty LorraineTye, (2011) Tye, HOW (2011) - Hands HOW -on Hands Weavers on Weaversgroup, Wagga group Wagga, Wagga Oral Wagga History Oral Recording, History Recording, Riverina CommunityRiverina Community College. College. Sitting inSitting company in company again, encircledagain, encircled like makers like makers past – thispast is – you, this isthis you, is us, this making is us, making in country in country and and Edited byEdited Lawrence by Lawrence 'Loddi' Whitmore 'Loddi' Whitmore community.community. The space The betweenspace between encloses encloses and comforts. and comforts. Julie Gough, Julie Gough, Curator Curator of Tayenebe of Tayenebe and Tasmanian and Tasmanian 3. Julie Gough,3. Julie (2009)Gough, Tayenebe: (2009) Tayenebe: Tasmanian Tasmanian Aboriginal Aboriginal Women’s Women’s fibre work fibre, Tasmanian work, Tasmanian Museum Museum and Art Gallery and Art catalogue, Gallery catalogue, p. 14 p. 14 AboriginalAboriginal artist, writes artist, ofwrites weavers of weavers of the pastof the and past of andthe presentof the present making making work which, work which,‘was also ‘was a meansalso a meansto to 4. Djon Mundine,4. Djon Mundine, (2002) Between (2002) Between two worlds two, Art worlds Monthly, Art MonthlyAustralia Australia150 pp. 25-26 150 pp. 25-26 pass onpass and on continue and continue traditions: traditions: older women older women could teach could the teach younger, the younger, stories storiescould be could shared. be shared. The The 5. Aunty 5.Patsy Aunty Cameron, Patsy Cameron, Tasmanian Tasmanian Aboriginal Aboriginal academic academic and author and of author (2010) of Grease (2010) and Grease Ochre: and the Ochre: Blending the Blending of Two cultures of Two culturesat the at the hiddenhidden or almost or almostforgotten forgotten comes comesforth when forth remembered when remembered in hand in with hand objects.’ with objects.’ 3 3 Colonial ColonialSea Frontier Sea. FrontierFullers Bookshop,. Fullers Bookshop, Hobart. Hobart.

6 7 Kath Withers Grazing kangaroo 2012, lino Gail Manderson All seeing EYE (detail) 2012, embossing on Fabriano sedge grass, ra!a Kath Withers Wagga map #2 (detail) 2012, etching, cine cole, screenprint on Fabriano

Lorraine Tye “I started weaving when I was a kid at the Royal Far West Children's Home in Sydney. I have kept on with all sorts of craft over the years. I have learned the looping technique and make animals- crabs, yabbies, turtles, ﬁsh, lizards – the ideas just pop into my head and it’s just what I am comfortable with. The way I have found how to reconnect is through animals and using natural products or found objects whenever possible. I didn’t concisely choose the animal; it just came to be through the making process, similar to my baskets.”

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) Lorraine Tye Animals 2012, Linen thread 2012, ra!a, plastic button Joyce Hampton Pouch of memories 2012, linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Christine Scott Brooches on possum and Kerrie O’Sullivan Wangali Waygal 2012, ra!a, merino jumper 2012, ra!a, possum and paper core, emu feathers, quandong seeds merino (NZ) Christine Scott Mini dillies on Mum’s jacket 2012, wool jacket, ra!a

Linda Elliott Family Sista’s All #1 2012, ra!a, cotton thread Ella Havelka & Linda Elliott Past Present Future (detail) 2012, mixed media Melanie Evans Knowledge is a Gift (detail) 2012, silkscreen on bush dyed silk Ella Havelka Babushkas #3 2012, paper ra!a

Tricia Harrison Echidna 2012, agapanthus Nives Zalokar The Passage 2012, ra!a, rope, frond, electrical wire, bush dyed ra!a ﬁshing line Tricia Harrison Frill necked lizard (detail) 2012, electrical wire, bush dyed ra!a, monsteria fronds

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Joyce Hampton “The miniature items in this exhibition were made in response to the group making other objects in miniature to enter into the Wangaratta Petite exhibition earlier this year. I thought that I would have a go at making some smaller items, which then led onto a pouch that was small too. More intimate...

The technique of looping that the pouch was made with was shown to me by one of the other weavers, Lorraine who picks me up every week to take me to TAFE and to the weaving group.

The pouch holds my precious memories of the late Pat Dacey, who was my good friend that I miss very much...”

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Scott Keft Bowl with lid 2010, birds eye Unknown artist Snake dreaming 2012, lino print on rice paper stringybark burl Roger Biggs Emu dancing 2012, lino print on rice paper Scott Keft Large bowl (detail) 2012, mountain Unknown artist Baby echidna 2012, lino print on rice paper ash Kath Withers Kath was born in Narrandera as one of nine children. Her father was a drover, horse breaker, shearer and butcher, which resulted in the family moving around a lot. In her younger years she lived at the Wiradjuri Reserve on the outskirts of Wagga Wagga, known as ‘tent town’.

