Tag Archives: Lines in the Sand 2014

Convolution – A Woven Sculptural Installation – Works by Anaheke Metua and Casselle Mountford at Redland Art Gallery 6 July – 17 August

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Casselle Mountford, Convolution 2014, detail, pith cane, variable dimensions 

 

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Anaheke Metua, Enmeshed 2014Palm inflorescence, approx. 101x800x500cm

 

Redland Art Gallery – 6 July – 17 August

 

Throughout time, weaving has taken form in the humblest of materials as well as the most refined wools and silks, and has helped to create hearth and home, or to conjure up empire, power and desire. When presented in a contemporary gallery context, as in Convolution: A Woven Sculptural Installation, the act of weaving – like all art making and artwork – can be considered as having become politicized by the very nature of making art for an open public forum. In the work of Anaheke Metua and Casselle Mountford, the ‘political’ has to do with creating in terms of community and interconnection with regard to all the choices they have made throughout their creative process.

 

Both Metua and Mountford have long worked with the discipline of weaving as their preferred medium, and have presented this installation in association with Lines in the Sand 2014, the annual ephemeral environmental arts festival held on North Stradbroke Island. They were greatly assisted curatorially by Pat Zuber, who has worked closely with Lines in the Sand as one of its founding organizers.

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Convolution, installation images, photos courtesy Redland Gallery

As one of the most ancient of human technologies, weaving’s legacy of winding, twisting and interlacing lines of filament to create objects connects weaving to drawing. The foundations for Metua’s and Mountford’s weaving are the line and the hand. When looking at their work, one is reminded of the rhythm of artists’ hands, working and repeating the movements to build the piece from line, to plane, to volume, and the particular magic inherent in slowly transforming a simple, linear material into three-dimensional sculpture loaded with metaphor and meaning. Much like cross-hatching marks or contour lines in drawing, weaving – in the hands of these artists – is a medium at once honest, evident and direct while also mysterious in its ability to create the most amazingly inventive three-dimensional forms.

Both artists work with natural, plant-based materials like pith cane, palm inflorescence, spinifex, pandanus, wool, cotton and coconut fibre. Metua experiments with dismantled candy-coloured, plastic-coated copper wire in some pieces, but throughout the exhibition, a viewer is struck by the overwhelming sense of the organic in terms of both shape and colour. It’s not often that one enters a gallery and the words ‘soothing’, ‘calming’, ‘elegant’, and ‘beautiful’ come to mind with such speed and overall effect.

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Casselle Mountford, Hufflepuff 2014Pith cane, 168×77 (diameter) cm

 

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Casselle Mountford, Brown Cloud  2014, pith cane and wire, 45x40x40 cm

 

As Mountford has written, “My sculptures Hufflepuff, Hexapod, Infinity knot and Convolution could belong to the vegetal, plant or animal worlds… and convey a sense of mystery through their presence.” Hufflepuff 2014, airily suspended from the ceiling, through scale and shape evokes the body, yet its transparency and lightness coupled with the ephemerality of pith cane also invites thoughts of the transcendence of the body through formal abstraction. All of Mountford’s works in Convolution are minimal, essential and given to a discussion of symmetry and controlled flow. Another hanging sculpture, Brown Cloud Form 2014, is more solid in its presentation, but, like its title implies, is a further questioning of where solidity ends and the ethereal begins. This, in itself, is at the crux of Mountford’s aesthetic. Her constant balancing act between the solid and the flexible, the ephemeral and the statically stable — the evanescence and rebirth of endless cycles that work toward coalescence — mirrors all timeless natural processes here on Earth and throughout the cosmos.

 

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Anaheke Metua, Curlicue 2014Palm inflorescence, nude and turmeric coloured raffia, variable dimensions.

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Anaheke Metua, Curlicue 2014, detail

 

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Anaheke Metua, Swallow 2013, palm inflorescence, recycled wire frame, raffia and banana bark, 40x55cm

 

 

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Anaheke Metua, Serpentine 2014, detail

 

In her artist’s statement Metua writes, “The art of weaving facilitates a deep and sentient stillness within me…” With her sculptures in Convolution, Metua has transformed that interconnected, immersive sentience into an investigation of many sculptural forms and materials, finding release in the restless joy and immediacy of play and experiment. Her exuberant sculpture, Curlicue, hugs the flat plane of the wall, curling back and forth with the bound, compressed energy plants use to grow through obstacles like bitumen and concrete. Her use of the curlicue echoes age-old decorative tropes that over time have been carved into marble, set in plaster and woven into gold. Yet in Metua’s sculpture, her use of plant fibres connects her to Nature, to the land, and to the teachers she says, “have shared their insight, understanding and relationship to the natural world through the rhythm of patterns that form by their hands.”

 

To offer some historical and political contrast, think of a medieval woven work such as The Apocalypse Tapestry from 15th century France. Without a doubt, the Tapestry is a far cry from Convolutions – but that’s my point. Both are produced through weaving and its ancient associations with community are at the core of bringing people together in shared association, either for the fabrication of the work, as in the Tapestry, or in a weaving circle as Metua and Mountford allude to in their sculptures. Yet each use of weaving and its effects are at opposite ends of the spectrum in terms of why the weaving is happening, and the same goes for the emotional and psychic impact of the finished work.

