The Journal of Australian Ceramics Vol 53 No 3 November 2014
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Gatherings 1<br />
<strong>The</strong> Rise and Rise <strong>of</strong><br />
Queensland Indigenous<br />
<strong>Ceramics</strong><br />
Katrina Chapman takes a look at recent developments after attending the<br />
Ca irns Indigenous Art Fair <strong>2014</strong><br />
Technical mastery, humour and sophisticated rendering <strong>of</strong> concept into clay has seen works by<br />
Queensland Indigenous artists take a major place on the stage <strong>of</strong> <strong>Australian</strong> ceramics practice in<br />
recent years. Both independent practitioners and artists working with art centres have worked hard<br />
to raise their pr<strong>of</strong>iles, creating bodies <strong>of</strong> work that challenge preconceptions about Indigenous<br />
creative endeavour. A growing appreciation for the novelty and clear articulation <strong>of</strong> cultural and social<br />
imperatives in their art has resulted in many pieces entering public collections, national awards and<br />
exhibitions, and attracting critical attention.<br />
Queensland has long held the honour <strong>of</strong> claiming the country's foremost Indigenous ceramicist in<br />
the person <strong>of</strong> Dr Gloria Thanakupi Fletcher from Napranum on Cape York Peninsula. In terms <strong>of</strong> living<br />
artists, this role is being amply filled by another independent female ceramicist, Janet Fieldhouse from<br />
the Torres Strait. Like Thanakupi, Fieldhouse has totally committed herself to the study and practice <strong>of</strong><br />
her art, developing a highly distinctive style. Recently returning to her birthplace <strong>of</strong> Cairns after a period<br />
<strong>of</strong> study and research in Canberra, Fieldhouse's homecoming was heralded by Mark and Memory,<br />
an exhibition at the Cairns Regional Gallery. Described as 'the most impressive body <strong>of</strong> work'l in the<br />
<strong>2014</strong> Cairns Indigenous Art Fair (CIAF). Fieldhouse has combined a number <strong>of</strong> styles to depict Torres<br />
Strait material culture and body markings. Baskets and women's dancing decoration are rendered in<br />
Below: Janet Fieldhouse, Mark and Memory 1. <strong>2014</strong>, red raku with white charcoal, h.64cm, w.27cm, d.27cm<br />
Photo: Fany Saumure. Below right: Shenane Jago, Crocodile Skull #3, <strong>2014</strong>, white earthenware with underglaze<br />
glazed terracotta, h.18cm, w.39cm; photo: courtesy artist, Bynoe Art Centre, QLD and Alcaston Gallery. Melbourne. VIC<br />
THE JOURNAL OF AUSTRALIAN CERAM1CS NOVEMBER <strong>2014</strong> 93
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