Of Spirit and Splendour - Barkcloth Art of the Ömie by ReDot Fine Art Gallery

ReDot Fine Art Gallery in collaboration with Ă&#x2013;mie Artists Inc. presents:

Of Spirit and Splendour Barkcloth Art of the Ă&#x2013;mie

Wednesday, 13th March to Saturday, 20th April 2013

For a high resolution, downloadable, PDF version of the this catalogue, with pricing, please send us an email to info@redotgallery.com Thank you.

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PREVIOUS SPREAD Ömie Village landscape. ABOVE Martha-Jean UHAMO (DOGARINE) OM12-016 detail, see pages 56-57.

“Ömie Barkcloth art is a spectacular art movement and one of the greatest surprises of Oceanic art in the past decade.” Nicholas THOMAS Pacific Art Curator and Director of the Museum of Anthropology and Archaeology at the University of Cambridge

Of Spirit and Splendour Barkcloth Art of the Ömie

ReDot Fine Art Gallery is thrilled to announce that the internationally celebrated Ömie women artists of Papua New Guinea will return to Singapore for a monumental exhibition of their barkcloth paintings this March. Following on from the hugely successful inaugural show in 2011, Of Spirit and Splendour will present a stunning selection of new work by the most exciting and talented artists from across the extremely remote Ömie mountain villages around Mount Lamington in Oro Province. Ömie art is much admired for its rich, complex and diverse expression of abstract symbols pertaining to the natural world as well as to ancestral tattoo designs. Created primarily by senior Ömie tribeswomen, the barkcloths or nioge are the outcome of a long period of apprenticeship. Within their respective marital and birth clans, females learn the techniques, laws and customs that lead to the production of these beautifully crafted, spiritually rooted artworks. Powerfully tactile, the nioge that feature in this exhibition are made from veils of beaten tree bark, which are then painted in an earthy palette of colour made from bush dyes. Traditional customs dating back thousands of years are still used today, as these dyes are painted onto the material using painting sticks and brushes fashioned from a variety of rainforest plants. Both traditional motifs and original visual expressions of ancestral Ömie knowledge adorn the artworks, which are still used in both ceremonial as well as practical contexts, such as bride price gifts and clothing. Following on from three exhibitions in the USA in 2012, including prestigious museum shows at the Fowler Museum in Los Angeles and the de Young Museum in San Francisco; Of Spirit and Splendour promises to reveal the phenomenal breadth of this traditional yet contemporary, living visual art form once again here in Singapore. One of the most unexplored and untouched regions in the world, this area has an exceptionally diverse range of traditional tribal cultures which remain very much alive. Both Singapore’s and Australia’s proximity to the Pacific and Papua New Guinea has generated growing curiosity and interest in researching and collecting Oceanic art. Highlights of the exhibition will be the finely worked and powerful paintings by the Paramount Chief of Ömie women, Lila Warrimou (Misaso), as well as arresting, minimalist sihoti’e mud-dyed barkcloths by the last two women remaining who create their designs with a unique and ancient sewing technique using bat-wing bones, Sarah Ugibari and Brenda Kesi (Ariré).

On viewing these paintings, with their exquisite, microcosmic detail, one can’t resist being transported to the mysterious mountain world of the Ömie, where through each symbol like a small secret revealed, it becomes irrepressibly apparent that, for the Ömie - land, culture and art are all synonymous. The creation of the nioge is an affirmation of the strength and endurance of Ömie culture and in this current renaissance of Ömie barkcloth paintings, these rare gems are being keenly collected by most significant tribal collections. The logistics of facilitating and servicing the artists across 12 remote villages in a developing country is immense and ReDot Fine Art Gallery is honoured to be able to bring such astonishingly beautiful artworks into the gallery to share with our audience, something only a few have been able to experience worldwide. Giorgio Pilla Director ReDot Fine Art Gallery

