Floating life: contemporary Aboriginal fibre art

8 Director’s foreword Tony Ellwood ‘Floating Life: Contemporary Aboriginal Fibre Art’ presents the Queensland Art Gallery’s collection of lndigenous fibre art for the first time — with some 300 works in the exhibition representing more than 100 artists from every state and territory. The collection and this beautifully conceived installation reflect the continuing importance of fibre in Indigenous Australian culture and the brilliant inventiveness of the artists. Almost all these works are contemporary, created within the past two decades and collected since 2002. Elegant, utilitarian objects are contrasted with contemporary interpretations and responses, and linked with paintings and other art works to further reveal meanings and significance. The development of this collection has been expertly guided by Diane Moon, Curator, Indigenous Fibre Art, working closely with the artists and their communities. Diane has collected, commissioned, documented and promoted Australian Indigenous fibre art for more than 20 years. ‘Floating Life’ reflects this contribution and, in many ways, it also acknowledges the ongoing work of other advocates, curators, collectors and writers working in the field. The design and installation of ‘Floating Life’ immediately draws the viewer into a process of making sense of narrative, material and meaning. It begins with works linked to the poetic creation stories of the Djang’kawu ancestors; nearby is Jonathan Jones’s contemporary wall of woven light and paintings of the starry night sky by Gulumbu Yunupingu. At the exhibition’s heart is a stunning display of banumbirr (morning star) poles, decorated with bark string fibre, feathers and paint. In the surrounding galleries, the diversity of the collection is revealed — there are nets, fish fences and traps; works woven from wire by Lorraine Connelly-Northey; sophisticated forms by senior artists like Yvonne Koolmatrie and Shirley MacNamara; the mesmerising paintings of Regina Wilson; shell necklaces from Tasmania; woven depictions of the yawkyawk (water spirits) by Lena Yarinkura; and a group of ornate ceremonial tassels, headbands, and feathered strings and bags from Galiwin’ku (Elcho Island). A wall of highly coloured balmarra (thread-cross dance frames), by Alan Griffiths from the Kimberley region, provides a dramatic point of closure to the installation. The Gallery is most grateful to all the artists and communities who have contributed to the development of the collection and the exhibition, and to the authors who have written for the catalogue. We are indebted to John Colquhoun and Suzanne Lowe for their important and extremely generous loan of their collection of morning star poles. The Gallery is extremely grateful to Gadens Lawyers for their generous sponsorship of this exhibition and, in particular, Paul Spiro, Managing Partner, for his enthusiasm and support. We also thank the individual and corporate donors including Margaret Mittelheuser, am , and Cathryn Mittelheuser, am ; Corrs Chambers Westgarth; the Thomas Foundation; and Xstrata Coal, who supported the 2006–08 Xstrata Coal Emerging Indigenous Art Award. I also wish to acknowledge the support for the collection’s development by Lynne Seear, Deputy Director, Curatorial and Collection Development; Andrew Clark, Deputy Director, Programming and Corporate Services; and Julie Ewington, Curatorial Manager, Australian Art. ‘Floating Life’ tells many stories — the works reveal important narratives, histories and the presence of country. The exhibition describes a sophisticated and inventive line of creative work. It is work which draws on ancient knowledge, but confidently identifies as an evolving and influential part of contemporary Australian art practice. Lena Djamarrayku Rembarrnga people NT 1943–2005 Worra (Ceremonial basket) 1997 Twined pandanus palm leaf, cotton, feathers, coiled pandanus palm leaf handle, with natural pigments 48 x 15cm (diam.) (with handle) Acc. 2002.033 Purchased 2002. Queensland Art Gallery Foundation Grant © Lena Djamarrayku 1997. Licensed by Viscopy, Sydney, 2009