Between Earth and Sky: 2020 artists-in-residence exhibition
25 March - 22 May 2021 Jenni Kemarre Martiniello | Sharon Peoples 2020 Craft ACT artists-in-residence Jenni Kemarre Martinello and Sharon Peoples will present a new body of work inspired by their research at the National Museum of Australia (NMA) and their three-week residency period at Namadgi National Park, where Jenni and Sharon shared a living and working space at Gudgenby Ready-Cut Cottage. Presented in partnership with ACT Parks and Conservation Service and National Museum of Australia (NMA).
25 March - 22 May 2021
Jenni Kemarre Martiniello | Sharon Peoples
2020 Craft ACT artists-in-residence Jenni Kemarre Martinello and Sharon Peoples will present a new body of work inspired by their research at the National Museum of Australia (NMA) and their three-week residency period at Namadgi National Park, where Jenni and Sharon shared a living and working space at Gudgenby Ready-Cut Cottage.
Presented in partnership with ACT Parks and Conservation Service and National Museum of Australia (NMA).
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CRAFT ACT: CRAFT + DESIGN CENTRE<br />
BETWEEN EARTH<br />
AND SKY<br />
Artists-<strong>in</strong>-<strong>residence</strong><br />
<strong>2020</strong><br />
JENNIFER KEMARRE MARTINIELLO AND SHARON PEOPLES
<strong>2020</strong> ARTISTS-IN-RESIDENCE<br />
Jennifer Kemarre Mart<strong>in</strong>iello<br />
Sharon Peoples<br />
LOCATIONS<br />
Gudgenby Ready-Cut Cottage, Namadgi<br />
National Park, Australian Capital Territory<br />
National Museum of Australia<br />
RESIDENCY PARTNER (SINCE 2006)<br />
ACT Parks <strong>and</strong> Conservation Service<br />
Brett McNamara <strong>and</strong> Mel Barton + team<br />
<strong>2020</strong> RESEARCH PARTNER<br />
National Museum of Australia<br />
Craft ACT: Craft + Design Centre acknowledges the<br />
Ngunnawal people as the traditional custodians<br />
of the ACT <strong>and</strong> surround<strong>in</strong>g areas. We honour<br />
<strong>and</strong> respect their ongo<strong>in</strong>g cultural <strong>and</strong> spiritual<br />
connections to this country <strong>and</strong> the contribution<br />
they make to the life of this city <strong>and</strong> region. We<br />
also acknowledge other Aborig<strong>in</strong>al <strong>and</strong> Torres<br />
Strait Isl<strong>and</strong>er peoples that have made Canberra<br />
their home <strong>and</strong> we aim to respect cultural heritage,<br />
customs <strong>and</strong> beliefs of all Indigenous peoples.<br />
Craft ACT: Craft + Design Centre<br />
Level 1 North Build<strong>in</strong>g<br />
180 London Circuit, Canberra<br />
www.craftact.org.au<br />
CONTENTS<br />
HISTORY REPEATS<br />
Rachael Coghlan, CEO + Artistic Director<br />
Craft ACT: Craft + Design Centre<br />
A YEAR TO REMEMBER<br />
Wade Young, Act<strong>in</strong>g Manager, Namadgi National Park<br />
ACT Parks <strong>and</strong> Conservation Service<br />
6-9<br />
12-13<br />
CRAFT ACT RESIDENCY TEAM<br />
Rachael Coghlan (CEO + Artistic Director)<br />
Kate Nixon (Program Director)<br />
Meagan Jones (Communications + Membership<br />
Manager)<br />
Madisyn Zabel (Gallery Manager)<br />
PUBLIC PROGRAM<br />
Gudgenby Ready-Cut Cottage open day<br />
24 April 2021<br />
T (02) 6262 9333<br />
Craft ACT shop + gallery hours<br />
Tuesday to Friday 10am–5pm<br />
Saturday 12–4 pm<br />
Publisher: Craft ACT: Craft + Design Centre<br />
Graphic Design Template: Amy Cox<br />
Typesett<strong>in</strong>g: Craft ACT<br />
Pr<strong>in</strong>t<strong>in</strong>g: Br<strong>in</strong>dabella Pr<strong>in</strong>t<br />
THE NATIONAL MUSEUM OF AUSTRALIA AND CRAFT ACT’S<br />
ARTIST-IN-RESIDENCE PROGRAM <strong>2020</strong><br />
Dr Jonathan L<strong>in</strong>een, Curator<br />
National Museum of Australia<br />
SUMMER’S TEMPO<br />
Ruth Morgan, Associate Professor, Director, Centre for Envronment History,<br />
College of Arts <strong>and</strong> Social Sciences, Australian National University<br />
16-17<br />
20-23<br />
28-33<br />
EXHIBITION<br />
<strong>Between</strong> <strong>Earth</strong> <strong>and</strong> <strong>Sky</strong><br />
Craft ACT: Craft + Design Centre<br />
25 March–22 May 2021<br />
ABN: 33 314 092 587<br />
© Craft ACT: Craft + Design Centre 2021<br />
ARTISTS’ REFLECTIVE ESSAYS<br />
Jennifer Kemarre Mart<strong>in</strong>iello<br />
Sharon Peoples<br />
ARTISTS: STATEMENTS AND BIOGRAPHIES<br />
Jennifer Kemarre Mart<strong>in</strong>iello<br />
34-41<br />
Sharon Peoples<br />
ACKNOWLEDGMENTS<br />
45<br />
Cover Image: Namadgi National Park, <strong>2020</strong>.<br />
Photo: 5 Foot Photography<br />
Page 4-5: <strong>Between</strong> <strong>Earth</strong> <strong>and</strong> <strong>Sky</strong> <strong>exhibition</strong>,<br />
Craft ACT. Photo: 5 Foot Photography<br />
2 3
4 5
A YEAR TO REMEMBER<br />
Dr Rachael Coghlan, CEO + Artistic Director,<br />
Craft ACT: Craft + Design Centre<br />
Our natural world is restorative <strong>and</strong> a source of<br />
profound <strong>in</strong>spiration for <strong>artists</strong>.<br />
the l<strong>and</strong>scape <strong>and</strong> profoundly changed the park’s<br />
appearance.<br />
It’s no surprise that the Craft ACT/ACT Parks artist<br />
residency was impacted by the multiple setbacks,<br />
delays <strong>and</strong> challenges of <strong>2020</strong>. Fortunately, our<br />
artistic review panel had already selected two highly<br />
experienced <strong>artists</strong> – Jennifer Kemarre Mart<strong>in</strong>iello<br />
(Arrernte) <strong>and</strong> Sharon Peoples – to undertake the<br />
residency.<br />
After driv<strong>in</strong>g through the bleak, post-fire l<strong>and</strong>scape<br />
of shrunken, blackened trunks <strong>and</strong> greyed, split<br />
ground, it was very emotional when a lush green<br />
valley <strong>and</strong> the historic cottage revealed itself,<br />
st<strong>and</strong><strong>in</strong>g under the shadow of the familiar hills.<br />
Ready-Cut Cottage <strong>and</strong> its surround<strong>in</strong>g valley had<br />
been <strong>in</strong>geniously protected by rangers.<br />
Their orig<strong>in</strong>al residency plans were delayed – but<br />
<strong>in</strong> no way dim<strong>in</strong>ished – due to the p<strong>and</strong>emic<br />
restrictions <strong>and</strong> the bushfires’ damage.<br />
When the devastat<strong>in</strong>g Namadgi bushfires hit our<br />
region over a year ago, the Craft ACT community<br />
was deeply affected. Our long-term relationship with<br />
ACT Parks meant that we were on high alert <strong>and</strong><br />
very anxious for the safety of our ranger colleagues<br />
<strong>and</strong> the survival of the Gudgenby Valley which has<br />
been a source of creative renewal for Craft ACT<br />
<strong>artists</strong> over many years.<br />
It was a great relief when our friends <strong>and</strong><br />
collaborators, Namadgi Manager Brett McNamara<br />
<strong>and</strong> Mel Barton, took us on a tour of the national<br />
park last year after the fires. The devastation was<br />
overwhelm<strong>in</strong>g – the strength of the fires, heavy<br />
ra<strong>in</strong>s <strong>and</strong> impact of climate change had destroyed<br />
This had been the site of artistic <strong>and</strong> personal<br />
transformation for so many <strong>artists</strong>, craft practitioners<br />
<strong>and</strong> designers: its survival buoyed our spirits,<br />
renewed our deep respect for the team at ACT Parks<br />
<strong>and</strong> made us more determ<strong>in</strong>ed than ever to susta<strong>in</strong><br />
