 | Pictured from left to right: Dr Paul Sharrad (A/Prof. English Studies... Pictured from left to right: Dr Paul Sharrad (A/Prof. English Studies), Dr Diana Wood Conroy (A/Prof. Visual Arts), Dr Dorothy Jones (Honorary Fellow, English Studies), Dr Anne Collett (Senior Lecturer English Studies) and Vice Chancellor Gerard Sutton. |  | Nadia Myre, Canada
(detail) Indian Act p. 40, 2001
Stroud... Nadia Myre, Canada
(detail) Indian Act p. 40, 2001
Stroud cloth, Indian Act, beads, thread, wood frame.
45cm x 37.5cm x 5cm
Beaded by: Lorraine Chick, Giancarlo Zerbino, Lara Evoy, Jennifer Pragai, Susana Ponte, Vincent Bonin, Didier Giovannangeli, Dessa Harhay, Carley Humphrey, Karen Fleming, Zoë Kreye, Annie Martin, Magalie Raymond, Jennifer Raso, Francine Martin, Maya with Valerie d. Walker, Marie-Line Rioux, Nadia Myre |  | Nadia Myre is a contemporary First Nations artist of Algonkin and Fre... Nadia Myre is a contemporary First Nations artist of Algonkin and French Canadian descent. Working in Montreal, Canada, Myre crafts a political aesthetic which has been widely recognized as a potent revisioning of the Red/White relationship.
Myre’s work, Indian Act, is a fifty-six page art work resulting from a communal beading project. The [Canadian] Indian Act, legally defined ‘Indian’ status, inclusive of land rights, political rights, educational rights, religious and cultural rights – many of which the Act denied. Letters of the Act are covered and replaced by beads that are sewn onto a stroud cloth backing. Both bead and stroud cloth are items of trade that played and continue to play an integral part in negotiation between Red and White cultures: shell beads being woven into wampum belts that had cultural, currency and contractual significance, whilst stroud cloth (brought to America from Europe by the Jesuits) was used to bury American Indian people, create military uniforms and make button blankets. |  | Osmond Kantilla is a senior designer at Tiwi Designs on Bathurst Isl... Osmond Kantilla is a senior designer at Tiwi Designs on Bathurst Island in the Northern Territory. His work is exhibited in galleries around Australia. The abstract patterns of contemporary Tiwi Design fabrics demonstrate the continuing vitality of the totemic ‘writing’ traditionally painted on the body, now translated to silk-screen designs for fabric. |  | In Kantilla’s Blanket this visual language appears as a sophis... In Kantilla’s Blanket this visual language appears as a sophisticated pattern overlaying twill and brocade fabric. The markings refer to country and kin. The emblematic form of the blanket is repeated across Fabrics of Change.
Osmond Kantilla, Bathurst Island, Australia
Blanket c. 2001
Iron pigment screenprinted on fabric 203cm x 138cm
University of Wollongong Art Collection
Courtesy of Tiwi Designs, Nguiu |
Fabrics of Change: Trading Identities
Curators: Dr Diana Wood-Conroy and Emma Rutherford
Fabrics of Change: Trading Identities
What would you expect in an exhibition which traces connections between textiles and trade in countries of the former British Empire?
This University of Wollongong project with national and international artists includes compelling material of bark fibre, fine woven and stitched fabric, and printed and embroidered costumes. It is accompanied by a 72 page full colour publication.
The exhibition is currently displayed at Flinders University City Gallery in Adelaide until August 2nd, 2004. View images from the exhibition launch in Adelaide.
Opened by Professor Sue Rowley (Chair, Humanities and Creative Arts, Australian Research Council), the exhibition has attracted appreciative comment:
Noris Ioannou reviewed the exhibition Fabrics of Change in the Adelaide Advertiser (7/7/04) and said it 'demands rigorous intellectual effort''. 'Curator Diana Wood Conroy's statement best summarises the exhibition: Diving into the depths of the archives allows the passions of the past to inform the present'.
The exhibition includes the artists:
- Narelle Jubelin, who was born in Australia and lives and works in Madrid, Spain. She has represented Australia in major national and international exhibitions.
- Osmond Kantilla, a senior designer at Tiwi Designs on Bathurst Island in the Northern Territory. His work is exhibited in galleries around Australia, and was exhibited in the Telstra Award in Darwin in 2002.
- Kay Lawrence, a tapestry weaver and designer of major public artworks. She received the Order of Australia for her work in designing the Parliament House Embroidery in Canberra.
- Nadia Myre, a contemporary First Nations artist of Algonkin and French Canadian descent who works in Montreal, Canada.
- John Pule, born in Niue (Pacific), now living and working in New Zealand. His work links the vocabulary of traditional tapa designs with contemporary art and literature.
Fabrics of Change: Trading Identities extends from Fabric(ations) of the Postcolonial, Australian Research Council project at the University of Wollongong, between the Faculty of Arts and the Faculty of Creative Arts.
The ARC project explored interactions between textiles and trade in postcolonial ‘english’ literatures, and involved Dr Paul Sharrad (A/Prof. English Studies), Dr Diana Wood Conroy (A/Prof. Visual Arts), Dr Anne Collett (Senior Lecturer English Studies) and Dr Dorothy Jones (Honorary Fellow, English Studies).
"The exhibition is the culmination of a dynamic, interdisciplinary research process which has seen staff from two faculties work closely together," says Professor Amanda Lawson, Head of the School of Art & Design in the Faculty of Creative Arts. "It has increased our respect for and knowledge of each other’s disciplines – and I am sure it paves the way for future collaborations."
Curator: A/Professor Diana Wood Conroy, Assistant Curator: Emma Rutherford
Enquiries to Diana Wood Conroy, ph: 4221 4269 or e-mail: dconroy@uow.edu.au
All images courtesy of Flinders University City Gallery and director, Gail Greenwood.
Fabrics of Change and the School of Art and Design at the Faculty of Creative Arts at the University of Wollongong gratefully acknowledges the support of: Australia Council, Australian Research Council, The University of Wollongong, & Flinders University Museum.
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