The Journal of Australian Ceramics Vol 52 No 1 April 2013
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Nyukana Baker, born 1943. Pitjantjatjara and Robin Best<br />
born 1953, Settlement 2005, cast coloured porcelain<br />
with underglaze, black punuku walka by Nyukana Baker<br />
seven elements, various dimensions; Flinders University Art<br />
Museum Collection 4668; courtesy artists<br />
Photo: Grant Hancock, Adelaide<br />
Originally from Mackie, Queensland, Mamui<br />
Ngajoni man Danie Mellor is an artist who explores<br />
issues <strong>of</strong> identity and inter-cultural relationships<br />
in various art media, including ceramics. His <strong>The</strong><br />
totem (motif) 2008, slip-cast stoneware with<br />
feathers, 71 x 33 x 51 em, is a dog sculpture<br />
decorated with cockatoo feathers that parallel<br />
body adornments <strong>of</strong> traditional ceremonial<br />
practices. Mellor's dogs are a metaphor for the<br />
historical treatment <strong>of</strong> Australia's Indigenous<br />
people by the Anglo-European coloniser-usurpers.<br />
In the book's conclusion, Nicholls remarks on<br />
the unique capacity <strong>of</strong> Indigenous ceramics to<br />
convey traditional thematics and express spirituality<br />
and connections to Country. She believes that<br />
Indigenous ceramics collectively constitute a<br />
Ricardo Idagi, born 1957, Meriam Mer, Wolf in Sheep 's<br />
Clothing, 2012, glazed earthenware, feathers, cane<br />
h.60cm, w.27cm, d.65cm; courtesy artist and Vivien<br />
Anderson Gallery. Melbourne<br />
Photo: Simon Anderson Photography, Melbourne<br />
form <strong>of</strong> conceptual art that draws .. 'a udiences away from the inherent narcissism characterising<br />
certain contemporary art ... [causing] ... us to reflect on the past, and on our shared <strong>Australian</strong> present<br />
and future'. Perhaps less controversially, Christine Nicholls concludes by commenting that Indigenous<br />
ceramicists, like their non-Indigenous counterparts, primarily strive to 'bridge gaps' between people and<br />
objects within a contemporary, global context.<br />
Karen Austin is currently a Humanities PhD student at Flinders University in South Australia,<br />
under the guiding hand <strong>of</strong> Dr Christine Nicholls.<br />
E: klaustin@adam.com.au<br />
Copies <strong>of</strong> Earth Works contemporary Indigenous <strong>Australian</strong> ceramic art (RRP $20; P&H $7.50)<br />
are available from Flinders University City Gallery, State Library <strong>of</strong> South Australia<br />
T: 08 8207 7055; www.flinders.edu.au/artmuseum<br />
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL <strong>2013</strong> 85
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