this valuable residency <strong>in</strong>to the future.<br />
In fact, it was the 2003 destruction of the l<strong>and</strong>scape<br />
of Namadgi after fires <strong>and</strong> heavy ra<strong>in</strong>s that provided<br />
the genesis for this important residency program.<br />
Nearly 20 years ago, the outer layer of granite<br />
boulders had fractured <strong>in</strong> the ra<strong>in</strong> then exploded<br />
<strong>in</strong> the <strong>in</strong>tensity of the fires, build<strong>in</strong>g l<strong>and</strong>scape<br />
<strong>and</strong> chang<strong>in</strong>g the park’s appearance. After the<br />
recent <strong>2020</strong> fires, this process recurred, once aga<strong>in</strong><br />
chang<strong>in</strong>g the l<strong>and</strong>scape, threaten<strong>in</strong>g native animals<br />
<strong>and</strong> plants, impact<strong>in</strong>g European <strong>and</strong> Aborig<strong>in</strong>al<br />
cultural heritage, damag<strong>in</strong>g <strong>in</strong>frastructure <strong>and</strong><br />
plac<strong>in</strong>g the ACT’s primary water supply at risk.<br />
6 7
While we can take some heart from the regenerative<br />
nature of the Australian bush, we are rem<strong>in</strong>ded that<br />
it may not return to its former state. Our expert<br />
rangers caution that the frequency <strong>and</strong> <strong>in</strong>tensity<br />
of fires <strong>in</strong> our region may not allow the effective<br />
recovery of bush to its former state.<br />
History repeats. Artistic practice transforms. The<br />
Craft ACT community of members, partners <strong>and</strong><br />
collaborators becomes more resilient as we recognise<br />
the value of work<strong>in</strong>g together, support<strong>in</strong>g one<br />
another, <strong>in</strong> tough times.<br />
Thanks to the Sharon <strong>and</strong> Jenni’s maturity,<br />
experience <strong>and</strong> expertise, they have overcome<br />
adversity <strong>and</strong> created beautiful <strong>and</strong> thoughtful works<br />
which help all of us to make sense of our uncerta<strong>in</strong><br />
world <strong>in</strong> the <strong>Between</strong> <strong>Earth</strong> <strong>and</strong> <strong>Sky</strong> <strong>exhibition</strong>. I<br />
express my s<strong>in</strong>cere thanks to Jenni <strong>and</strong> Sharon for<br />
their optimism <strong>and</strong> resilience as plans chopped <strong>and</strong><br />
changed throughout the year.<br />
Heartfelt thanks to the team at ACT Parks <strong>and</strong><br />
Conservation for their endur<strong>in</strong>g support <strong>and</strong><br />
partnership, <strong>and</strong> courage <strong>and</strong> expertise <strong>in</strong> conta<strong>in</strong><strong>in</strong>g<br />
the fires. Thanks to the National Museum of<br />
Australia, our research partner, who found a way<br />
to give the <strong>artists</strong>’ access to their collection after<br />
the impact of Covid on the museum’s operations,<br />
<strong>and</strong> special thanks to the small but always mighty<br />
Craft team who shepherd this beautiful residency to<br />
fruition, even aga<strong>in</strong>st the odds.<br />
Page 6: Namadgi National Park, <strong>2020</strong>. Photo: 5 Foot<br />
Photography<br />
Opposite page: Gudgenby Ready-Cut Cottage, Namadgi<br />
National Park. Photo: 5 Foot Photography.<br />
Page 10-11: <strong>2020</strong> <strong>artists</strong>-<strong>in</strong>-<strong>residence</strong>, Sharon Peoples<br />
<strong>and</strong> Jennifer Kemarre Mart<strong>in</strong>iello at Gudgenby Ready-Cut<br />
Cottage, Namadgi National Park. Photo: 5 Foot Photography.<br />
8 9
10 11
A YEAR TO REMEMBER<br />
Wade Young, Act<strong>in</strong>g Manager, Namadgi National<br />
Park, ACT Parks & Conservation Service<br />
Residency partner s<strong>in</strong>ce 2006<br />
Without sound<strong>in</strong>g overly exuberant or ostentatious,<br />
the year that was <strong>2020</strong> was <strong>in</strong>deed profound <strong>in</strong> many<br />
ways.<br />
Cast<strong>in</strong>g our m<strong>in</strong>ds back to late 2019, <strong>in</strong> the midst<br />
of an already 2-year long drought, Namadgi<br />
National Park was closed to the public for the first<br />
time s<strong>in</strong>ce 2003. L<strong>and</strong>scapes across the park were<br />
chang<strong>in</strong>g before our eyes, as vegetation achieved<br />
0% fuel moisture. Visitors were ask<strong>in</strong>g us if we’d<br />
had a fire recently because the trees were look<strong>in</strong>g<br />
burned <strong>and</strong> the neighbour<strong>in</strong>g farml<strong>and</strong>, grey. Our<br />
fire management unit, <strong>in</strong> undertak<strong>in</strong>g fuel moisture<br />
assessments, were tell<strong>in</strong>g us that close to 100%<br />
of the vegetation was available to burn should fire<br />
take hold. Risks to park users <strong>and</strong> for potential fire<br />
ignitions were great, so a decision was made to close<br />
the Park to the public for the fire season ahead.<br />
Fast forward through the aptly named ‘Black<br />
Summer’, to the 27th of January <strong>2020</strong>. On<br />
undertak<strong>in</strong>g ground l<strong>and</strong><strong>in</strong>g assessments <strong>in</strong><br />
Namadgi, a faulty l<strong>and</strong><strong>in</strong>g light on a helicopter<br />
started a blaze <strong>in</strong> the Orroral Valley with<strong>in</strong> moments<br />
of touch<strong>in</strong>g down. The grass <strong>in</strong> Namadgi’s grassl<strong>and</strong><br />
areas, by January, was as dry as possible <strong>and</strong> a shade<br />
of yellow grey, that enhanced further the visual<br />
impact the drought was hav<strong>in</strong>g on our l<strong>and</strong>scape.<br />
The blaze spready quickly <strong>and</strong> ferociously under<br />
north westerly w<strong>in</strong>ds, engulf<strong>in</strong>g the Orroral Valley<br />
before spread<strong>in</strong>g <strong>in</strong>to the Orroral Ridge Plateau <strong>and</strong><br />
Rendezvous Creek areas. Southerly changes each<br />
even<strong>in</strong>g shift<strong>in</strong>g fire fronts towards Mt Tennant, the<br />
Bimberi Wilderness <strong>and</strong> Smokers Valley areas.<br />
for valiant efforts of fire fighters, many of the built<br />
structures <strong>in</strong> Namadgi would have also succumbed<br />
to fire. Quite fortunate <strong>in</strong>deed, although tragic, that<br />
only 2 huts were destroyed.<br />
The ra<strong>in</strong> that came, <strong>and</strong> cont<strong>in</strong>ued to fall, gave<br />
renewed life to the fire ground. It was a matter of<br />
weeks before green shoots of life emerged from the<br />
charcoal. The cont<strong>in</strong>ued ra<strong>in</strong> over w<strong>in</strong>ter <strong>and</strong> spr<strong>in</strong>g<br />
replenished soils of their deficient water stores <strong>and</strong><br />
grassl<strong>and</strong> areas bounded back to life. The Gudgenby<br />
Valley, the centre of Namadgi, was one of the first to<br />
recover <strong>in</strong> this way.<br />
At that po<strong>in</strong>t, we welcomed the <strong>artists</strong> of Craft<br />
ACT back <strong>in</strong>to the Gudgenby Valley <strong>in</strong> November/<br />
December <strong>2020</strong>. Jennifer Kemarre Mart<strong>in</strong>ello <strong>and</strong><br />
Sharon Peoples were our first ‘<strong>artists</strong> <strong>in</strong>-<strong>residence</strong>’<br />
at Ready-Cut Cottage s<strong>in</strong>ce the Park closed <strong>in</strong> 2019.<br />