Barkcloth Revival Women who paint their wisdom

Living secreted on the steep, impenetrable slopes of the majestic Dahöre Huvaemo (Mount Lamington), south of Kokoda in Papua New Guinea’s Oro Province, are a small tribe of approximately 1800 people, the Ömie. Bordered by their traditional enemies, the powerful Orokaivan people who far outnumber them, the Ömie live as they have done for thousands of years in their isolated Shangri-La. It wasn’t until 2006, when their first exhibition of painted barkcloths – nioge – was shown in Sydney, that their vibrant cultural tradition was revealed and lauded by the outside world. Barkcloth is prevalent throughout the Pacific region, where for centuries it has been produced largely for ceremonial purposes. Coveted by European explorers – including Captain Cook who collected and traded examples during his voyages – the cloth is known as ngatu in Tonga, kapa in Hawaii, hiapo in Niue, siapo in Samoa, ahu in Tahiti, and masi in Fiji. The word tapa, used widely to describe barkcloth, denotes a fibrous cloth beaten from the inner layer (or phloem) of tree bark (usually the Paper mulberry) and often patterned with arresting geometric designs, applied using a variety of colours sourced from natural pigments. Designs are often direct translations of scarification marks and clan insignia previously tattooed onto the body during initiation rites; now transferred to alternative ‘skins’ in response to demands made by zealous missionaries who banned such ‘primitive’ customary practices. As in many Pacific societies, the nioge of the Ömie tribe is made by women, and still worn today by men, women and children during traditional ceremonies. An important Ömie creation story tells how the first woman, Suja, beat the first nioge at the request of her husband, Mina, who instructed her to dye the cloth in red river mud, signalling her fertility and womanhood. Traditionally, young women inherit clan designs through birthright or marriage: from mothers, grandmothers, mother-in-laws and occasionally, fathers and husbands. Ömie women speak of their nioge as their uehorëro or ‘wisdom’, with the designs recalling the verdant, volcanic landscape that dominates their villages: cloud enveloped mountains, jungle vegetation, spider webs, frogs, and the backbones of mountain fish. The designs embedded in nioge ensure that customary Ömie law (jagor’e), songs, stories, customs and cosmology will never be forgotten and that younger generations are educated in the protection and preservation of sacred sites. The Ömie’s female Chief system is primarily based upon a woman’s barkcloth-painting talents and her cultural knowledge. Many contemporary designs are the result of the mastery of Chiefs (duvahe) who are free to paint their uehorëro (wisdom). The catastrophic eruption in 1951 of Huvaemo which destroyed many Ömie villages and the surrounding forests, following the devastation of the war on the Kokoda Trail in 1942, further strengthened Ömie resolve to reinstate and encourage customary ritual practice, including the production of nioge. This period of renewal was, however, short lived.

Brennan King, Ömie Artists manager, retells artist Mala Nari’s important role in the revitalization of the Ömie barkcloth tradition: By the mid-1990’s, Christian missionary influence had diminished the cultural pride of the Ömie and barkcloth production had ebbed. But the traditional designs were not lost; they lay dormant in the minds of the Chiefs and elders. A key event occurred in 1996 that led to the resurgence of Ömie barkcloth painting. In the dead of night, artist Mala Nari visited the small church in her village where, she explains, ‘she stayed and talked with The Spirit’. Then something extraordinary happened. Mala recalls how the The Spirit entered her body, lifted her up, took her round and round, after which she fell to the ground. She had been possessed and the community, convinced she had gone mad, ostracized her from the village. Mala was often forced to sleep in the mud, but survived by living in outlying yam houses in the bush. Two years later, in 1998, she left to stay with her family in another village and, during this time, The Spirit urged her to start painting barkcloth and to encourage the other women to paint ‘because someone was coming’. Artists who listened to Mala’s claim came to believe that an ancestor spirit was communicating through Mala and that the spirit had good intentions for their people. Artists such as Lila Warrimou, Dapeni Jonevari, Aspasia Gadai, Pauline-Rose Hago and Botha Kimmikimmi, once again started preparing barkcloth and pigments to lay down their ancient ancestral designs; and so began the revival of Ömie barkcloth painting. This was certainly not the sort of miracle the missionaries had in mind for the Ömie people when they built the church in Mala’s village. Mala would lay awake at night, waiting, watching for the person to come. In 2002, David Baker, President of the Oceanic Art Society and a gallery owner in Sydney, arrived in Ömie territory. He took a strong interest in the women’s paintings and became the first representative for Ömie Artists. Mala’s prophecy had been fulfilled and she is now celebrated as a key figure in the revitalization of Ömie barkcloth painting and, perhaps even more importantly, the restoration of their tribe’s cultural pride. Intriguingly, the church Mala visited was destroyed by Cyclone Guba in 2007. In 2009, the National Gallery of Victoria presented the first major exhibition of the work of the Ömie women, Wisdom of the Mountain: Art of the Ömie. With twenty-seven nioge from the National Gallery of Victoria’s own collection and supplemented with another seven pieces from private collections, the display included paintings from Paramount Chief of Ömie women, Lila Warrimou; Chief of Ematé clan women, Dapeni Jonevari; and an exquisite soru’e or tattoo designs, by Mala Nari. Since then Ömie artists have shown their work in exhibitions in Australia, Asia and the USA. Natalie Wilson Assistant Curator, Australian Art [This article first appeared in the Art Gallery Society of NSW magazine Look in December 2012, and is reproduced here in full with permission from the author and Ömie Artists]

