Janet Fieldhouse (born 1971) is a Meriam Mir ceramic artist based in Cairns, Queensland, Australia. Fieldhouse uses a variety of clays and ceramic techniques to recover, reinterpret and represent Ailan Kastom: [notes 1] the cultural practices, symbols and artistic traditions of her Erub community, particularly the significant roles and contributions of women. [1] Fieldhouse was introduced to ceramics by artist and Thainakuith elder, Thancoupie Gloria Fletcher James. Since then, Fieldhouse has developed her practice through artist residencies in Japan and the United States and a Master of Philosophy (Visual Arts) at the Australian National University in 2010. [2] [3]
Fieldhouse is recovering and celebrating Ailan Kastom through an innovative approach to ceramics. Fieldhouse has been awarded several prizes for her work, including the Indigenous Ceramic Art Prize at Shepparton Art Museum in 2007 and 2012, and has work held in public collections throughout Australia and the United States. [4] [5]
Janet Fieldhouse was born in Cairns, Queensland, and maintains strong connections with her matrilineal connections to Badu (Mulgrave), Mua (Moa), Kirriri (Hammond) and Erub (Darnley) islands and South Sea Islander communities. [6]
Combining varieties of earthenware, stoneware and porcelain clays with natural fibres, found materials and multimedia, Fieldhouse evokes the foremost importance of a continuing connection to Country and Culture for Torres Strait Islander Peoples. Fieldhouse's work "is an expression of her Torres Strait Islander heritage: the material culture, rituals of social and religious life, and artefacts which are created to fulfil the functional and spiritual needs of the peoples of the Torres Strait," and focusses specifically on the contributions of women to Ailan Kastom. [7]
It is the ceremonial scarification and body adornment of Torres Strait Islander women that is most documented by Fieldhouse's practice. Using Keraflex flexible porcelain, Fieldhouse translates oral histories from Erub and Badu Elders into intricately carved translucent discs, illuminated by light-boxes set beneath the surface in her Comb and Pendant series. [8] [9] Her 2011 work Tattoo is a porcelain piece featuring symbols and imagery from women's scarification traditions which are no longer practiced in the Torres Strait. [2] This work was awarded the Indigenous Ceramic Art Award in 2012. Tattoo is featured in the Shepparton Art Museum online exhibition, "Paradise Again". [10]
In a 2011 exhibition at Vivien Anderson Gallery, "Journey", Fieldhouse combines white raku, red raku and Cool Ice porcelain with feathers, string, acrylic paint, synthetic polymer paint, demonstrating her innovative approach to ceramics. She also incorporates terracotta clay from the Mekong River in Laos, where she travelled in 2010 and worked with local potters. [11] In the same year, Fieldhouse was a featured artist in the Vivien Anderson Gallery group exhibition, "The Women's Show," which showcased the diversity and innovation of Australian First Nations women artists. [12]
Fieldhouse has been the recipient of several awards and prizes for her contributions to both contemporary Australian ceramics and Australian First Nations art. in 2018, Fieldhouse was a featured artist in The National in Sydney,[ citation needed ] exhibiting her Comb and Pendant series in the Museum of Contemporary Art in Sydney, New South Wales.[ citation needed ]
Torres Strait Islanders are the Indigenous Melanesian people of the Torres Strait Islands, which are part of the state of Queensland, Australia. Ethnically distinct from the Aboriginal peoples of the rest of Australia, they are often grouped with them as Indigenous Australians. Today there are many more Torres Strait Islander people living in mainland Australia than on the Islands.
Makinti Napanangka was a Pintupi-speaking Indigenous Australian artist from Australia's Western Desert region. She was referred to posthumously as Kumentje. The term Kumentje was used instead of her personal name as it is customary among many indigenous communities not to refer to deceased people by their original given names for some time after their deaths. She lived in the communities of Haasts Bluff, Papunya, and later at Kintore, about 50 kilometres (31 mi) north-east of the Lake MacDonald region where she was born, on the border of the Northern Territory and Western Australia.
Danie Mellor is an Australian artist who was the winner of 2009 National Aboriginal & Torres Strait Islander Art Award. Born in Mackay, Queensland, Mellor grew up in Scotland, Australia, and South Africa before undertaking tertiary studies at North Adelaide School of Art, the Australian National University (ANU) and Birmingham Institute of Art and Design. He then took up a post lecturing at Sydney College of the Arts. He works in different media including printmaking, drawing, painting, and sculpture. Considered a key figure in contemporary Indigenous Australian art, the dominant theme in Mellor's art is the relationship between Indigenous and non-Indigenous Australian cultures.
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Tjunkiya Napaltjarri was a Pintupi-speaking Indigenous artist from Australia's Western Desert region. She is the sister of artist Wintjiya Napaltjarri.
Wintjiya Napaltjarri, and also known as Wintjia Napaltjarri No. 1, is a Pintupi-speaking Indigenous artist from Australia's Western Desert region. She is the sister of artist Tjunkiya Napaltjarri; both were wives of Toba Tjakamarra, with whom Wintjiya had five children.
Takariya Napaltjarri is an Indigenous artist from Australia's Western Desert region. She has painted with Papunya Tula artists' cooperative. First exhibited in 1996, her work is held in the collection of the Art Gallery of New South Wales.
Eileen Napaltjarri is a Pintupi-speaking Aboriginal Australian artist from Australia's Western Desert region. Eileen Napaltjarri, also known as Anyima Napaltjarri, began painting for Papunya Tula artists' cooperative in 1996. She was named as one of Australian Art Collector magazine's 50 Most Collectible artists in 2008; her works are held by the National Gallery of Australia and the Art Gallery of New South Wales.
Linda Yunkata Syddick Napaltjarri is a Pintupi- and Pitjantjatjara- speaking Indigenous artist from Australia's Western Desert region. Her father was killed when she was young; her mother later married Shorty Lungkarta Tjungarrayi, an artist whose work was a significant influence on Linda Syddick's painting.
Napaljarri or Napaltjarri is one of sixteen skin names used amongst Indigenous Australian people of Australia's Western Desert, including the Pintupi and Warlpiri. It is one of the eight female skin names. Skin names are often treated by Western cultures as equivalent to a surname; as a result the name is familiar to many as that of prominent Indigenous figures, such as artists Tjunkiya Napaltjarri, her sister Wintjiya Napaltjarri, and Linda Syddick Napaltjarri.
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Tjayanka Woods is an Australian Aboriginal artist. She was one of the pioneers of the art movement across the Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara lands, which began in 2000. She is best known for her paintings, but also a craftswoman who makes baskets and other woven artworks. Her paintings are held in the Art Gallery of Western Australia, National Gallery of Victoria, and the National Gallery of Australia.
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