Queensland Art Gallery - Queensland Government

added to a number of customary practices. Taunamu are traditionally used as screens during
wedding ceremonies. Although in recent times they have begun to feature family names, the
patterns and formation of the masi have remained relatively constant over centuries. Similarly,
the ibe vakabati (wool-fringed mat), that features a lotus flower surrounded by the Fijian
sandalwood vine, in the past would likely have displayed colourful geometric designs. 3 To these
transformed works, Toki, White and Jione have added two fabric mats to be placed on the masi
where the couple would stand. These mats, featuring remnants of wedding saris sewn with strips
of masi, were inspired by the work of Toki’s Indo–Fijian neighbours. The artists have chosen an
installation rich in hope and cultural symbolism and, through their Bahá’Í faith, they call for the
peaceful transformation of their society, which is imaged in exquisite detail in this work.
Teitei vou (A new garden) is an example of how customary works convey artists’ alternative ideas
about their locale, or how they allow them to interact differently with their own rites. The desire
to communicate, and ensuing artistic change, facilitates the dialogue between customary-based
and contemporary works. Customary-inspired works have been included in past APTs, most
notably the ornate clay relief structures of the Indian artist Sonabai in APT3 (1999). The Rajwar
community, to which Sonabai belongs, transform their homes with elaborate decorations and
painted clay figures for the post-harvest festival of chherta. Sonabai came to international
attention when she developed a style inimitable to the women in her village, by creating figures
exploring different sculptural possibilities. Her inclusion in APT3 was a strong statement based
on the questioning of definitions of contemporary art, revealing the porosity of art historical
classifications and binding her practice to those that recognise different art histories.
The fifth APT in 2006 featured the Pacific Textiles Project, which demonstrated the use of textiles
across the South Pacific as a way of conveying narratives of religion and nationhood; in the past,
they were largely devoid of imagery and text. These textiles are still being used in the same
life-changing ceremonies as their forebears, but now use alternative materials, such as wool and
cotton, to weave new ideas. The embroideries, which include the words ‘happy birthday’, the
names of family members or bright depictions of biblical stories, circulate only within their own
communities, travelling far only when accompanying members of the diaspora to their other
homes. Consequently, they have not often found their way into exhibitions or the art market.
The artist Sonabai creating her work Untitled in Brisbane
for ‘The Third Asia Pacific Triennial of Contemporary Art’,
Queensland Art Gallery, 1999 / Photograph: Ray Fulton
The Pacific Textiles Project installed at ‘The 5th Asia
Pacific Triennial of Contemporary Art’, Queensland Art
Gallery, 2006 / Photograph: Natasha Harth
Robin White
Leba Toki
Bale Jione
Teitei vou (A new garden) (work in progress) 2009
Taunamu from Teitei vou (A new garden) (detail) 2009
Natural dyes on barkcloth / Purchased 2009.
Queensland Art Gallery Foundation Grant /
Collection: Queensland Art Gallery
This type of work raises a number of issues — the altering of customary practice is sometimes
perceived as merely derivative of the original; the authenticity of tradition somehow maintains a
cultural purity which is stronger and more valued, particularly by the tribal art market. Similarly,
customary work, whether used as a departure point for new work or not, is often not considered
to be contemporary art, and is therefore excluded from international platforms. 4 This important
and ongoing discussion also concerns contemporary Australian Aboriginal art.
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