Kemarre <strong>and</strong> Sharon’s work I’m sure will have<br />
been <strong>in</strong>spired by what they saw <strong>in</strong> the fire affected<br />
l<strong>and</strong>scape to some extent.<br />
Before welcomed ra<strong>in</strong> came 3 weeks later, the fire<br />
had spread through over 82,000 hectares of Namadgi<br />
National Park, leav<strong>in</strong>g a charred l<strong>and</strong>scape already<br />
severely impacted by drought, <strong>in</strong> its wake. If not<br />
Page 13-15: Namadgi National Park. Photo: 5 Foot<br />
Photography<br />
12 13
14 15
THE NATIONAL MUSEUM OF AUSTRALIA AND CRAFT ACT’S<br />
ARTIST-IN-RESIDENCE PROGRAM <strong>2020</strong><br />
Dr Johathan L<strong>in</strong>een, Curator<br />
National Museum of Australia<br />
<strong>2020</strong> Research Partner<br />
For the National Museum of Australia to be<br />
associated with Craft ACT’s artist-<strong>in</strong>-<strong>residence</strong><br />
program <strong>in</strong> the highly unusual year of <strong>2020</strong> has been<br />
an honour. Jennifer <strong>and</strong> Sharon were <strong>in</strong>spired by<br />
objects from the National Historical Collection <strong>and</strong><br />
connected those artefacts with their own personal<br />
stories <strong>and</strong> their experience <strong>in</strong> the high valleys of<br />
the Ngunnawal, Ngunawal <strong>and</strong> Ngambri country<br />
south of Canberra to create a series of beautiful<br />
artworks.<br />
Sharon viewed some of the Museum’s thylac<strong>in</strong>e<br />
collections, one <strong>in</strong> particular attracted her as the<br />
animal was caught near the town of Zeehan <strong>in</strong><br />
Tasmania where her family had been m<strong>in</strong>ers. She was<br />
excited about the personal connection <strong>and</strong> how the<br />
specimen spoke to the ‘demise of the environment…<br />
due to human pursuits.’ While out at Ready-Cut<br />
cottage, <strong>in</strong>teractions with wild dogs prompted her<br />
to ponder the ext<strong>in</strong>ction of the thylac<strong>in</strong>e on the<br />
ma<strong>in</strong>l<strong>and</strong>, but the overwhelm<strong>in</strong>g experience of<br />
Namadgi for her was the <strong>in</strong>teraction with birdlife <strong>and</strong><br />
her artwork at the cottage reflected that <strong>in</strong>teraction<br />
with species who, like the thylac<strong>in</strong>e two thous<strong>and</strong><br />
years ago, are faced with the danger of a chang<strong>in</strong>g<br />
environment.<br />
Jenni spent time with some of the Museum’s woven<br />
fibre collections, <strong>in</strong>clud<strong>in</strong>g the Gulibal Liv<strong>in</strong>g<br />
Cultural Group collection from North-Eastern New<br />
South Wales, which <strong>in</strong>cludes woven pieces that<br />
express the group’s experience reconnect<strong>in</strong>g with<br />
ancient cultural weav<strong>in</strong>g practices. She then brought<br />
that <strong>in</strong>spiration to the Gudgenby valley <strong>and</strong> us<strong>in</strong>g<br />
grasses collected <strong>in</strong> the area wove a series of works<br />
that will <strong>in</strong>fluence her future practice.<br />
For the National Museum Jenni <strong>and</strong> Sharon’s work<br />
is a fantastic outcome because our collections<br />
importance lies as much with how they can <strong>in</strong>spire<br />
people <strong>in</strong> the present as what they represent of our<br />
past. Through these <strong>artists</strong> creations the objects are<br />
animated, transformed <strong>and</strong> projected <strong>in</strong>to the future.<br />
Page 16: Pelt of a Thylac<strong>in</strong>e (Tasmanian Tiger), which was<br />
shot <strong>in</strong> the Pieman River – Zeehan area of Tasmania <strong>in</strong> 1930.<br />
Photo: George Serras, National Museum of Australia<br />
Page 18: Gulibal Liv<strong>in</strong>g Culture Fibre Story, Raw Materials<br />
Triptych. Photo: Ashley Gilmour, National Museum of<br />
Australia<br />
Page 19: <strong>Between</strong> <strong>Earth</strong> <strong>and</strong> <strong>Sky</strong> <strong>exhibition</strong>, Craft ACT.<br />
Photo: 5 Foot Photography<br />
16 17
18 19
SUMMER’S TEMPO<br />
Ruth Morgan<br />
Associate Professor, Director, Centre for<br />
Envronment History, College of Arts <strong>and</strong> Social<br />
Sciences, Australian National University<br />
For me, the Savage Summer was televised, unfold<strong>in</strong>g<br />
<strong>in</strong> my family’s liv<strong>in</strong>g room <strong>in</strong> Perth <strong>and</strong> then a<br />
hotel room <strong>in</strong> Ooty <strong>in</strong> southern India. I’d expected<br />
locals there to ask me about cricket, but all they<br />
wanted to talk about were the bushfires that had<br />
seem<strong>in</strong>gly engulfed the entire cont<strong>in</strong>ent. I watched<br />
as the Nullarbor’s Eyre Highway was shut for days<br />
as fires tore through the Great Western Woodl<strong>and</strong>s,<br />
str<strong>and</strong><strong>in</strong>g travellers at roadhouses I’d visited on a<br />
roadtrip across Australia just twelve months earlier.<br />
From Melbourne, my partner sent me photos of<br />
the smog blanket<strong>in</strong>g the suburbs as she frantically<br />
searched for smoke masks to help vulnerable clients<br />
at a medical centre she managed. Social media<br />
was ablaze too with videos document<strong>in</strong>g the fires<br />
firsth<strong>and</strong>, so vivid <strong>and</strong> visceral.<br />
Among the videos that caught my eye showed a<br />
helicopter hover<strong>in</strong>g over a suburban swimm<strong>in</strong>g pool<br />
southwest of Sydney, scoop<strong>in</strong>g up a load of water<br />
<strong>in</strong>to a big orange bladder that could be dumped on a<br />
nearby fire. Summers by the backyard pool took on a<br />
whole new mean<strong>in</strong>g.<br />
Bizarre as that video seemed, it somehow made<br />
sense. Just add water – a simple firefight<strong>in</strong>g equation.<br />
The more water, the better. Surely.<br />
Apparently not. There’s a cruel irony at work when a<br />
downpour of ra<strong>in</strong> meets a bone-dry <strong>and</strong> fire-ravaged<br />
l<strong>and</strong>. Soils laid bare erode as the ra<strong>in</strong>fall washes ash,<br />
debris, <strong>and</strong> mud <strong>in</strong>to parched riverbeds, chok<strong>in</strong>g<br />
waterways, starv<strong>in</strong>g them of oxygen <strong>and</strong> mak<strong>in</strong>g<br />
the water so murky that the sunlight can’t sh<strong>in</strong>e<br />
through. Aquatic creatures struggle to thrive <strong>in</strong><br />
these conditions, especially after prolonged drought,<br />
extreme heat, <strong>and</strong> fire. Someth<strong>in</strong>g that does do well<br />
<strong>in</strong> that situation is blue-green algae – a problem for<br />
the quality of dr<strong>in</strong>k<strong>in</strong>g water <strong>in</strong> water catchments,<br />
along with the risk of mudslides down naked <strong>and</strong><br />
eroded slopes.<br />
This long tail of bushfires can go unnoticed,<br />
contrast<strong>in</strong>g with the ferocity <strong>and</strong> violence of the<br />
<strong>in</strong>ferno itself. Forest, soil, water – Judge Leonard<br />
Stretton’s “<strong>in</strong>separable tr<strong>in</strong>ity” – account then not<br />
only for fire’s k<strong>in</strong>dl<strong>in</strong>g <strong>and</strong> <strong>in</strong>tensity, but also fire’s<br />