Jessie BUJAVA (KIPORA)

Siha’e Ohu’o Visuano’e - Fruit of the Tree and Teeth of the Fish, 2012 Natural Pigments on Barkcloth 168cm x 82cm OM12-021

The lines that run in both directions through the work are known as orriseegé or ‘pathways’ and provide a compositional framework for the design. Inside the bands of orriseegé is the diamond design siha’e, the fruit of the sihe tree. This is a yellow fruit found in the rainforest and often eaten by cassowaries. In the times of the ancestors Ömie people would chew the fruit, swallow the juice and spit out the pulp. The siha’e design is sometimes also called vinohu’e, the men’s tattoo design of the bellybutton. The main designs are a combination of both siha’e, the fruit of the tree and visuanö’e, the teeth of the mountain fish.

Jessie BUJAVA (KIPORA)

Siha’e Ohu’o Visuano’e - Fruit of the Tree and Teeth of the Fish, 2011 Natural Pigments on Barkcloth 137.5cm x 70cm OM11-126

Lillias BUJAVA (KAUSARA)

Buborianö’e, Siha’e, Bureji Sor’e, Bumare Edwé,Vavodeje Ja’e Ohu’o Vë’i Ija Ahé - Beaks of Blyth’s Hornbill, Fruit 15 of the Sihe Tree, Leaf Markings on the Woven Mat, Gourd-Shaped Orchid Leaf, Bush Rope and Tailbone of the Lizard, 2012 Natural Pigments on Barkcloth 168cm x 94.5cm OM12-020

The lines that run through the work are known as orriseegé or ‘pathways’ and provide a compositional framework for the design. The small triangles are vavodeje ja’e, a bush rope made from a vine that has red flowers. The cone shaped design at the top and bottom of the work are a design known as bumare edwé representing an orchid leaf that is a similar shape to a gourd. The slanting square design at the top and bottom of the work is vë’i ija ahé, the tailbone of the lizard. The zig-zagging triangular designs are buborianö’e, the beaks of Blyth’s Hornbill (Rhyticeros plicatus). Hornbills are the largest flying birds that can be found in the Ömie mountains. In the time of the ancestors their huge conical bills and casques were prized objects. Several beaks would be used to create a man’s daramoi (headband) which were worn during ceremonies and rituals. The diamond design is siha’e, a yellow fruit found in the rainforest and often eaten by cassowaries. In the times of the ancestors Ömie people would chew the fruit, swallow the juice and spit out the pulp. This design is sometimes also called vinohu’e, the men’s tattoo design of the bellybutton. The smaller black marks within the bumare edwé and siha’e designs is a design called bureji sor’e, which was originally inspired from a naturally occuring pattern found on the dried pandanus leaves of traditional mats. This pattern is thought to be created by an insect and is much admired.

Aspasia GADAI (YÉWO)

Dahoru’e Ohu’o Buborianö’e - Ömie Mountains and Beaks of Blyth’s Hornbill, 2011 Natural Pigments on Barkcloth 155cm x 85cm OM11-173

The lines that run through the work are known as orriseegé or ‘pathways’ and provide a compositional framework for the design. The large zig-zags are dahoru’e, Ömie mountains. The solid black sawtooth designs and smaller zig-zags within the dahoru’e are buborianö’e, the beaks of Blyth’s Hornbill (Rhyticeros plicatus). During the times of the ancestors hornbill beaks were a part of men’s customary dress for rites and ceremonies. The beaks were worn in rows radiating outwards around the rim of men’s foreheads beneath their feathered headdressess. The beaks beautified men but more importantly, because the hornbills are such large birds and are so extremely difficult to hunt, they were indicators of a male’s hunting skills and therefore symbols of prestige.