When Kath was growing up, she would sew, carve designs into eggs and then make them into objects. In her adult life, Kath has owned racehorses, a hotel and a service station and started what is now known as the ‘Trail Street Co"ee Shop’. Kath has two sons of her own, who now have children. Kath lives in Wagga Wagga with her husband and two grandchildren. Briannah, one of her grandchildren has taken up weaving too and sits alongside her.

Kath Withers Grazing kangaroo 2012, lino Gail Manderson All seeing EYE (detail) 2012, embossing on Fabriano sedge grass, ra!a Kath Withers Wagga map #2 (detail) 2012, etching, cine cole, screenprint on Fabriano

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) 2012, ra!a, plastic button Lorraine Tye Animals 2012, Linen thread Joyce Hampton Pouch of memories 2012,

linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) 2012, ra!a, plastic button Lorraine Tye Animals 2012, Linen thread Joyce Hampton Pouch of memories 2012,

linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Colourful Dreaming Program The Colourful Dreaming program is an initiative run at Junee Correctional Centre by SHINE for Kids. The program encourages imprisoned fathers and their children to experience connection and expansion of thought through sculpture, printmaking, painting, ﬁbre objects, music, poetry and storytelling. Aunty Kath Withers is the driving force behind this program. The prints and other artworks explore cultural links with totems and connection to Country.

“The Colourful Dreaming program has transformed lives and given the opportunity for inmates and their families to become stronger within themselves, their relationships and their cultural identity.” Kath Withers, 2012

Pat Simpson “Since I’ve come to the weaving group, it has helped me to get out of the house and make friends. I like to make things for my family and just for the enjoyment. My family are proud of me.”

“Weaving has created stronger community connections and built friendships and given my mother opportunities to strengthen her own cultural Identity. Weaving is a Traditional cultural practice that needs to be maintained in today’s society. The importance of weaving in my experience is healing important issues, resolving grief, using signiﬁcant cultural resources, practicing our culture and building conﬁdence and a stronger sense of identity in people.” Geo" Simpson, 2012

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Sandy Warren I have been weaving for near on two years now and I've learned to weave a couple of little baskets and sister baskets. I have also learned how to weave ﬂower gathering baskets that I give to my family which has a lot of females in it. I teach Wiradjuri language to the kids, but leave the teaching of the weaving to the more experienced ones in the group.

I'd be lost without [weaving]. It's a friendship thing, it’s a support thing and I use it as a respite. I won't get rich out of it because that's not why I do it, but I enjoy making presents for the family. It will be part of my life forever now.

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Scott Keft Bowl with lid 2010, birds eye Unknown artist Snake dreaming 2012, lino print on rice paper stringybark burl Roger Biggs Emu dancing 2012, lino print on rice paper Scott Keft Large bowl (detail) 2012, mountain Unknown artist Baby echidna 2012, lino print on rice paper ash Gail Manderson Born in Wagga Wagga and adopted at ﬁve days old to a white couple, Gail grew up in Wagga, and then travelled with her husband and family around New South Wales. She settled back in Wagga Wagga 20 years ago and has been a member of the Wagga Wagga Aboriginal Elders Group Inc. Gail has completed her Certiﬁcate III in Aboriginal Cultural Arts at TAFE. Gail enjoys drawing, painting, sculpture, woodwork, clay work and especially weaving.

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) 2012, ra!a, plastic button Lorraine Tye Animals 2012, Linen thread Joyce Hampton Pouch of memories 2012,

linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Sue Hickey

Weaving is a social outlet. My mother passed away and my sisters went away, so I have limited female friends. Weaving has helped me with the absence of family. I feel I have a life of my own, now that my children have grown up and left home. I feel stronger within myself and have more time to work on myself.

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) 2012, ra!a, plastic button Lorraine Tye Animals 2012, Linen thread Joyce Hampton Pouch of memories 2012,

linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Kerrie O’Sullivan For me, I am opening a doorway to traditional practices. Reviving weaving, but also women’s business. For me life is about what you put into the land, you get back.

Wangali Waygal (placenta pot) is a continuation of my making and my aim for these objects is to become part of contemporary cultural practice. I give these objects to women in my family to use, as was traditionally done. This involved placing the placenta in the pot and burying it at a signiﬁcant place, sometimes at the place of birth.

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) 2012, ra!a, plastic button Lorraine Tye Animals 2012, Linen thread Joyce Hampton Pouch of memories 2012,

linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Christine Scott I am passionate about and have studied Aboriginal ways of conservation and land management. I am interested in plants and the preservation of local species, speciﬁc to Wiradjuri country. I am very involved in my Aboriginal and non-Aboriginal community and like to take part in cultural events, and have learned weaving over the past year with the local weavers. I like to ﬁnd natural objects and use them within my woven objects, and also I don’t like to let things go to waste and therefore use scraps from the other weavers.