slow <strong>and</strong> pa<strong>in</strong>ful expiration.<br />
As I read about the concerns of freshwater ecologists<br />
<strong>and</strong> water managers, I thought back to a tour of<br />
the Yan Yean water supply system I’d taken back <strong>in</strong><br />
November. The tour was as much about the history<br />
of Melbourne’s water supplies as it was about the<br />
last<strong>in</strong>g effects of the Black Saturday bushfires ten<br />
years earlier. In addition to their devastat<strong>in</strong>g human<br />
toll, the 2009 bushfires had damaged nearly a third<br />
of Melbourne’s water supply catchments, <strong>and</strong> the<br />
slow regrowth of trees <strong>in</strong> those catchments would<br />
reduce the amount of water that could accumulate <strong>in</strong><br />
the reservoirs for years to come.<br />
Canberra’s Cotter River catchment is still recover<strong>in</strong>g<br />
from the 2003 bushfires <strong>and</strong> the recent fires came<br />
close aga<strong>in</strong>, as they burned through 80 per cent<br />
of Namadgi National Park with an unprecedented<br />
<strong>in</strong>tensity. One hollow trunk was still alight on at the<br />
Opposite page: Namadgi National Park. Photo: 5 Foot<br />
Photography. Photo: 5 Foot Photography<br />
20 21
end of March, the end of the fire season, over two<br />
months after flames <strong>in</strong> the Orroral Valley took flight.<br />
A lone flicker<strong>in</strong>g sent<strong>in</strong>el of summer’s new tempo.<br />
We’d paused for lunch that day at Toorourrong<br />
Reservoir <strong>in</strong> the K<strong>in</strong>glake National Park, north<br />
of Melbourne. The park had been destroyed on<br />
Black Saturday <strong>and</strong> even though the reservoir’s<br />
surround<strong>in</strong>g parkl<strong>and</strong>s had s<strong>in</strong>ce been restored,<br />
the blackened Mounta<strong>in</strong> Ash on the horizon were a<br />
grim rem<strong>in</strong>der of that brutal summer. Those trees<br />
had been 300 years old, an <strong>in</strong>formation panel on<br />
the upgraded reservoir wall expla<strong>in</strong>ed. They’ll need<br />
time to grow once more, time without fire. They are<br />
fitt<strong>in</strong>g sent<strong>in</strong>els to watch over the park’s bushfire<br />
memorial, a granite structure <strong>in</strong> the shape of an open<br />
seed pod. These are the mak<strong>in</strong>gs of new beg<strong>in</strong>n<strong>in</strong>gs,<br />
out of the ashes. Slow, but hopeful.<br />
Listen for them, those survivors <strong>and</strong> their k<strong>in</strong>.<br />
Listen to their songs <strong>and</strong> their stories. Namadgi,<br />
on Ngunnawal country, is a place for listen<strong>in</strong>g. For<br />
pause <strong>and</strong> for wonder.<br />
In late January <strong>2020</strong>, amid the grave reports of<br />
devastation from areas of Australia ravaged by<br />
bushfires, came a glimmer of hope. Some 20<br />
lyrebirds were photographed tak<strong>in</strong>g refuge around<br />
a dam on a property near Wollombi, New South<br />
Wales, on the edge of the Yengo National Park. By<br />
this time, almost all the park had been burned by<br />
fires that had raged for over a month, <strong>and</strong> BirdLife<br />
Australia estimated that more than half of the known<br />
habitat of the lyrebird had been burnt. Soon after,<br />
scientists estimated that at least a billion animals<br />
had perished dur<strong>in</strong>g that bushfire season. The<br />
lyrebirds photographed at Wollombi were among the<br />
survivors.<br />
Page 23: Namadgi National Park. Photo: 5 Foot Photography<br />
Page 23-24: Work <strong>in</strong> progress by Sharon Peoples at<br />
Ready Cut-Cottage dur<strong>in</strong>g the residency. Photo: 5 Foot<br />
Photography<br />
22 23
24 25
JENNI KEMARRE MARTINIELLO<br />
BETWEEN BARK AND BREATH - REFLECTIVE ESSAY<br />
I began this residency with the <strong>in</strong>tention to research,<br />
collect, process <strong>and</strong> experiment with the native plant<br />
fibres used by the traditional Aborig<strong>in</strong>al peoples<br />
belong<strong>in</strong>g to this place to make fish, bird <strong>and</strong> moth<br />
nets. Ngunnawal, Ngambri, Ngarigo, Woollaballoo,<br />
Yu<strong>in</strong> <strong>and</strong> other First Nations breathed the air of<br />
this place, Namadgi, spoke languages <strong>in</strong> vowels<br />
<strong>and</strong> consonants formed by the shapes, sounds <strong>and</strong><br />
seasons of this place, <strong>and</strong> came together here to<br />
share story, ceremony, hunt, dance, law, knowledges<br />
<strong>and</strong> sovereign practices <strong>and</strong> more. This place named<br />
Gudgenby <strong>in</strong> Namadgi shapes people too, as it has<br />
me dur<strong>in</strong>g the 3 weeks of residency.<br />
Before I left, friend <strong>and</strong> fellow Aborig<strong>in</strong>al poet,<br />
Yvette Holt, told me to remember the three Rs of<br />
Residency – Retreat, Reflect <strong>and</strong> Rejoice, <strong>and</strong> so I<br />
did. I gave myself over to the rhythms <strong>and</strong> cycles<br />
of the valley, allowed myself to be absorbed by it,<br />
relearned the pr<strong>in</strong>ciple of the conservation of energy<br />
from our ever-present k<strong>in</strong>, the kangaroos. I quietly,<br />
slowly gathered not just native fibres <strong>and</strong> split <strong>and</strong><br />
tw<strong>in</strong>ed them, but recorded the natural time of the<br />
valley <strong>in</strong> photographs of shadow-shift<strong>in</strong>g trees, rocks<br />
like sacred edifices <strong>and</strong> shr<strong>in</strong>es, river <strong>and</strong> reeds, <strong>and</strong><br />
the stark <strong>and</strong> beautiful fire scarred mounta<strong>in</strong>s <strong>and</strong><br />
their emphatic rejuvenation. Always was, always will<br />
be…<br />
frog, birdsong <strong>and</strong> crow, reed, dry <strong>and</strong> green seeds,<br />
grasses <strong>and</strong> gully, each with its own syntax <strong>and</strong> song<br />
to feel <strong>in</strong> the solar plexus, enter <strong>in</strong>to with the heart<br />
<strong>and</strong> embrace with the m<strong>in</strong>d.<br />
In reflection, Namadgi has gifted me with a great<br />
deal – new artworks for decades to come, rediscovered<br />
ancient techniques, slower <strong>and</strong> deeper<br />
ways of see<strong>in</strong>g, I will never look at grasses with the<br />
same eyes aga<strong>in</strong>, a joyful <strong>and</strong> guiltless adherence to<br />
kangaroo time, <strong>and</strong> the realisation that Namadgi <strong>and</strong><br />
be<strong>in</strong>g are the same – both like the sea <strong>and</strong> the w<strong>in</strong>d<br />
that wash over, encompass, move the small th<strong>in</strong>gs<br />
<strong>in</strong> the shallows but somehow still part around them,<br />
move on <strong>and</strong> then retreat aga<strong>in</strong> – a ceaseless com<strong>in</strong>g<br />
to <strong>and</strong> encounter<strong>in</strong>g <strong>and</strong> go<strong>in</strong>g around <strong>and</strong> hold<strong>in</strong>g<br />
<strong>and</strong> releas<strong>in</strong>g, always chang<strong>in</strong>g, always rema<strong>in</strong><strong>in</strong>g the<br />
same. Always was, always will be …<br />
Eventually I will make woven fish, bird <strong>and</strong> moth<br />
nets <strong>in</strong> glass <strong>and</strong> I am about to embark on that<br />
journey us<strong>in</strong>g some materials I have not used before.<br />