Dapeni JONEVARI (MOKOKARI)

Asimano’e, Guai,Taigu Taigu’e, Odunaigö’e, Dahoru’e Ohu’o Sabu Ahe – Heads of Men, Ancestral Underground Tattooing Sites, Pattern of a Leaf, Jungle Vine, Ömie Mountains and Spots of the Wood-Boring Grub Natural Pigments on Nioge (Woman’s Barkcloth Skirt) 172cm x 81cm OM11-001

The border and the two lines that run through the nioge are orriseegé or ‘pathways’ which provide a compositional framework for the designs. Dapeni has interrupted the usual path of the orriseegé with a rectangular design - guai. Guai are ancestral underground sites where pubescent children lived until they reached sexual maturity and were ready or initiation into manhood and womanhood. Before their initiation ceremony boys and girls were tattooed inside the guai by their families. Mens’ entire bodies would be tattooed while only the cheeks of women were tattooed. Dapeni’s father told her how her grandfather lived in a guai where he underwent his initiation tattooing. The sawtooth design around the edges of the orriseegé are dahoru’e, the design of the Ömie mountains. The spots within the orriseegé and above the dahoru’e are a design called sabu ahe representing the spots which can be seen on the sides of a wood-boring grub. This grub is sacred to Ömie people as it plays an important part within the creation story of how Huvaemo (Mt. Lamington) came to be volcanic. It is a traditional soru’e (tattoo design) which was most commonly tattooed running in one line under both eyes. The rows of circles are asimano’e - the heads of men complete with ears and eyes. Dapeni explains how this design is uehorëro (her own wisdom) and came to her in a dream. The surrounding streams of zig-zagging lines and their curling offshoots are also traditional soru’e. The zig-zags are known as taigu taigu’e and would often be tattooed on the upper arms of boys for their initiation into manhood. The design is very old and some Ömie people believe that it may have originated from a pattern seen on a leaf. The curly ends are odunaigö’e - a climbing jungle vine with thorns and tendrils.

Nerry KEME (NAMUNO)

Soru’e (Siha’e, Jö’o Sor’e Ohu’o Taigu Taigu’e) - Ancestral Tattoo Designs (Fruit of the Sihe Tree, Pattern of a Leaf and Uncurling Fern Fronds), 2012 Natural Pigments on Barkcloth 168cm x 93.5cm OM12-019

The lines that run through the work are known as orriseegé or ‘pathways’ and provide a compositional framework for the design. Nerry has painted traditional soru’e or tattoo designs which she saw on her father and her grandfather’s bodies. The designs seen here are ubiquitous amongst the Ömie tribe however they have survived remarkably well within Nerry’s family. The diamond design is siha’e, a yellow fruit found in the rainforest and often eaten by cassowaries. In the times of the ancestors Ömie people would chew the fruit, swallow the juice and spit out the pulp. The zig-zag designs are taigu taigu’e, the pattern of a leaf and the curls on their ends are jö’o sor’e, uncurling fern fronds.

Brenda KESI (ARIRÉ)

Taliobamë’e, taliobamë’e siha’e, mododa’e diburi’e, sigob’e vairömo larom’e ohu’o sigobo simanohu’o hwé - ancestral design of the mud, fruit of the tree, tailfeathers of the swift in flight, coiled snake and head and neck of the snake, 2011 Sihoti’e Taliobamë’e - Appliquéd Mud-Dyed Barkcloth 127cm 106cm OM11-077

Brenda has created an ancestral sihoti’e taliobamë’e (design of the mud) just as she was taught by her mother, Go’ovino. These designs can be traced to the the old Ematé clan village of Enopé which was abandoned due to the 1951 eruption of Huvaemo (Mt. Lamington). Brenda explains how her mother was taught this design by her mother, Munne, and says that in the old days of making barkcloths the women had no paints so they would soak the barkcloth in mud, cut the desired pieces and then sew them onto the plain barkcloth. The contrasting effects would result in various bold visual designs. Sihoti’e (muddyed barkcloths) relate to the Ömie creation story of the first man and woman, Mina and Suja - the mud represents women’s menstrual blood. The grey strips with the negative diamond-shaped spaces are taliobamë’e siha’e, representing the fruit of the sihe tree but created in the traditional way unique to the sihoti’e appliqué technique. The hourglass motifs are mododai diburi’e representng the tailfeathers of the modadai (swift bird) as they fan out when it is in flight. The final row are designs of the snake including the designs sigob’e vairömo larom’e, a coiled snake, and sigobo simanohu’o hwé, the head and neck of the snake. The singular, isolated square is simply taliobamë’e, an aesthetic sihoti’e element not representing anything. However, such additions by sihoti’e artists are completely traditional.