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) 2012, ra!a, plastic button Lorraine Tye Animals 2012, Linen thread Joyce Hampton Pouch of memories 2012,

linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Linda Elliott & Melanie Evans Linda helped form the HOW Group under their previous title. Working with Community has expanded her arts practice to working collaboratively. Working with the Weavers and Melanie has given Linda valuable technical skills, and also taught her to actively listen. “Sitting side by side with others, sharing stories, laughing and crying together has been the backbone of creating for me this year. The art work I create stands on its own, but it is so much more than what you see. Each piece is made to signify relationships be it in the group or in my arts practice” Linda Elliott, 2012

Knowledge is a Gift has been bush dyed over two years, and has become a part of Melanie’s life, just as the Weavers have. The silk screened images represent the women who weave, learn and hold the knowledge. Melanie uses a number of similar basket motifs that feature within her drawings, prints and one in particular ‘random’ basket motif features within Knowledge is a Gift. This artwork pays tribute to the late Virginia Kaiser, who taught a random weave to Melanie earlier in 2011. The armbands that feature in the silk piece are objects that are made as gifts for other Indigenous people for ceremony or as a token of friendship. “Printmaking, bush dyeing and drawing are a great way of creating a narrative and passing on knowledge to the younger generations”. Melanie Evans, 2012

Linda Elliott Family Sista’s All #1 2012, ra!a, cotton thread Ella Havelka & Linda Elliott Past Present Future (detail) 2012, mixed Melanie Evans Knowledge is a Gift (detail) 2012, silkscreen on bush media dyed silk Ella Havelka Babushkas #3 2012, paper ra!a

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) 2012, ra!a, plastic button Lorraine Tye Animals 2012, Linen thread Joyce Hampton Pouch of memories 2012,

linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Ella Havelka

I live by the phrase, “Create for it is in Creation that we exist.” I feel that my passion for dancing, weaving and lino printing all go hand in hand. I can’t imagine my life without music and movement, woven into patterns to tell stories and to pass on knowledge and culture. When I weave I feel grounded and connected to my cultural heritage. My mind journeys to another realm when I weaves, just as my body does when I dance. I like to capture these moments of journeying and storytelling in my lino print designs.

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) 2012, ra!a, plastic button Lorraine Tye Animals 2012, Linen thread Joyce Hampton Pouch of memories 2012,

linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

NivNiveess ZalokarZalokar

My aim is to live a creative and balanced life. I have always been working in art and with artists. Throughout my life I have expressed the important things that happened to me through di"erent art media. In Slovenia I had two group exhibitions and one personal exhibition of my drawings, objects and installations. I have also been using fabrics as a way of expression – with textile objects I participated in the Museum of the Riverina Makers Space exhibition. Since January 2011 I have been learning and weaving in a weaving group in Wagga Wagga, together with the Aboriginal elders. I exhibited woven baskets at the Wagga Wagga Art Gallery in the exhibition Giilangbang Bangamalanha in 2011. Making baskets has revealed a whole new space of creative expression for me and also educating me about the Aboriginal culture and art.

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) 2012, ra!a, plastic button Lorraine Tye Animals 2012, Linen thread Joyce Hampton Pouch of memories 2012,

linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Tricia Harrison Weaving is a wonderful progression for my interest and passion in art made from recycled and natural objects. I ﬁnd the whole process therapeutic and almost meditative. I love to share my knowledge with the group we are all both learners and teachers. I really value the relationships that have been formed and interwoven, just like the materials we use. I tend to lean towards sculptural works rather than repetitive stitching and thrive on experimenting with materials I ﬁnd.

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) 2012, ra!a, plastic button Lorraine Tye Animals 2012, Linen thread Joyce Hampton Pouch of memories 2012,

linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Yvonne Sewell Yvonne has been weaving for two years now and enjoys making handbags. Her use of bush dyed and natural ra!a colours is joyful and shows a great sense of balance and pattern.

“I started this object when my mum passed away weaving was a good way to keep my mind occupied. It took me a long time to do and just grew into its own shape and into a ‘thingamajig’.”

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) 2012, ra!a, plastic button Lorraine Tye Animals 2012, Linen thread Joyce Hampton Pouch of memories 2012,

linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Karin Bruton I arrived in Australia as a migrant from Europe in the late 50’s – my parents fell in love with the freedom and wide open spaces of Australia. I spent my early years travelling the countryside of Australia, particularly the east coast and lived many years in Brisbane. Since arriving in Wagga Wagga earlier this year that I have developed a real love of inland Australia and for me, this new country landscape. Connecting with the elders and other weavers of the HOW group has enabled me to make a special connection with the community, the land and the ﬁbres we use to weave.