Until then, the works <strong>in</strong> this <strong>exhibition</strong> are the<br />
evidence <strong>and</strong> promise of transformation.<br />
Jennifer Kemarre Mart<strong>in</strong>iello<br />
February 2021.<br />
In mak<strong>in</strong>g terms, I followed the valley’s call<strong>in</strong>g <strong>and</strong><br />
returned to the basic materials of my Ancestors,<br />
although I am Arrernte <strong>and</strong> not from this country,<br />
but our primary resources are much the same. I<br />
made mark-mak<strong>in</strong>g tools from sticks <strong>and</strong> plant<br />
stems, collected, bones, stones, ochres <strong>and</strong> charcoal<br />
to create with. I split fibres, boiled them on the fire,<br />
made samples of tw<strong>in</strong>ed cordage for net mak<strong>in</strong>g,<br />
collected barks filigreed by larvae <strong>and</strong> <strong>in</strong>sects, played<br />
with fallen fence wires, <strong>and</strong> charted how I might<br />
render the colours of native flora <strong>and</strong> l<strong>and</strong>scapes <strong>in</strong><br />
Gaffer colour bar for future hot blown glass works.<br />
In listen<strong>in</strong>g for the ancient wisdom of this place, I<br />
heard its languages of birdw<strong>in</strong>g, river, creek, w<strong>in</strong>d,<br />
Opposite page top to bottom: Harvested Sedge Reeds<br />
Namadgi for artworks – photograph<br />
Bedrock <strong>and</strong> Nest – s<strong>and</strong> fused & coldworked glass <strong>and</strong><br />
native grasses.<br />
Prepp<strong>in</strong>g sedge reeds for artworks for <strong>exhibition</strong> –<br />
photograph.<br />
Prepp<strong>in</strong>g the bark for artworks for <strong>exhibition</strong>– photograph<br />
Page 30-31: Work <strong>in</strong> progress by Jennifer Kemarre<br />
Mart<strong>in</strong>iello at Ready Cut-Cottage dur<strong>in</strong>g the residency.<br />
Photo: 5 Foot Photography<br />
26 27
28 29
SHARON PEOPLES<br />
REFLECTIVE ESSAY<br />
It is 6.30 <strong>in</strong> the morn<strong>in</strong>g <strong>and</strong> I am sitt<strong>in</strong>g on a<br />
striped canvas fold-up stool record<strong>in</strong>g the dawn<br />
birdsong <strong>in</strong> a small, densely forested area of<br />
Namadgi National Park. I open a voice memo app<br />
on my phone to record the sounds. It is more<br />
than sheer pleasure to listen.<br />
Enchantment. Chant is a song. To be enchanted<br />
is to enter with the s<strong>in</strong>ger <strong>in</strong>to the song (Ingold<br />
2018). Unable to tear my attention away from the<br />
patterns <strong>in</strong> sound, I am immobile.<br />
Here, two aural experiences are adjacent: the<br />
birdsong <strong>and</strong> the gurgl<strong>in</strong>g water from the<br />
Gudgenby River. Determ<strong>in</strong><strong>in</strong>g the optimal site for<br />
sound is a new register for me. Walk<strong>in</strong>g up <strong>and</strong><br />
down this section of the road, back <strong>and</strong> forth,<br />
w<strong>and</strong>er<strong>in</strong>g <strong>and</strong> wonder<strong>in</strong>g.<br />
The prevail<strong>in</strong>g bias <strong>in</strong> the crafts is to read the<br />
world through visual metaphors. Sight rather<br />
than sound is my mode of operat<strong>in</strong>g. My ears<br />
work<strong>in</strong>g hard, measur<strong>in</strong>g the relationship<br />
between acoustics <strong>and</strong> vision <strong>in</strong> this small<br />
theatre along the sensory pathway. Dur<strong>in</strong>g this<br />
residency, hear<strong>in</strong>g becomes the prime sense.<br />
While sitt<strong>in</strong>g fac<strong>in</strong>g this aural curta<strong>in</strong>, I try to<br />
peer through, connect<strong>in</strong>g specific birds to their<br />
<strong>in</strong>dividual sound. For the Kaluli people of Papua<br />
New Gu<strong>in</strong>ea, every bird is its song (Feld 1991).<br />
The sound here is prodigious.<br />
the sound waves. For me, the aural is penetrat<strong>in</strong>g<br />
directly <strong>in</strong>to the hole <strong>in</strong> my ears, m<strong>in</strong>gl<strong>in</strong>g with<br />
someth<strong>in</strong>g more than my physical body.<br />
I sit watch<strong>in</strong>g.<br />
Birds are dart<strong>in</strong>g <strong>in</strong> <strong>and</strong> out of trees <strong>and</strong> dense<br />
bushes. A group of five blue wrens dash around<br />
on lower branches, while above <strong>in</strong> branches<br />
higher up, honey eaters, thornbills, treecreepers<br />
<strong>and</strong> pardalotes race. Glossy black cockatoos<br />
can be heard <strong>in</strong> the middle distance, while<br />
kookaburras laugh further away. So many birds I<br />
cannot determ<strong>in</strong>e by sight or sound, contribute<br />
to the frenzy of song.<br />
I follow the recommendations <strong>in</strong> The Art of<br />
M<strong>in</strong>dful Birdwatch<strong>in</strong>g which suggests sitt<strong>in</strong>g for<br />
at least 30 m<strong>in</strong>utes for the birds to accommodate<br />
you be<strong>in</strong>g <strong>in</strong> their space. However, to “… notice<br />
the silence between the sounds …” is impossible.<br />
The mixture of songs, companion calls, territorial<br />
aggression <strong>and</strong> alarm calls is explosive.<br />
What was I to do with these record<strong>in</strong>gs? Perhaps<br />
this was the wrong question – what do they<br />
evoke? My pack was full of draw<strong>in</strong>g <strong>and</strong> pa<strong>in</strong>t<strong>in</strong>g<br />
materials, yet no l<strong>in</strong>e or draw<strong>in</strong>g could convey<br />
the sensations of the sound. The pack rema<strong>in</strong>ed<br />
unopened. Yet, I understood that the birds <strong>and</strong><br />
their song would help make sense of this place.<br />
On press<strong>in</strong>g the record button, I imag<strong>in</strong>e perhaps<br />
a ‘sound’ person shutt<strong>in</strong>g their eyes, absorb<strong>in</strong>g<br />
Residencies away from home mean improvis<strong>in</strong>g<br />
with materials at h<strong>and</strong>. Back at the cottage, I<br />
30 31
unpacked a very large reel of thick red str<strong>in</strong>g, a<br />
gift from another artist, my niece who is a chef.<br />
As chefs know, <strong>in</strong> the kitchen it is the mix<strong>in</strong>g<br />
<strong>and</strong> comb<strong>in</strong><strong>in</strong>g of <strong>in</strong>gredients that transform the<br />
ord<strong>in</strong>ary – redirect<strong>in</strong>g the flow towards what<br />
might emerge. I had no predeterm<strong>in</strong>ed idea about<br />
what I would do with the str<strong>in</strong>g.<br />
The cottage, surrounded by a wire fence, is a<br />
boundary where we watch snakes pass through,<br />
birds fly over, seeds blow across on the w<strong>in</strong>d.<br />
A territorial Willie wagtail sits upon the fence,<br />
us<strong>in</strong>g its vantage po<strong>in</strong>t to call from <strong>and</strong> to<br />
catch <strong>in</strong>sects. Blue wrens use it to demonstrate<br />
their mat<strong>in</strong>g potential. T<strong>in</strong>y silvereyes use the<br />
wire as a rest<strong>in</strong>g po<strong>in</strong>t as they fly between the<br />
bushes <strong>and</strong> trees. It was not the ‘vitality’ of the<br />
fence wire, but as the birds demonstrated, its<br />
‘th<strong>in</strong>g<strong>in</strong>g’.<br />
In the afternoon as musical notes became<br />
apparent, <strong>and</strong> staves were woven, a bird began its<br />