Brenda KESI (ARIRÉ)

Dahoru’e, taliobamë’e siha’e, mododa’e diburi’e hijë’oho ohu’o ivi’inö’uo ija’e – Ömie mountains, fruit of the tree, tailfeathers of the swift in flight and tailbone of the wallaby, 2011 Sihoti’e Taliobamë’e - Appliquéd Mud-Dyed Barkcloth 109cm x 78cm OM11-076

Brenda has created an ancestral sihoti’e taliobamë’e (design of the mud) just as she was taught by her mother, Go’ovino. These designs can be traced to the the old Ematé clan village of Enopé which was abandoned due to the 1951 eruption of Mt. Lamington. Brenda explains how her mother was taught this design by her mother, Munne, and says that in the old days of making barkcloths the women had no paints so they would soak the barkcloth in mud, cut the desired pieces and then sew them onto the plain barkcloth. The contrasting effects would result in various bold visual designs. Sihoti’e (mud-dyed barkcloths) relate to the Ömie creation story of the first man and woman, Mina and Suja - the mud represents women’s menstrual blood. The grey strips with the negative diamond-shaped spaces are taliobamë’e siha’e, representing the fruit of the sihe tree but created in the traditional way unique to the sihoti’e appliqué technique. The line of square diamonds is also siha’e, representing the fruit of the sihe tree. The hourglass motifs are mododai diburi’e representing the tailfeathers of the modadai (swift bird) as they fan out when it is in flight. The six-pronged design which appears in the upper row of the mododai diburi’e design is ivi’inö’uo ija’e, the tailbone of the wallaby. The sawtooth designs are dahoru’e, Ömie mountains.

Brenda KESI (ARIRÉ)

Taliobamë’e - Ancestral Design of the Mud, 2012 Sihoti’e Taliobamë’e - Appliquéd Mud-Dyed Barkcloth 83cm x 121cm OM12-004

Brenda has created an ancestral sihoti’e taliobamë’e (design of the mud) as she was taught by her mother, Go’ovino, when she lived at the old Ematé clan village Enopé before the 1951 eruption of Mount Lamington. She tells how in the old days of making barkcloths the women had no paints so they would soak the barkcloth in mud and then sew it onto the plain barkcloth and the contrasting effect would result in various bold visual designs. The sihoti’e (mud-dyed barkcloth) represents women’s menstrual blood, relating to the Ömie creation story of the first man and woman, Mina and Suja. This square design is known as taliobamë’e.

Brenda KESI (ARIRÉ)

Wo’ohohe - Ground-Burrowing Spider, 2012 Sihoti’e Taliobamë’e - Appliquéd Mud-Dyed Barkcloth 93.5cm x 81cm OM12-005

Brenda Kesi (Ariré) has created an ancestral sihoti’e taliobamë’e (design of the mud) called wo’ohohe representing the ground-burrowing spider, just as she was taught by her mother, Go’ovino. This design can be traced to the the old Ematé clan village of Enopé which was abandoned due to the 1951 eruption of Mt. Lamington. Brenda explains how her mother was taught this design by her mother, Munne, and says that in the old days of making barkcloths the women had no paints so they would soak the barkcloth in mud, cut the desired pieces and then sew them onto the plain barkcloth. The contrasting effects would result in various bold visual designs. Sihoti’e (muddyed barkcloths) relate to the Ömie creation story of the first man and woman, Mina and Suja - the mud represents women’s menstrual blood.

Batilda KIMMIKIMMI (ASID’E)

Kumunnai Ohu’o Sabu Ahe - Black Palm Spear of the Ancestors and Spots of the Wood-Boring Grub, 2012 Natural Pigments on Barkcloth 137.5cm x 70cm OM12-012

The design of triangles that also form crosses is kumunnai, representing an ancestral spear used during times of tribal warfare. The spear was made from a black palm, a heavy wood. The lines that run through the work are known as orriseegé or ‘pathways’ and provide a compositional framework for the design. The spots within the orriseegé and dahoru’e is a design called sabu ahe representing the spots which can be seen on the sides of a wood-boring grub. This grub is sacred to Ömie people as it plays an important part within the creation story of how Huvaemo (Mt. Lamington) came to be volcanic. It is a traditional soru’e (tattoo design) which was most commonly tattooed running in one line under both eyes. Today it is applied to Ömie people’s faces for dance performances with natural pigments.