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) 2012, ra!a, plastic button Lorraine Tye Animals 2012, Linen thread Joyce Hampton Pouch of memories 2012,

linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester The practice of weaving materials over one hand and then the next allows the body to ﬁnd its own rhythm, as the woven structure is created. I use my body as a channel by which I explore sensory impressions, which occur as automatic responses to being in place.

Weaving whilst sitting on the land is a particularly potent experience. Using both hands is said to change the way the brain hemispheres ‘relate’ or ‘talk’ to each other. By sitting on the soil and practicing an ancient craft, I enter a state where creative ideas are generated, which helps me to make intuitively informed creative decisions for the development of new work.

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Lorraine Tye Mat (detail) 2012, ra!a, rope Joyce Hampton Miniature basket and purse (2) 2012, ra!a, plastic button Lorraine Tye Animals 2012, Linen thread Joyce Hampton Pouch of memories 2012,

linen thread

Pat Simpson Granddaughter’s hat 2012, ra!a, Sandy Warren Treasure bags #4 (detail also) 2012, ra!a, wooden seagrass beads

Yvonne Sewell Thingamajig (detail also) 2012, Karin Bruton Nest 2012, wire, palm fronds, ra!a, seagrass grass, seed pods and various gum nuts

Emma Rochester Lucid beckoning Heart 2012, Sue Hickey Bellingen Exchange – necklace digital print on silk 2012, banana leaf Emma Rochester Circle, cycle, wheel, spin 2012, Ra!a

Scott Keft “Originally self-taught to woodturn, I progressed to selecting and harvesting figured timber and burls from private property and firebreaks around New South Wales. The turnings on display have been selected from stock reclaimed between 1992 and 1995, and my personal aim is to create artforms which allow for the natural beauty of the material to be exposed, whilst minimising environmental harm with appropriate finishes and production methods. The beauty that lies in the timber, is enough. If you want something perfectly smooth and impersonal, there are plenty of plastic bowls for sale in the shopping centre.

I see my work sitting alongside the weavers, and the elders have mentored and helped me along my artistic journey.”

Scott Keft Bowl with lid 2010, birds eye Unknown artist Snake dreaming 2012, lino print on rice paper stringybark burl Roger Biggs Emu dancing 2012, lino print on rice paper Scott Keft Large bowl (detail) 2012, mountain Unknown artist Baby echidna 2012, lino print on rice paper ash Lorraine Joyce Kath Tye Hampton Withers Born 1950, Wagga Wagga, NSW Born 1933, Menindee, NSW Born 1948, Narrandera, NSW Wiradjuri Elder Ngiyampaa Elder Wiradjuri Elder Lives: Uranquinty, NSW Lives: Wagga Wagga, NSW Lives: Wagga Wagga, NSW

SELECTED EXHIBITIONS SELECTED EXHIBITIONS SELECTED EXHIBITIONS 2012 Connecting People Through Print, 2012 Connecting People Through Print, 2012 Petite, Wangaratta Art Gallery, VIC Paper, Paint and Pattern, Gallery 43, Paper, Paint and Pattern, Gallery 43, 2011 Giilangbang Bangamalanha: Sharing Riverina Institute of TAFE Riverina Institute of TAFE Stories, Wagga Wagga Art Gallery 2012 Petite, Wangaratta Art Gallery, VIC 2011 Giilangbang Bangamalanha: Sharing 2010 Yalbalinya Ngurra: Learning Side By 2011 Giilangbang Bangamalanha: Sharing Stories, Wagga Wagga Art Gallery Side, Wagga Wagga Art Gallery Stories, Wagga Wagga Art Gallery 2010 Yalbalinya Ngurra: Learning Side By Side, Wagga Wagga Art Gallery EMPLOYMENT COMMUNITY WORK & EDUCATION Current Art Tutor/Mentor, Colourful Current Certiﬁcate III – Aboriginal & Torres Image: Mervyn Bishop Dreaming Program Strait Islander Cultural Arts at Riverina Junee Correctional Facility Institute of TAFE Art Teacher/Mentor in local schools Volunteer book keeping and member Conducts Welcome to Country at for small business and community Community Events groups Image: Mervyn Bishop Image: Linda Elliott

Pat Sandy Gail Simpson Warren Manderson Born 1944, Sydney, NSW Born 1942, Sydney, NSW Born 1952, Wagga Wagga, NSW Aboriginal Elder Wiradjuri Elder Wiradjuri Elder Lives: Wagga Wagga, NSW Lives in: Wagga Wagga, NSW Lives: Wagga Wagga, NSW