mat<strong>in</strong>g call practice. The sound transported me<br />
immediately to childhood holidays at our beach<br />
house, know<strong>in</strong>g immediately the sound was a<br />
butcher bird. K<strong>in</strong>dly repeat<strong>in</strong>g <strong>and</strong> perfect<strong>in</strong>g<br />
its call, I began to draw the melody. Aga<strong>in</strong>,<br />
enchantment took over.<br />
Sharon Peoples<br />
January 2021<br />
For the rest of the morn<strong>in</strong>g, look<strong>in</strong>g at the fence,<br />
I reach up to my ‘kitchen shelf’ to peruse <strong>and</strong><br />
perhaps open other conta<strong>in</strong>ers, not so much for<br />
‘th<strong>in</strong>gs’ like the red str<strong>in</strong>g, but someth<strong>in</strong>g else<br />
that allows for improvisatorial mak<strong>in</strong>g. On my<br />
tiptoes, at the back of the shelf was another type<br />
of draw<strong>in</strong>g learned <strong>in</strong> childhood that might be<br />
useful, that of musical notation. This was learned<br />
contemporaneously with my stitch<strong>in</strong>g skills<br />
which has become a lifetime of ‘<strong>in</strong>timate gestural<br />
<strong>and</strong> sensory engagement’ (Ingold 2011).<br />
Open<strong>in</strong>g up to <strong>and</strong> follow<strong>in</strong>g the material<br />
properties of the red str<strong>in</strong>g, like an alchemist I<br />
struggled to comb<strong>in</strong>e to br<strong>in</strong>g forward the magic<br />
of birdsong. Play<strong>in</strong>g at the fence, ‘stitch<strong>in</strong>g’ <strong>in</strong>to<br />
the hexagonal spaces of the wire, I made the<br />
connection with a form of lace known as punto<br />
<strong>in</strong> aria, draw<strong>in</strong>g <strong>in</strong> air, a Venetian lace, familiar <strong>in</strong><br />
Elizabethan ruffs.<br />
Page 30: Sharon Peoples at Ready Cut-Cottage. Photo: 5 Foot<br />
Photography<br />
Opposite page: Work <strong>in</strong> progress by Sharon Peoples at<br />
Ready Cut-Cottage dur<strong>in</strong>g the residency. Photo: 5 Foot<br />
Photography<br />
32 33
JENNI KEMARRE MARTINIELLO<br />
ARTIST BIOGRAPHY<br />
Jenni Kemarre Mart<strong>in</strong>iello <strong>in</strong> an award w<strong>in</strong>n<strong>in</strong>g<br />
visual artist, poet, writer, <strong>and</strong> photographer of<br />
Arrernte, Ch<strong>in</strong>ese <strong>and</strong> Anglo-Celtic descent. She<br />
is an Accredited Professional Member of Craft<br />
ACT.<br />
As a contemporary urban based Aborig<strong>in</strong>al<br />
(Arrernte) glass artist, Jenni Kemarre Mart<strong>in</strong>iello<br />
aims to produce a body of traditionally <strong>in</strong>spired<br />
works that will pay tribute to traditional<br />
weavers, <strong>and</strong> provide recognition for ancient<br />
cultural practices through the contemporary<br />
medium of glass with<strong>in</strong> the aesthetics of both.<br />
In her current artistic practice Jenni concentrates<br />
on the <strong>in</strong>credibly beautiful forms of traditional<br />
woven eel traps, fish traps, fish scoops, dillibags<br />
<strong>and</strong> coiled <strong>and</strong> open weave baskets by Kaurna,<br />
Ngarr<strong>in</strong>jerri, Gunditjmara, Arrernte <strong>and</strong> NE<br />
Arnheml<strong>and</strong> weavers., seek<strong>in</strong>g to evoke the<br />
<strong>in</strong>terplay of light <strong>and</strong> form found <strong>in</strong> those<br />
objects, <strong>and</strong> <strong>in</strong> so do<strong>in</strong>g, create contemporary<br />
glass works which are also objects of cultural as<br />
well as artistic significance.<br />
(2003) <strong>and</strong> is the recipient of a 2-year Aborig<strong>in</strong>al<br />
<strong>and</strong> Torres Strait Isl<strong>and</strong>er Visual Arts Fellowship<br />
from the Australia Council for the Arts for<br />
2013/2014.<br />
In 2013 she won the prestigious Telstra Prize for<br />
Aborig<strong>in</strong>al <strong>and</strong> Torres Strait Isl<strong>and</strong>er Art. Her<br />
works are held <strong>in</strong> numerous public <strong>and</strong> private<br />
collections <strong>in</strong>clud<strong>in</strong>g the National Gallery of<br />
Australia, Canberra Museum <strong>and</strong> Gallery, Art<br />
Gallery of Western Australia, the ACT Legislative<br />
Assembly, Tasmanian Art Gallery <strong>and</strong> Museum,<br />
Northern Territory Art Gallery <strong>and</strong> Museum,<br />
Australian Parliament House Collection, Art<br />
Gallery of South Australia, QAGOMA, National<br />
Museum of Palau, National Art Gallery of the<br />
Solomon Isl<strong>and</strong>s, the Corn<strong>in</strong>g Museum of Glass,<br />
USA <strong>and</strong> the British Museum UK. Jenni works<br />
from her studio at Canberra Glassworks.<br />
Jenni’s glass works have been exhibited <strong>in</strong><br />
numerous <strong>exhibition</strong>s, <strong>in</strong>clud<strong>in</strong>g solo <strong>exhibition</strong>s<br />
at Canberra Contemporary Art Space, Belconnen<br />
Arts Centre, Canberra Glassworks <strong>and</strong> Sabbia<br />
Gallery <strong>in</strong> Sydney. She was awarded Canberra<br />
Critics Circle Awards for Visual Arts <strong>in</strong> 2011<br />
<strong>and</strong> 2013. Jenni is an ACT Creative Arts Fellow<br />
Page 35: Work <strong>in</strong> progress by Jennifer Kemarre Mart<strong>in</strong>iello<br />
at Ready Cut-Cottage dur<strong>in</strong>g the residency. Photos: 5 Foot<br />
Photography<br />
Page 36-37: <strong>Between</strong> <strong>Earth</strong> <strong>and</strong> <strong>Sky</strong> <strong>exhibition</strong>, Craft ACT.<br />
Photo: 5 Foot Photography<br />
34 35
36 37
SHARON PEOPLES<br />
ARTIST STATEMENT<br />
Garden<strong>in</strong>g Gloves<br />
My work explores plants <strong>and</strong> gardens: the <strong>in</strong>ner<br />
secret garden, <strong>artists</strong>’ gardens, public gardens,<br />
national parks as gardens <strong>and</strong> gardens of the<br />
imag<strong>in</strong>ation. Fragility of both the environment <strong>and</strong><br />
the human condition is reflected <strong>in</strong> the medium. I<br />
use my work, embroidery, as a metaphor for repair.<br />
In th<strong>in</strong>k<strong>in</strong>g of very large historic embroideries,<br />
such as the Bayeux Tapestry, the marks of stitchers,<br />
restorers <strong>and</strong> menders st<strong>and</strong> to illustrate the<br />
repair, care <strong>and</strong> protection that is required for the<br />
environment.<br />
wealth <strong>and</strong> elitism, to subjects as artwork, reflected<br />
the importance of stitch. Stitch<strong>in</strong>g is visible <strong>and</strong> key<br />
to the aesthetics of gloves.<br />
In com<strong>in</strong>g to the Craft ACT Residency, I was<br />
<strong>in</strong>terested <strong>in</strong> observ<strong>in</strong>g first-h<strong>and</strong> how national parks<br />
are crafted, often by h<strong>and</strong>, to manage nature <strong>and</strong> how<br />
conditions need to be manipulated <strong>in</strong> order to not<br />
lose such unique environments such as the Namadgi<br />
National Park. In one sense the artificial, h<strong>and</strong>son<br />
management of nature, how we manage nature<br />
politically <strong>and</strong> economically, are <strong>in</strong>credibly important<br />
at this time <strong>in</strong> the Age of the Anthropocene.<br />
The series of Garden<strong>in</strong>g Gloves emerged dur<strong>in</strong>g the<br />
Covid-19 Lockdown <strong>in</strong> <strong>2020</strong>. Work<strong>in</strong>g <strong>in</strong> the garden<br />