Botha KIMMIKIMMI (HIROKIKI)

Dahoru’e,Tuböre Une Ohu’o Sabu Ahe - Ömie Mountains, Eggs of the Dwarf Cassowary and Spots of the Wood-Boring Grub, 2011 Natural Pigments on Barkcloth 122cm x 86cm OM11-178

The lines that run through the work are known as orriseegé or ‘pathways’ and provide a compositional framework for the design. The zig-zagging lines are dahoru’e - Ömie mountains. The rows of small black triangles like sawtooths at their edges are also dahoru’e. The cross-hatch design is tuböru une, the design of the egg of the Dwarf Cassowary (Casuarius bennetti). Cassowary eggs are an important seasonal food source for Ömie people. The spots within the orriseegé and dahoru’e is a design called sabu ahe representing the spots which can be seen on the sides of a wood-boring grub. This grub is sacred to Ömie people as it plays an important part within the creation story of how Huvaemo (Mt. Lamington) came to be volcanic. It is a traditional soru’e (tattoo design) which was most commonly tattooed running in one line under both eyes. Today it is applied to Ömie people’s faces for dance performances with natural pigments.

Botha KIMMIKIMMI (HIROKIKI)

Dahoru’e,Tuböre Une Ohu’o Sabu Ahe - Ömie Mountains, Eggs of the Dwarf Cassowary and Spots of the Wood-Boring Grub, 2012 Natural Pigments on Barkcloth 116.5cm x 85cm OM12-011

The lines that run through the work are known as orriseegé or ‘pathways’ and provide a compositional framework for the design. The zig-zagging lines are dahoru’e - Ömie mountains. The rows of small black triangles like sawtooths at their edges are also dahoru’e. Both of the cross-hatch designs are tuböru une, the design of the egg of the Dwarf Cassowary (Casuarius bennetti). Cassowary eggs are an important seasonal food source for Ömie people. The spots within the orriseegé and dahoru’e is a design called sabu ahe representing the spots which can be seen on the sides of a wood-boring grub. This grub is sacred to Ömie people as it plays an important part within the creation story of how Huvaemo (Mt. Lamington) came to be volcanic. It is a traditional soru’e (tattoo design) which was most commonly tattooed running in one line under both eyes. Today it is applied to Ömie people’s faces for dance performances with natural pigments.

Botha KIMMIKIMMI (HIROKIKI)

Dahoru’e,Tuböre Une Ohu’o Sabu Ahe - Ömie Mountains, Eggs of the Dwarf Cassowary and Spots of the Wood-Boring Grub, 2011 Natural Pigments on Barkcloth 128cm x 74cm OM11-179

The lines that run through the work are known as orriseegé or ‘pathways’ and provide a compositional framework for the design. The cross-hatch designs are tuböru une, the design of the egg of the Dwarf Cassowary (Casuarius bennetti). Cassowary eggs are an important seasonal food source for Ömie people. The crosshatching zig-zags, forming another design known as dahoru’e, Ömie mountains. The rows of small black triangles like sawtooths at their edges are also dahoru’e. The spots within the orriseegé and dahoru’e is a design called sabu ahe representing the spots which can be seen on the sides of a wood-boring grub. This grub is sacred to Ömie people as it plays an important part within the creation story of how Huvaemo (Mt. Lamington) came to be volcanic. It is a traditional soru’e (tattoo design) which was most commonly tattooed running in one line under both eyes. Today it is applied to Ömie people’s faces for dance performances with natural pigments.

OdunaigĂŤ - Jungle Vines, 2012 Natural Pigments on Barkcloth 83cm x 185cm OM12-018

Vivian MARUMI (ROSUJA)

This is an important Dahorurajé clan design known as odunaigë, a strong and vigorous vine with thorns and searching tendrils which can be found in the rainforests throughout Ömie territory.