SELECTED EXHIBITIONS SELECTED EXHIBITIONS SELECTED EXHIBITIONS 2011 Giilangbang Bangamalanha: Sharing 2012 Petite, Wangaratta Art Gallery, VIC 2012 Connecting People Through Print, Stories, Wagga Wagga Art Gallery 2011 Giilangbang Bangamalanha: Sharing Paper, Paint and Pattern, Gallery 43, Stories, Wagga Wagga Art Gallery Riverina Institute of TAFE EMPLOYMENT 2012 Petite, Wangaratta Art Gallery, VIC 25 years within the NSW Education Department EMPLOYMENT 2011 Giilangbang Bangamalanha: Sharing employed as an Aboriginal Education Assistant Teacher of Wiradjuri Language in local state Stories, Wagga Wagga Art Gallery (AEA) or Teachers Assistant (TA) primary and preschools 2010 Yalbalinya Ngurra: Learning Side By Worked in the Hotel Industry Conducts Welcome to Country for schools and Side, Wagga Wagga Art Gallery Volunteer for the Colourful Dreaming/Shine for the community Kids program, Junee Correctional Centre Involved in implementing cultural awareness Image: Margaret Waller Participant in Aunty Jean’s Health Program for teachers in NSW state Pre-schools

Image: Melanie Evans Image: Melanie Evans

26 Sue Kerrie Christine Hickey O’Sullivan Scott Born 1962, Lithgow, NSW Born 1963, Wagga Wagga, NSW Born 1962, Sydney, NSW Gamilaroi Lives: Wagga Wagga, NSW Dangutti Lives: Wagga Wagga, NSW Lives: Wagga Wagga, NSW SELECTED EXHIBITIONS SELECTED EXHIBITIONS 2012 Petite, Wangaratta Art Gallery, VIC SELECTED EXHIBITIONS 2012 Connecting People Through Print, 2011 Giilangbang Bangamalanha: Sharing 2012 Connecting People Through Print, Paper, Paint and Pattern, Gallery 43, Stories, Wagga Wagga Art Gallery Paper, Paint and Pattern, Gallery 43, Riverina Institute of TAFE Riverina Institute of TAFE 2011 Giilangbang Bangamalanha: Sharing EMPLOYMENT & EDUCATION 2012 Stories and Songs Festival – Stories, Wagga Wagga Art Gallery Carer for my parents Exhibition, Bellingen, NSW Currently Studying Certiﬁcate II in Aboriginal COMMUNITY WORK and Torres Straight Cultural Arts at Riverina EMPLOYMENT Hands on Weavers Group, Wagga Wagga Institute of TAFE Self Employed Community Artist Aunty Jean’s Health Program NSW Health & Education worker Conservation and Land Management Image: Melanie Evans Image: Melanie Evans Image: Melanie Evans

Linda Melanie Ella Elliott Evans Havelka Born 1970, Sydney, NSW Born 1973, Darwin NT Born 1988, Wagga Wagga, NSW Lives: Wagga Wagga, NSW Lives: Wagga Wagga, NSW Wiradjuri Lives: Sydney and Melbourne SELECTED EXHIBITIONS SELECTED EXHIBITIONS 2012 Petite, Wangaratta Art Gallery, VIC 2012 Stories and Songs of the Peoples EMPLOYMENT 2011 Giilangbang Bangamalanha: Sharing Festival, Bellingen NSW Current Dancer with Australian Ballet Stories, Wagga Wagga Art Gallery 2012 Connecting People Through Print, 2009- Dancer with Bangara Dance 2010 Yalbalinya Ngurra: Learning Side By Paper, Paint and Pattern, Gallery 43, 2012 Theatre Side, Wagga Wagga Art Gallery Riverina Institute of TAFE 2010 Through the Eye, Wagga Wagga Art 2011 Giilangbang Bangamalanha: Sharing Image: C/o Artist Gallery Stories, Wagga Wagga Art Gallery 2009 Fresh: Contemporary Baskets and 2010 MarraMarra Bandhana group Basketry, Vanishing Point exhibition, E3 art space, Wagga Contemporary Art Inc., Newtown, Wagga Art Gallery NSW 2006 Making Do II, McPherson’s Plains EMPLOYMENT ANCA Gallery, Canberra, ACT Current Casual Gallery Assistant, Wagga Wagga Art Gallery EMPLOYMENT Casual Teacher, Riverina Institute of Current Wagga Wagga Art Gallery, Curator: TAFE Education & Public Programs Self Employed, Freelance Curator 2010 Charles Sturt University, Wagga Wagga Visual Arts Lecturer, Creative Arts Image: Melanie Evans Lecturer

Image: C/o Wagga Wagga City Council 27 Nives Tricia Yvonne Zalokar Harrison Sewell Born 1957, Koper, Slovenia Born 1965, Sydney, NSW Born 1952, Melbourne, VIC Lives: Wagga Wagga, NSW Lives: Wagga Wagga, NSW Lives: Wagga Wagga, NSW