was a displacement activity from the high dem<strong>and</strong>s<br />
of the studio. However, rough dry work h<strong>and</strong>s <strong>and</strong><br />
f<strong>in</strong>e h<strong>and</strong> embroidery was difficult. Look<strong>in</strong>g at my<br />
h<strong>and</strong>s I realised, as a maker, that they are one of<br />
the most important organs. The tub of gardeners’<br />
protective o<strong>in</strong>tment <strong>in</strong> the bathroom, regularly<br />
rubbed <strong>in</strong>to my h<strong>and</strong>s both before putt<strong>in</strong>g on work<br />
gloves <strong>and</strong> after, became a rout<strong>in</strong>e.<br />
Protect<strong>in</strong>g h<strong>and</strong>s. Hid<strong>in</strong>g the h<strong>and</strong>s away from the<br />
dirt.<br />
Sitt<strong>in</strong>g <strong>in</strong> the garden, dr<strong>in</strong>k<strong>in</strong>g a cup of tea, my<br />
regular visitor, a Willie wagtail, moved around my<br />
discarded gloves. I spoke to her as I usually do,<br />
watch<strong>in</strong>g her wag her tail. Her scratchy ‘chucka<br />
chucka chucka chucka!’ answered me. Her approval<br />
of my digg<strong>in</strong>g around, turn<strong>in</strong>g over the soil for her to<br />
pick over seemed apparent.<br />
Garden<strong>in</strong>g gloves were the right vehicle for th<strong>in</strong>k<strong>in</strong>g<br />
about the environment. Out at Namadgi, I returned<br />
to the writ<strong>in</strong>gs of eco-fem<strong>in</strong>ist Val Plumwood. She<br />
noted how we battle <strong>in</strong> with our colonial-<strong>in</strong>fluenced<br />
gardens as we fight off the pests, struggle with<br />
the unwanted plants <strong>and</strong> battle with reduc<strong>in</strong>g the<br />
biodiversity of our vegetable plots.<br />
Walk<strong>in</strong>g everyday through the l<strong>and</strong>scape surround<strong>in</strong>g<br />
Ready Cut Cottage I marvelled at the regeneration<br />
of the l<strong>and</strong>. Water was abundant, wildlife passed by<br />
constantly <strong>and</strong> the grow<strong>in</strong>g season was apparent.<br />
Sure, the weeds were abundant, <strong>and</strong> the blackened<br />
l<strong>and</strong>scape was dom<strong>in</strong>ant, but seek<strong>in</strong>g out the<br />
wildflowers <strong>and</strong> native grasses became my focus.<br />
The daily visits of the Willie wagtail, proclaim<strong>in</strong>g her<br />
territory from the fence posts, call<strong>in</strong>g to her mate,<br />
swoop<strong>in</strong>g on the multitud<strong>in</strong>ous cabbage moths <strong>and</strong><br />
danc<strong>in</strong>g away, drew me back to the idea of gloves.<br />
My gloves reta<strong>in</strong>ed the memory of my own body. I<br />
drew the three-dimensional shapes of f<strong>in</strong>gers <strong>and</strong><br />
palms. These were then translated <strong>in</strong>to embroidered<br />
works <strong>in</strong>corporat<strong>in</strong>g the seasonal plants at h<strong>and</strong><br />
<strong>and</strong> the birds. Research <strong>in</strong>to gloves set me on a new<br />
path of discovery, br<strong>in</strong>g<strong>in</strong>g <strong>in</strong> previous thoughts <strong>and</strong><br />
imagery. Gloves are rich with metaphoric value <strong>and</strong><br />
have great decorative potential. Mov<strong>in</strong>g from objects<br />
to be worn for protection, to political statements of<br />
Page 39: Sharon Peoples, Namadgi Garden<strong>in</strong>g Gloves - Panic<br />
Growth, <strong>2020</strong>, rayon polyester thread. Photo: Brenton<br />
McGeachie<br />
38 39
SHARON PEOPLES<br />
ARTIST BIOGRAPHY<br />
Sharon Peoples has exhibited nationally <strong>and</strong><br />
<strong>in</strong>ternationally over her career. In 1994, she<br />
completed a Masters (Visual Arts) <strong>in</strong> the textiles<br />
workshop at the Australian National University’s<br />
School of Art. In 2004, she embarked on a PhD <strong>in</strong><br />
fashion theory <strong>in</strong> the former Art History Department<br />
of the ANU. She returned to mak<strong>in</strong>g <strong>in</strong> 2010 after<br />
complet<strong>in</strong>g her doctorate. S<strong>in</strong>ce that time, she has<br />
been develop<strong>in</strong>g techniques <strong>in</strong> mach<strong>in</strong>e embroidery<br />
on soluble fabric which has resulted <strong>in</strong> lace<br />
pattern<strong>in</strong>g.<br />
Experimentation <strong>and</strong> research with various threads,<br />
particularly metal threads led to creat<strong>in</strong>g large threedimensional<br />
forms. In 2011 this was rewarded with<br />
the <strong>in</strong>clusion of her work <strong>in</strong> the <strong>in</strong>ternational Love<br />
Lace <strong>exhibition</strong> at the Powerhouse Museum. She has<br />
further developed these techniques culm<strong>in</strong>at<strong>in</strong>g <strong>in</strong> a<br />
substantial body of work, which has been exhibited<br />
<strong>in</strong> a solo <strong>exhibition</strong>, Habitus. She cont<strong>in</strong>ues to<br />
experiment with lace structures.<br />
Peoples comb<strong>in</strong>es an academic career as the<br />
Convenor of the Museums <strong>and</strong> Collections Program<br />
with<strong>in</strong> the Centre for Heritage <strong>and</strong> Museums,<br />
at ANU with her visual arts practice. She writes<br />
on fashion theory <strong>and</strong> the crafts. Her work is<br />
represented <strong>in</strong> public <strong>and</strong> private collections as well<br />
as public commissions.<br />
Page 40: Sharon Peoples, Namadgi Birdcall Curta<strong>in</strong>, 2021,<br />
rayon polyester thread, polyester. Photo: Brenton McGeachie<br />
Page 41: Sharon Peoples, Saturday Afternoon Zeehan:<br />
Thylac<strong>in</strong>e, 2021, cotton, l<strong>in</strong>en, mixed media. Photo: Brenton<br />
McGeachie<br />
40 41
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ACKNOWLEDGEMENTS<br />
The <strong>2020</strong> Craft ACT artist-<strong>in</strong>-<strong>residence</strong> Program<br />
was hosted <strong>in</strong> partnership with ACT Parks &<br />
Conservation Service who has supported the<br />
residency s<strong>in</strong>ce it began <strong>in</strong> 2006. Our <strong>2020</strong> research<br />
partner was the National Museum of Australia. We<br />
would like to thank our cherished friends at ACT<br />
Parks & Conservation Service for their ongo<strong>in</strong>g<br />
support, especially Brett McNamara (Manager,<br />
Namadgi National Park) <strong>and</strong> Mel Barton (Manager,<br />
Visitor Services). Thanks to Martha Sear (Head of<br />
Curatorial Centres) <strong>and</strong> the team at the National<br />
Museum of Australia for his engagement of the<br />
<strong>artists</strong> while undertak<strong>in</strong>g the research.<br />
Jenni Kemarre Mart<strong>in</strong>iello <strong>and</strong> Sharon Peoples<br />
would like to thank...<br />
Madisyn Zabel, Meagan Jones, Rachael Coghlan <strong>and</strong><br />
the rest of the team at Craft ACT, ACT Parks <strong>and</strong><br />
Conservation, <strong>and</strong> the National Museum of Australia<br />
Heartfelt thanks to the participat<strong>in</strong>g <strong>artists</strong>, Jenni<br />
Kemarre Mart<strong>in</strong>iello <strong>and</strong> Sharon Peoples for<br />
embrac<strong>in</strong>g the theme <strong>and</strong> opportunity under the<br />
most difficult of circumstances.<br />
Opposite page: Ready-Cut Cottage, Namadgi National Park.<br />
