From Baskets to Bodies: Innovation Within Aboriginal Fibre Practice

Abstract

This essay is concerned with the emergence of Indigenous fibre sculpture, a movement within contemporary Australian Aboriginal art. Here I discuss the work of key practitioners including Lena Yarinkura, Marina Murdilnga and Anniebell Marrngamarrnga from Central Arnhem Land; Yvonne Koolmatrie and Treahna Hamm from the Murray River region; the Central Desert artists Kantjupayi Benson, Ivy Hopkins, Jean Burke and the Utopia artists. Many of these fibre artists developed their sculptural forms through mastering and combining long practised techniques while simultaneously pushing the boundaries of material and form. I argue that it is the urge of fibre artists to bring their connection to country, cultural heritage and contemporary life into the foreground of their artistic practice that has led them to the sculptural form. Making fibre sculpture allows the artists to pass on cultural knowledge and skills and in doing so helps to ensure the sustainability of their cultures and local economies. I also argue that ‘going sculptural’ has helped re‐position Aboriginal fibre art in the art market and its re‐evaluation as fine art; an important step toward establishing a sustainable art practice within the wider art market.