Flora OVIRO (ANU)

Vahuhu Sin’e - Skin of the Yellow Snake, 2012 Natural Pigments on Barkcloth 131cm x 66cm OM12-013

This is a traditional Dahorurajé clan design known as vahuhu sine, skin of the yellow snake. Flora learnt this design from her mother Uveyvo Ajiro who learnt it from her mother, Nogi. Its origin can be traced back to Sidonejo village, the old Dahorurajé clan village situated beside Mt. Obo.

Barbara RAUNO (INASU)

Siha’e, Nuni’e Ohu’o Sigaru Anö’e - Fruit of the Tree, Design of the Eye and Teeth of the Beetle, 2012 Natural Pigments on Barkcloth 139cm x 57cm OM12-022

The rectangular motif is nuni’e, the design of the eye. The nuni’e design can also be found woven on armlets and waistbelts which are made from numise (yellow orchid fibre), jukire (black orchid fibre) and ninube (brown orchid fibre). The diamond design is siha’e, the fruit of the tree and the triangular designs is sigaru anö’e, the teeth of the beetle. The lines that run through the work are known as orriseegé or ‘pathways’ and provide a compositional framework for the design.

Fate SAVARI (ISAWDI)

Mweje (Mahuva’oje, Ujë, Ijo Buné, Dubi Dubi’e, Nenyai, Ije Bi’weje, Sabu Deje, Mi’ija’ahe, Buborianö’e Ohu’o Aréro Ajivé) - Gardens (Pig Hoofprints, Bees,Vine Leaves, Women’s White Seashell Forehead Adornment, Men Chopping Tree Branches, Spots of the Wood-Boring Grub, Animal Bones, Beaks of Blyth’s Hornbill, Daybreak and Tree Stump), 2012 Natural Pigments on Barkcloth 80cm x 128.5cm OM12-003

The border and intersecting lines are orriseegé or ‘pathways’ which, by intersecting, naturally form squares. These squares are, in fact, the main design of the painting, representing mweje (gardens) as well as providing a compositional framework for the other designs: The squares infilled with pure arë (yellow pigment made from a rainforest fruit) represents land. The solid black triangles are mahuva’ojé (mahero mwe ijeh’e), pig’s hoofprints - showing how the garden has been trampled and destroyed by pigs. The circular concentrations of fine dots are ujë, bees. The short bristle-like design is known as ijo bunë, representing the roots of trees after they have been chopped down in order to clear the garden for planting food. Another short bristle-like design that can be seen is dubi dubi’e, representing the leaf of a rainforest vine. The curved lines are a white seashell forehead adornment worn by women known as nenyai. The lines that run diagonally through the orriseegé are ije bi’weje – boys cutting the leaves of a tree. Fate explains: “The mother was cleaning the bush to make a garden with her two young sons. The boys climbed a tree to cut all of the branches and leaves down. The branches fell down and the mother took all of the leaves and threw them away. Then the mother got plenty of bananas, taro and yam to plant in their newly cleared garden. When they finished planting all of the plants, they ate all of the food from the garden and lived a long life.”

The crosshatch design and also the parallel stripes that bisect some of the squares are mwe, gardens. The dots within the orriseegé are sabu deje, representing the spots which can be seen on the sides of a wood-boring grub. This grub is sacred to Ömie people as it plays an important part within the creation story of how Huvaemo (Mt. Lamington) came to be volcanic. It is a traditional sor’e (tattoo design) which was most commonly tattooed running in one line under both eyes. Today it is applied to Ömie people’s faces with natural pigments for dance performances. The zig-zag design that runs through the orriseegé are mi’ija’ahe, animal bones. The chevron (arrow-tip) design that run through the orriseegé is buboriano’e, beaks of Blyth’s Hornbill (Rhyticeros plicatus). The repetivive arcs are aréro ajivé representing daybreak, the first light on the horizon before the sun is seen.

Linda-Grace SAVARI (MAJARÉ)

Jö’o Sor’e, Nyoni Béhwe Ohu’o Buborianö’e - Uncurling Fern Fronds, Bristles of the Fern Stem and Beaks of Blyth’s Hornbill, 2012 Natural Pigments on Barkcloth 147cm x 106cm OM12-015

Linda-Grace has painted soru’e, Ömie tattoo designs. The border and the squares are known as orriseegé or ‘pathways’ and provide a compositional framework for the designs. The main design within the squares is jö’o sor’e, uncurling fern fronds, which was traditionally tattooed on both sides of Ömie women’s cheeks/mouths for initiation. Tattooing was a very important part of the Ömie initiation rite for boys and girls known as the ujawé. The ujawé initiation rites of piercing and tattooing were performed in underground chambers called guai.