SELECTED EXHIBITIONS SELECTED EXHIBITIONS SELECTED EXHIBITIONS 2012 Petite, Wangaratta Art Gallery, VIC 2012 Petite, Wangaratta Art Gallery, VIC 2011 Giilangbang Bangamalanha: Sharing 2011 Giilangbang Bangamalanha: Sharing 2011 Giilangbang Bangamalanha: Sharing Stories, Wagga Wagga Art Gallery Stories, Wagga Wagga Art Gallery Stories, Wagga Wagga Art Gallery 2011 Makers Space, Museum of the 2011 Makers Space, Museum of the Riverina Image: Melanie Evans Riverina EMPLOYMENT EMPLOYMENT Self Employed Art Education Consultant Current Casual gallery assistant, Wagga Casual Art Gallery Assistant Wagga Art Gallery Volunteer conducting art workshops for 1990- Exhibition coordinator and community groups 2010 organiser, Moderna galerija Ljubljana, Museum of Modern Art (National Image: Jenny Palmer Museum of Modern Art of Slovenia)

Image: Mervyn Bishop

Karin Emma Scott Bruton Rochester Keft Born 1956, Kologne, Germany Born 1978, Sydney, NSW Born 1965, Sydney, NSW Lives: Wagga Wagga, NSW Lives: Regional Australia Wiradjuri Lives: Wagga Wagga, NSW SELECTED EXHIBITIONS SELECTED EXHIBITIONS 2012 Petite, Wangaratta Art Gallery, VIC 2013 Sitting Circle of Stone and Wood, SELECTED EXHIBITIONS 2012 Connecting People Through Print, Booranga Writers Centre, Charles 2012 Petite, Wangaratta Art Gallery, VIC Paper, Paint and Pattern, Gallery 43, Sturt University, Wagga Wagga, NSW 2011 Giilangbang Bangamalanha: Sharing Riverina Institute of TAFE 2012 Weaving the rivers edge, Wagga Stories, Wagga Wagga Art Gallery 2011 Giilangbang Bangamalanha: Sharing Beach, Wagga Wagga, NSW 2011 Makers Space, Museum of the Riverina Stories, Wagga Wagga Art Gallery 2012 Femmes. Blink Gallery, Ottawa, 2011 Makers Space, Museum of the Riverina Canada (In collaboration with Cynthia EMPLOYMENT O’Brien) Full time student at CSU Wagga Wagga EMPLOYMENT 2011 Floating in Place, Series One. 1, 2, 3, Self employed carver Current Wagga Wagga Art Gallery – Business 4, Waterfront Marina, Melbourne, VIC Support Image: C/o Charles Sturt University ESL and LOTE Tutor – Queensland EMPLOYMENT Business Development Current Professional Practicing Artist Education Co-ordinator – Japanese 2011 Frankston Arts Centre, My Persona Study Tours Project: Teaching workshops on video art and installation, and digital Image: Linda Elliott imaging to youth at risk