Photo: 5 Foot Photography<br />
Page 46: Namadgi National Park. Photo: 5 Foot Photography<br />
45
Craft ACT: Craft + Design Centre is supported by the<br />
ACT Government, the Visual Arts <strong>and</strong> Craft Strategy<br />
- an <strong>in</strong>itiative of the Australian, State <strong>and</strong> Territory<br />
Governments, <strong>and</strong> the Australia Council for the Arts - the<br />
Australian Government’s arts fund<strong>in</strong>g <strong>and</strong> advisory body.<br />
Artist-<strong>in</strong>-Residence Program Partner<br />
National Museum of Australia<br />
<strong>2020</strong> research partner<br />
Craft ACT is supported by
LIST OF WORKS<br />
SHARON PEOPLES<br />
1 Namadgi Garden<strong>in</strong>g Gloves<br />
– Yellow Daisies <strong>and</strong> Bluebells,<br />
2021, rayon polyester thread,<br />
cotton<br />
$650<br />
8 Namadgi Garden<strong>in</strong>g Gloves<br />
– White Hakea, <strong>2020</strong>, rayon<br />
polyester thread, cotton<br />
$650<br />
15 Garden<strong>in</strong>g Gloves – Small<br />
Lichen Glove (right), <strong>2020</strong>, rayon<br />
polyester thread<br />
$650<br />
22 Thylac<strong>in</strong>e Sk<strong>in</strong> 3, <strong>2020</strong>,<br />
cotton, l<strong>in</strong>en, mixed media<br />
$200<br />
2 Namadgi Garden<strong>in</strong>g Gloves<br />
– Lichen on Rocks, <strong>2020</strong>, rayon<br />
polyester thread<br />
$650<br />
9 Namadgi Garden<strong>in</strong>g Gloves –<br />
Wildflowers (Yellow Peaflowers <strong>and</strong><br />
Bluebells), <strong>2020</strong>, rayon polyester<br />
thread, cotton<br />
$650<br />
16 Namadgi Garden<strong>in</strong>g Gloves:<br />
Bluebells, 2021, rayon polyester<br />
thread, cotton<br />
$650<br />
23 Thylac<strong>in</strong>e Sk<strong>in</strong> 4, <strong>2020</strong>,<br />
cotton, l<strong>in</strong>en, mixed media<br />
$350<br />
3 Namadgi Garden<strong>in</strong>g Gloves<br />
– Wild Canola, <strong>2020</strong>, rayon<br />
polyester thread<br />
$650<br />
10 Namadgi Garden<strong>in</strong>g Gloves –<br />
Carm<strong>in</strong>e Thistles 2, 2021, rayon<br />
polyester thread, cotton<br />
$650<br />
17 Namadgi Garden<strong>in</strong>g Gloves:<br />
White Cabbage Moths, <strong>2020</strong>, rayon<br />
polyester thread, silk<br />
$650<br />
24 Namadgi Birdcall Curta<strong>in</strong>,<br />
2021, rayon polyester thread,<br />
polyester<br />
$5,500<br />
4 Namadgi Garden<strong>in</strong>g Gloves<br />
– Panic Growth, <strong>2020</strong>, rayon<br />
polyester thread<br />
$650<br />
11 Namadgi Garden<strong>in</strong>g Gloves –<br />
Panic Growth Eucalypt Lace, <strong>2020</strong>,<br />
rayon polyester thread, cotton<br />
$650<br />
18 Bobong Moth S<strong>in</strong>gle Glove,<br />
<strong>2020</strong>, mach<strong>in</strong>e embroidery,<br />
cotton, rayon polyester thread<br />
$800<br />
25 Eucalytus Path, 2014, rayon<br />
polyester thread, cotton<br />
$5,500<br />
5 Namadgi Garden<strong>in</strong>g Gloves –<br />
T<strong>in</strong>y Alp<strong>in</strong>e Daisies, <strong>2020</strong>, rayon<br />
polyester thread, polyester<br />
$550<br />
12 Namadgi Garden<strong>in</strong>g Gloves –<br />
Panic Growth Eucalypt Gauntlet,<br />
2021, rayon polyester thread,<br />
cotton<br />
$650<br />
19 Namadgi Garden<strong>in</strong>g Gloves:<br />
White Cabbage Moths, <strong>2020</strong>, rayon<br />
polyester thread, silk<br />
$650<br />
26 Gudgenby Creek November,<br />
2021, cotton, l<strong>in</strong>en<br />
$350<br />
6 Namadgi Garden<strong>in</strong>g Gloves –<br />
Carm<strong>in</strong>e Gauntlets 1, 2021<br />
rayon polyester thread, cotton<br />
$650<br />
13 Namadgi Garden<strong>in</strong>g Gloves<br />
– Forced Growth, <strong>2020</strong>, rayon<br />
polyester thread, cotton<br />
$650<br />
20 Saturday Afternoon Zeehan:<br />
Thylac<strong>in</strong>e, 2021, cotton, l<strong>in</strong>en,<br />
mixed media<br />
$750<br />
27 Ready Cut Sketchbook,<br />
<strong>2020</strong>, mixed media<br />
$350<br />
7 Namadgi Garden<strong>in</strong>g Gloves –<br />
Native Wildflowers Billie Buttons<br />
<strong>and</strong> Bluebells, 2021, rayon<br />
polyester thread, cotton<br />
$650<br />
14 Garden<strong>in</strong>g Gloves – Small<br />
Lichen Glove (left), <strong>2020</strong>, rayon<br />
polyester thread<br />
$650<br />
21 Thylac<strong>in</strong>e Sk<strong>in</strong> 2, <strong>2020</strong>,<br />
cotton, l<strong>in</strong>en, mixed media<br />
$200<br />
28 Prelude at Namadgi,<br />
<strong>2020</strong>, photograph by Davey<br />
Barber, framed<br />
$450<br />
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LIST OF WORKS<br />
JENNIFER KEMARRE MARTINIELLO<br />
1 Folded L<strong>and</strong>scape, <strong>2020</strong>, hot<br />
blown <strong>and</strong> kiln formed glass<br />
with canes<br />
$1,500<br />
7 Namadgi series (small) #10 -<br />
#12 , 2021, cast <strong>and</strong> coldworked<br />
glass<br />
$110 each<br />
13 Black Summer #1, 2021,<br />
cast crystal with embedded ash,<br />
charcoaled sticks, red earth, rock,<br />
bone<br />
POA<br />
19 Tall Sedge Rush coil weave<br />
sample, harvested November<br />
<strong>2020</strong>, Gudgenby Valley,<br />
Namadgi<br />
NFS<br />
2 Regeneration Cycle, <strong>2020</strong>,<br />
hot blown <strong>and</strong> kiln formed<br />
glass with murr<strong>in</strong>e<br />
$2,200<br />
8 Kangaroo Grass Coolamon,<br />
2021, hot blown <strong>and</strong> slumped<br />
glass with canes<br />
$1,600<br />
14 Black Summer #2, 2021,<br />
cast crystal with embedded ash,<br />
charcoaled sticks, red earth, rock,<br />
bone<br />
POA<br />
3 First Spr<strong>in</strong>g after the fires,<br />
2021, hot blown <strong>and</strong> kiln<br />
formed glass with murr<strong>in</strong>e<br />
$2,200<br />
9 Bedrock <strong>and</strong> Nest, 2021, s<strong>and</strong><br />
fused glass, raffia, tall sedge<br />
rushes, eucalypt twigs<br />
$2,600<br />
15 Sp<strong>in</strong>y Headed Matt Rush<br />
Bundle, harvested November<br />
<strong>2020</strong>, Gudgenby Valley, Namadgi<br />
NFS<br />
4 When Bird <strong>and</strong> Bush become<br />
each other, 2021, hot blown<br />
<strong>and</strong> kiln formed glass with<br />
murr<strong>in</strong>e<br />
$2,800<br />
10 Car<strong>in</strong>g for this country:<br />
nest #1, 2021, hot blown <strong>and</strong><br />
slumped glass, tall sedge<br />
rushes, feathers<br />
$2,600<br />
16 Tall Sedge Rush Bundle,<br />
harvested November <strong>2020</strong>,<br />
Gudgenby Valley, Namadgi<br />
NFS<br />
5 Namadgi series (large) #1 -<br />
#5, 2021, cast <strong>and</strong> coldworked<br />
glass<br />
$220 each<br />
11 Car<strong>in</strong>g for this country:<br />
nest #2, 2021, hot blown <strong>and</strong><br />
slumped glass, tall sedge<br />
rushes, feathers<br />
$2,900<br />
17 Planta<strong>in</strong> tw<strong>in</strong>ed cord samples<br />
x 2, harvested <strong>and</strong> processed<br />
November -December <strong>2020</strong>,<br />
Gudgenby Valley, Namadgi<br />
NFS<br />
6 Namadgi series (medium) #6 -<br />
#9, 2021, cast <strong>and</strong> coldworked<br />
glass<br />
$130 each<br />
12 Car<strong>in</strong>g for this country:<br />
nest<strong>in</strong>g rock/water carrier, 2021,<br />
hot blown <strong>and</strong> slumped glass,<br />
tall sedge rushes, feathers<br />
$2,900<br />
18 Tall Sedge Rush tw<strong>in</strong>ed cord<br />
x 2, harvested <strong>and</strong> processed<br />
November -December <strong>2020</strong>,<br />
Gudgenby Valley, Namadgi<br />
NFS<br />
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