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The Tapestry of the Apocalypse, Angers France

 

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The Tapestry of the Apocalypse, detail

 

The Tapestry evokes power and fear (power’s constant companion) — as well as awe in the beauty of richly portrayed, overwhelming religious imagery deeply embedded in Western cultural stories that deem material wealth as reward, and suffering and death as punishment. Convolution speaks to other aspects of humanity and other cultures’ stories. Call these deep traditions Indigenous, natural, organic, ecology-minded, intuitive, life-affirming – the words in themselves signify only the beginning of what is so strongly communicated and embedded in Metua and Mountford’s work. And these words are surprisingly political these days.

 

 

 

 

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“Tapisserie de l’apocalypse” by Kimon Berlin, user:Gribeco – Own work. Licensed under Creative Commons Attribution-Share Alike 3.0 via Wikimedia Commons – http://commons.wikimedia.org/wiki/File:Tapisserie_de_l%27apocalypse.jpg#mediaviewer/File:Tapisserie_de_l%27apocalypse.jpg

Matthew Burns, Quandamooka Traditional Owner, Talks About Culture, History and Quandamooka Way of Life on Minjerribah

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Using the objects and artefacts he’d brought with him, Matt Burns, Traditional Owner, spoke to us at length about Quandamooka culture on the island. The Quandamooka presence on Stradbroke Island has been carbon-dated to have begun over twenty thousand years ago.

 

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The mix on Matt’s table is so great – everything from a shield, a coolamon, a nulla nulla, boomerangs, grass skirt, dugong tusks (and a miniature Torres Strait Island drum carved from a dugong tusk with a snakeskin top), dugong oil, fishing gear, and fire making gear.

 

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Every year at Lines, he brings new ideas, information and objects to talk about. Basically, he says, his job is to educate white people about his heritage.

He described the scarification practices of the Quandamooka – with men having nineteen scars across their chest to mark them and 2 ‘wings’ – scarification lines – on their back and 2 lines on their legs, under their knees – if they were fully-initiated warriors. “This was attractive to the women.”

 

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Grass skirts were worn by both women and men. The dugong tusks were used for trade. The miniature Torres Strait Island drum is carved from dugong tusk into the shape of the traditional Torres Strait Island drum, and would function as an amulet or perhaps a toy.

 

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Matt plays the didgeridoo, which hails from Arnhem Land in the Northern Territory, not Queensland. White ants hollow out the eucalypt branch and beeswax is applied to the mouth end to form a seal. For readers outside of Australia, the didgeridoo has been adopted here as a national musical instrument, maybe not unlike the guitar in Spain, or the harp in Ireland. The sound of the didge goes right into you with its airy, deep, throaty vibration.

 

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Matt looks on while two strapping lads try their hand at traditional methods of fire making.

 

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Matt steps in.

 

 

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And the smoke starts to build.

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And build.

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A bit of breath to coax the flame.

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Swinging the coir to ignite with lots of oxygen.

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And there’s the fire.

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With lots of follow-up questions afterwards. Matt is really generous with his information and time and the crowd eats it up.

Lines in the Sand 2014 — Hot Island — Nature’s Deep Intelligence

2014-06-24 15.11.32Leaving the mainland for North Stradbroke Island and Lines in the Sand 2014

 

 

Always a welcome change of energies, boarding the Big Red Cat for the ride across the bay to Straddie.

If I’ve been super caught up in the day-to-day stuff back at home, the transformation from ‘head down and get the job done’ to ‘ahhhh I know I’m going to have an incredible, beautiful, eye-filling immersion in Straddie’s natural awesomeness’ can seem more or less possible — but I’m deep down sure I’ll be reconnecting to nature.

 

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Beautiful wintry sky – Island approaches

 

That’s what’s so important about Straddie – and why everyone ‘deep down’ has come to rely on this special place as a source of truth. A bumper sticker I saw coming over proclaimed something like “Stradbroke – Drama Island 2014” and I couldn’t say it better myself: January’s fires lasted over two weeks and ravaged over 16,200 hectares of land; there’s continued political wrangling over mining company Sibelco’s influence in the 2012 election; and Native Title holders’ ongoing efforts to maintain the strength of their hard won legal status (granted in 2011) all combine to make North Stradbroke Island a proving ground for environmental, social and cultural issues in Australia and around the globe.

Make no mistake about it — what happens here has great implications everywhere.

 

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Quick shot from the car window – Signs of fire and regrowth since January

 

 

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Nothing like a gum tree for awakening that sense of Nature’s deep intelligence.

 

I’m here because I wouldn’t miss Lines for the world, and also because of a generous grant from the Redland City Council. They’re very supportive of Lines in the Sand.

And for good reason — Lines offers a meeting of Settler and Indigenous cultures through creativity, conversation, expert information on topics like caring for country – traditional Quandamooka ways, as well as contemporary Scientific ways – and authentic gratitude for the opportunity to share this incredible place with its Traditional Owners.

Artists in residence work in the landscape along the Gorge Walk to form a dialogue with the land and with all who come to see and experience their ephemeral environmental art. Workshops offer families time to be in Nature and share the experience together.

Please click the “Follow” button at the end of the post if you’d like to be kept up to date with all that’s happening here starting today and through the weekend. Lot’s to come!

Check out the Lines in the Sand 2014 festival website for general and program info – http://www.linesinthesand.com.au/

And the festival’s facebook page – https://www.facebook.com/pages/Lines-in-the-Sand-North-Stradbroke-Island-LTD/348402065192385

 

 

 

 

 

 

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