Image: Drew Halyday

28 artworkARTWORK LISTlist

Joyce Hampton Ella Havelka Cover Page Pouch of memories Pat Simpson Christine Scott Babushkas #3 Karin Bruton Collage Page Bottom Right Box 2012 2012 Lorraine Tye Pat Simpson Christine Scott Karin Bruton Kath Withers, Hands making #1, 2010, linen thread paper ra!a Top Left Box Sun Hat Granddaughters’ hat Brooches on possum and merino Nest Image: Margaret Weller Image: Drew Halyday Image: Drew Halyday 2011 2012 jumper 2012 Julie Montgarrett & Melanie Evans, Wayne Simon, Armband, electrical ra!a, emu feathers ra!a, seagrass 2012 wire, palm fronds, grass, seed pods gathering, 2010, Image: Linda Elliott wire, 2010, Image: Melanie Evans Image: Drew Halyday Kath Withers Image: Drew Halyday ra!a, possum and merino (NZ) Nives Zalokar and various gum nuts Donna Kirby & Tamson, Reunion, Colourful Dreaming Program, group Image: Drew Halyday Image: Drew Halyday 2009, Image: Melanie Evans objects, 2010, Image: Melanie Evans Kath Withers Nives Zalokar Joyce Hampton, Hands making #2, Inside Cover Grazing kangaroo Sandy Warren The Passage (detail also) Back row: Debbie Evans, Dr. Louise Christine Scott 2011, Image: Melanie Evans 2012 2012 Emma Rochester Hamby, Nancy Guyula, Lucy Pat Dacey Sandy Warren Mini dillies on Mum’s jacket lino embossing on Fabriano ra!a, rope, ﬁshing line Wanapuyngu, Lesley Guyula, Helen Hands making Treasure bags #4 (detail) 2012 Emma Rochester Image: Drew Halyday Image: Drew Halyday Guyula, Gail Manderson 2010 2012 wool jacket, ra!a Lucid beckoning Heart (detail) Image: Melanie Evans ra!a, wooden beads Image: Drew Halyday 2012 Middle row: Isabel Reid, Pat Dacey, Kath Withers Image: Drew Halyday Tricia Harrison digital print on silk Joyce Hampton, Kath Withers Wagga map #2 (detail) Image: Drew Halyday Front row: Linda Elliott, Melanie & Artists 2012 Linda Elliot & Melanie Evans Tricia Harrison Girri Evans, Silke Roth, Cultural etching, cine cole, screenprint on Gail Manderson Echidna Linda Elliott Emma Rochester Exchange, 2010, Lorraine Tye Fabriano 2012 Gail Manderson Family Sista’s All #1 Circle, cycle, wheel, spin Image: Drew Halyday agapanthus frond, electrical wire, Lorraine Tye All seeing EYE (detail) 2012 2012 bush dyed ra!a Top Right Box Mat (detail) 2012 ra!a, cotton thread Ra!a Image: Drew Halyday 2012 Colourful Dreaming sedge grass, ra!a Image: Drew Halyday Image: Drew Halyday Vanessa Starzinski, Quandong baby, ra!a, rope Image: Drew Halyday ra!a & quandong seed, 2012, Image: Unknown artist Tricia Harrison Image: Drew Halyday Melanie Evans Drew Halyday. Joy Ingram, Women’s Snake dreaming Frill necked lizard (detail) Scott Keft Knowledge is a Gift (detail) pouch, ra!a & quandong seed 2012, 2012 Sue Hickey 2012 Lorraine Tye 2012 Scott Keft Image: Drew Halyday lino print on rice paper electrical wire, bush dyed ra!a, Animals Sue Hickey silkscreen on bush dyed silk Bowl with lid Image: Drew Halyday monsteria fronds 2012 Bellingen exchange – necklace Image: Drew Halyday 2010 Image: Drew Halyday Bottom Left Box Linen thread 2012 birds eye stringybark burl Roger Biggs Image: Drew Halyday banana leaf Image: Drew Halyday Tharese Honeysett, 2nd dillybag, jute, Emu dancing Ella Havelka Image: Drew Halyday Yvonne Sewell seagrass and emu feathers, 2012, 2012 Ella Havelka & Linda Elliott Scott Keft Image: Drew Halyday Joyce Hampton lino print on rice paper Yvonne Sewell Past Present Future (detail) Large bowl (detail) Image: Drew Halyday Kerrie O’Sullivan Thingamajig (detail also) Joyce Hampton 2012 2012 2012 Miniature basket and purse (2) Kerrie O’Sullivan mixed media mountain ash Unknown artist ra!a, seagrass 2012 Wangali Waygal Image: Drew Halyday Image: Drew Halyday Baby echidna Image: Drew Halyday ra!a, plastic button 2012 2012 Image: Drew Halyday ra!a, paper core, emu feathers, lino print on rice paper quandong seeds Image: Drew Halyday Image: Drew Halyday

