Paperskin: barkcloth across the Pacific - Queensland Art Gallery
Paperskin: barkcloth across the Pacific - Queensland Art Gallery
Paperskin: barkcloth across the Pacific - Queensland Art Gallery
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Marsang<br />
Papua New Guinea, b.1918<br />
Kairak Baining people, East New<br />
Britain Province<br />
Siviritki 1974<br />
Barkcloth, dye, felt pen, natural<br />
fibre, wood and cane / Two<br />
components: 160 x 45.5 x 50cm<br />
(mask); 97cm (fibre) / Collected<br />
by Harold Gallasch, 1974 /<br />
Collection: <strong>Queensland</strong> Museum<br />
The <strong>Pacific</strong> perspective on<br />
<strong>the</strong> <strong>Queensland</strong> Museum:<br />
tradition is present in <strong>the</strong> past and here in <strong>the</strong> present<br />
Imelda Miller<br />
<strong>barkcloth</strong> brings toge<strong>the</strong>r sculpture, music, art, dance, ceremony and story. everything<br />
in <strong>the</strong> ‘<strong>Paperskin</strong>’ exhibition is part of somebody’s story about <strong>the</strong>ir identity and<br />
connection to place. The <strong>barkcloth</strong>s and sculptures have <strong>the</strong>ir own stories, which exist<br />
as <strong>the</strong> past, in <strong>the</strong> present and for <strong>the</strong> future.<br />
in this exhibition we can liken <strong>the</strong> collected <strong>barkcloth</strong>s to a favourite novel — albeit one<br />
that is all middle without <strong>the</strong> beginning or <strong>the</strong> end, or all beginning and end without<br />
<strong>the</strong> middle. Consider that <strong>the</strong> words from a wise storyteller’s mouth become <strong>the</strong> story<br />
written on <strong>the</strong> pages of this book, dance and music become <strong>the</strong> beautiful illustrations,<br />
and <strong>the</strong> ceremony is <strong>the</strong> experience of reading from it. sometimes, we go back to our<br />
favourite pages because something in <strong>the</strong> present that has changed <strong>the</strong> way we think.<br />
When we revisit those pages, <strong>the</strong>re are always more lessons to be learnt about <strong>the</strong><br />
story being told.<br />
Museums collect and preserve evidence in <strong>the</strong> form of objects and information about<br />
<strong>the</strong>m. in doing so, museums also collect parts of culture and build stories. Museum<br />
collections tell us about <strong>the</strong> cultural and physical environments in which objects<br />
originated, <strong>the</strong>ir many uses, and <strong>the</strong> skill, status and mark of <strong>the</strong> maker. As time passes<br />
and attitudes change, more indigenous peoples <strong>across</strong> <strong>the</strong> world are accessing<br />
collections held in institutions to reconnect and bring to life <strong>the</strong>se objects to tell stories<br />
about <strong>the</strong> person, <strong>the</strong> people, <strong>the</strong> community, and <strong>the</strong>ir connection to place in <strong>the</strong> past<br />
and <strong>the</strong> present.<br />
<strong>Queensland</strong> Museum has been collecting for nearly 150 years. its <strong>Pacific</strong> collection has<br />
approximately 26 000 objects and 4000 historical photographs, and its large collection<br />
of <strong>barkcloth</strong>s display a balance between masculine and feminine, old and new.<br />
<strong>Queensland</strong> is strongly connected to <strong>the</strong> people in <strong>the</strong> <strong>Pacific</strong>, particularly Melanesia.<br />
Melanesia includes <strong>the</strong> Torres strait islands, Papua New Guinea, <strong>the</strong> solomon islands,<br />
Vanuatu, New Caledonia and Fiji. From 1884, responsibility for british New Guinea<br />
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