It was Department of Culture and the Arts that pointed Geoffrey Finch and Fenella Peacock from fashion label Antipodium in our direction. They had an idea, but didn’t know who they could to take it to. A little more yarning saw Antipodium connecting with mostly Geraldton Aboriginal artists. They commissioned works that then took part in the London, Paris and Sydney summer fashion show last year. Ab Fab was a fantastic hit! Our congratulations go to Barbara Merritt, Roy Merritt, Ruby Mackintosh, Nikki Dickerson and Manapa Butler, our regional coordinator Sonja May, Yamaji Art, the artists themselves and the crew at Antipodium who all worked tirelessly to make this happen. One little telephone call, introduced these community artists to the amazing world of International Fashion.
The issue of artist wills still remains an extremely important part of Aboriginal visual artists’ professional development in WA. The WA Act that determines the right of our next-of-kin to claim assets associated with their immediate family, prevents Aboriginal people from doing this in the same way that non-Aboriginal people might do. Delwyn Everard and Brad Webb from Arts Law spent a week developing over 18 wills with mostly Nyoongar artists. More needs to be done to assist Aboriginal artists in WA in this area, so both Artsource and Arts Law will continue our work on this front.
Athol Farmer, Katanning, made a will with advice from Arts Law - Artists in the Black
Toogarr Morrison, Laurel Nannup, Jilalga Murray-Ranui, Peter Farmer, Vanessa Russ and Bevan Thompson occupied 10% of our studios throughout the metro area. For an arts organisation that up until 2004 had not one of its Aboriginal members in their studios – this is a fantastic milestone. Artsource determined in 2004 that it would seek to provide opportunity to Aboriginal artists in the same way it did for all other visual artists who are seeking to professionalise their arts practice and develop their visual arts career. The diversity of art practices between these artists goes to show the importance.
Ric Spencer visits Yinjaa Barni and Roebourne Art Group Artists
Hidden away in Roebourne are two very exciting art centres that continue to grow highly respected Pilbara artists. Thanks to Rio Tinto, we were able to introduce Dr Ric Spencer, art critic for The West Australian, during the 2009 Cossack Art Award time, to the prodigious talent that can be found here. Ric was able to provide insight into art criticism and share his advice about how to promote their art practice beyond Roebourne. This is paying huge dividends for both groups as they attract the eye of more people in the main stream visual arts industry. These artists are raising the bar in their arts practice and Artsource looks on with a sense of barely containable anticipation.
Both artists were looking for an opportunity to connect with local Ngarlama peoples in Karratha, so they could enrich their cultural approach to the public works they were installing at the local TAFE campus. One thing led to another and before we knew it conversations were running back and forth about the possibility of ephemeral works in the lead up to the 2009 Cossack Art Awards. What you see here is the result of a collaboration between the artists, Ngarlama elders, the Shire of Roebourne, local community people, school groups and a plethora of other interested people. The Ngarlama Mob had determined that the story should be about the fish, as this is what connected all those who visited the ‘Claypans’ to this area. Arif and Audrey’s vision brought about a stunning set of ephemeral works which nature will claim back – in her own time.
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