29 Joyce Hampton Ella Havelka Cover Page Pouch of memories Pat Simpson Christine Scott Babushkas #3 Karin Bruton Collage Page Bottom Right Box 2012 2012 Lorraine Tye Pat Simpson Christine Scott Karin Bruton Kath Withers, Hands making #1, 2010, linen thread paper ra!a Top Left Box Sun Hat Granddaughters’ hat Brooches on possum and merino Nest Image: Margaret Weller Image: Drew Halyday Image: Drew Halyday 2011 2012 jumper 2012 Julie Montgarrett & Melanie Evans, Wayne Simon, Armband, electrical ra!a, emu feathers ra!a, seagrass 2012 wire, palm fronds, grass, seed pods gathering, 2010, Image: Linda Elliott wire, 2010, Image: Melanie Evans Image: Drew Halyday Kath Withers Image: Drew Halyday ra!a, possum and merino (NZ) Nives Zalokar and various gum nuts Donna Kirby & Tamson, Reunion, Colourful Dreaming Program, group Image: Drew Halyday Image: Drew Halyday 2009, Image: Melanie Evans objects, 2010, Image: Melanie Evans Kath Withers Nives Zalokar Joyce Hampton, Hands making #2, Inside Cover Grazing kangaroo Sandy Warren The Passage (detail also) Back row: Debbie Evans, Dr. Louise Christine Scott 2011, Image: Melanie Evans 2012 2012 Emma Rochester Hamby, Nancy Guyula, Lucy Pat Dacey Sandy Warren Mini dillies on Mum’s jacket lino embossing on Fabriano ra!a, rope, ﬁshing line Wanapuyngu, Lesley Guyula, Helen Hands making Treasure bags #4 (detail) 2012 Emma Rochester Image: Drew Halyday Image: Drew Halyday Guyula, Gail Manderson 2010 2012 wool jacket, ra!a Lucid beckoning Heart (detail) Image: Melanie Evans ra!a, wooden beads Image: Drew Halyday 2012 Middle row: Isabel Reid, Pat Dacey, Kath Withers Image: Drew Halyday Tricia Harrison digital print on silk Joyce Hampton, Kath Withers Wagga map #2 (detail) Image: Drew Halyday Front row: Linda Elliott, Melanie & Artists 2012 Linda Elliot & Melanie Evans Tricia Harrison Girri Evans, Silke Roth, Cultural etching, cine cole, screenprint on Gail Manderson Echidna Linda Elliott Emma Rochester Exchange, 2010, Lorraine Tye Fabriano 2012 Gail Manderson Family Sista’s All #1 Circle, cycle, wheel, spin Image: Drew Halyday agapanthus frond, electrical wire, Lorraine Tye All seeing EYE (detail) 2012 2012 bush dyed ra!a Top Right Box Mat (detail) 2012 ra!a, cotton thread Ra!a Image: Drew Halyday 2012 Colourful Dreaming sedge grass, ra!a Image: Drew Halyday Image: Drew Halyday Vanessa Starzinski, Quandong baby, ra!a, rope Image: Drew Halyday ra!a & quandong seed, 2012, Image: Unknown artist Tricia Harrison Image: Drew Halyday Melanie Evans Drew Halyday. Joy Ingram, Women’s Snake dreaming Frill necked lizard (detail) Scott Keft Knowledge is a Gift (detail) pouch, ra!a & quandong seed 2012, 2012 Sue Hickey 2012 Lorraine Tye 2012 Scott Keft Image: Drew Halyday lino print on rice paper electrical wire, bush dyed ra!a, Animals Sue Hickey silkscreen on bush dyed silk Bowl with lid Image: Drew Halyday monsteria fronds 2012 Bellingen exchange – necklace Image: Drew Halyday 2010 Image: Drew Halyday Bottom Left Box Linen thread 2012 birds eye stringybark burl Roger Biggs Image: Drew Halyday banana leaf Image: Drew Halyday Tharese Honeysett, 2nd dillybag, jute, Emu dancing Ella Havelka Image: Drew Halyday Yvonne Sewell seagrass and emu feathers, 2012, 2012 Ella Havelka & Linda Elliott Scott Keft Image: Drew Halyday Joyce Hampton lino print on rice paper Yvonne Sewell Past Present Future (detail) Large bowl (detail) Image: Drew Halyday Kerrie O’Sullivan Thingamajig (detail also) Joyce Hampton 2012 2012 2012 Miniature basket and purse (2) Kerrie O’Sullivan mixed media mountain ash Unknown artist ra!a, seagrass 2012 Wangali Waygal Image: Drew Halyday Image: Drew Halyday Baby echidna Image: Drew Halyday ra!a, plastic button 2012 2012 Image: Drew Halyday ra!a, paper core, emu feathers, lino print on rice paper quandong seeds Image: Drew Halyday Image: Drew Halyday

30 acknowledgementsACKNOWLEDGEMENTS As in any undertaking of this kind, there are a lot of Amanda Reynolds, Curator, Stella Stories people to thank. I would like to acknowledge the following: Lindy Allen, Senior Curator of Indigenous Cultures, Museum Victoria Wagga Wagga Art Gallery Stephen Payne, Manager Antionette Smith, Senior Curator South Eastern Region Linda Elliott, Curator of Education and Public Programs Indigenous Cultures, Museum Victoria Drew Halyday, Acting Curator of Exhibitions and Bronwyn Razem ‘Mirrning Minnie’, Gunditj Mara Weaver Collections Dr. Cath Bowdler, Manager (2007-2010) Clair Bates, Paakantji Weaver

Julie Montgarrett, Lecturer and Course Coordinator, Andrew Totman, Head of Department – Art and Design, School of Communication and Creative Industries, TAFE NSW, Riverina Institute, Wagga Wagga Campus Charles Sturt University Julie Gough, Artist Writer Curator, Honorary Associate, Debbie Evans, Research Assistant for Wiradjuri Language School of Art, University of Tasmania and Cultural Heritage Program, School of Education, Charles Sturt University Virginia Kaiser, Master Basket Maker, Broken Hill

Dr. Louise Hamby, Adjunct Fellow in the Digital James Ingram Jnr., Senior Wiradjuri Man, Member of Humanities Hub, Research School of Humanities and the Waagan Waagan Project Group Arts, Australian National University Patricia Murray, Catchment O!cer (2003-2011), Silke Roth, Lucy Wanapuyngu, Helen Guyula and Penny Catchment Management Authority Murrumbidgee Wanapuyngu and the Community at Gapuwiyak, North Judy O’Neil & West Women Weaving Group, Orange East Arnhem Land, Gapuwiyak Culture and Arts Aboriginal Corporation

Wagga Wagga Art Gallery acknowledges that we are situated on Wiradjuri Country and pay our respects to Wiradjuri and Indigenous Elders both past and present.