Linda-Grace SAVARI (MAJARÉ)

Mahudanö’e, Mahu Ane Bios’e, Hin’e Baje, Nyoni Han’e Ohu’o Buborianö’e - Pig’s Tusks and Teeth, Fruit of the Mustard Plant and Fern Leaves, 2012 Natural Pigments on Barkcloth 104.5cm x 96cm OM12-014

Linda-Grace has painted soru’e, Ömie tattoo designs taught to her by her mother-in-law Fate Savari. The ‘trees’ are sprouting mahudan’e (pig’s tusks) and mahu ane bios’e (pig’s teeth) attached. Pig’s tusks and teeth are the traditional form of wealth for Ömie tribespeople and are often used for brideprice. Bare trees are used to display wealth for ceremonies, particularly for marriage. Also during ceremonies, rituals and dancing pig’s tusk necklaces are worn by men and sometimes, although very rarely, by high-ranking women elders. The pig’s tusks have mouthpieces which male dancers bite, displaying the object to make themselves look like fierce warriors. In the time of the ancestors when tribal conflicts, village raids and retribution were an everyday part of life, no doubt this would have served a very important purpose. The “trees” are also sprouting hin’e baje, the fruit of the mustard plant which is used to dip into the lime gourd and aids in the chewing of betelnut, a very important Ömie social custom known as hai’ue. Between the “trees” and around the edges of the work are repetitious lines representing nyoni han’e, fern leaves. The border or oriseegé (pathway) provides a compositional framework for the design. It has been infilled with the zig-zag design called buborianö’e, representing the beaks of Blyth’s Hornbill (Rhyticeros plicatus).

Ivy-Rose SIRIMI

Mairi’e Jeje Ijo’oho, Dahoru’e Ohu’o Buborianö’e - The Forbidden Tree of Lawe’s Parotia, Ömie Mountains and Beaks of Blyth’s Hornbill, 2012 Natural Pigments on Barkcloth 181cm x 112cm OM12-017

The main design of this work is mairi’e jeje ijo’oho, the forbidden tree of Lawe’s Parotia. Lawe’s Parotia (Parotia lawesii) is an extraordinary bird and is part of the birdof-paradise family. It is black in colour and has six wires extending from its head and a golden crest on its chest. Males perform spectacular courtship dances for females in arenas, which are also created and tended by the male. In Ömie territory, the bird is found only on the highest ridges of the mountains and it is held sacred by Ömie people. The trees it lives in are also sacred, as is its nest. If a tree is cut or burnt, its nest disturbed, or if Lawe’s Parotia is hunted or its feathers burnt then when the person returns to the village after causing the harm to the sacred bird all of the pigs in the village will have died. This design was taught to Ivy-Rose by her father-in-law Albert Sirimi (Nanati), the Assistant Paramount Chief of Ömie men. The continuity of this design plays an important part in upholding the traditional Ömie law that protects Lawe’s Parotia. The black sawtooth design that can be seen in the work are dahoru’e (Ömie mountains). The zig-zagging lines that form a border directly above the black sawtooth designs is buborianö’e, the beaks of Blyth’s Hornbill (Rhyticeros plicatus). During the times of the ancestors hornbill beaks were a part of men’s customary dress for rites and ceremonies. The beaks were worn in rows radiating outwards around the rim of men’s foreheads beneath their feathered headdressess. The beaks beautified men but more importantly, because the hornbills are such large birds and are so extremely difficult to hunt, they were indicators of a male’s hunting skills and therefore symbols of prestige.

Sarah UGIBARI

Tamajai Ohu’o Deb’é - Ancestral Tattoo Design of the Necklace with Pandanus Fibre String, 2011 Natural Pigments on Barkcloth 80cm x 66.5cm OM11-061

Sarah was raised in the village of Kiara in northern Managalasi territory high in the Hydrographer’s Range. In the beginning of time, Ömie and Managalasi were one people and emerged from underground together. She has painted an old design she learnt from her mother and grandmother when she was growing up as a girl. The central arching motif is tamajai, a customary necklace worn in the time of the ancestors. This particular was also an important tattoo design for Managalasi people. The protuberances are deb’e, a strong fibre similar to pandanus that is used to make the necklace.

Sarah UGIBARI

Maijaro I’e Hö’oje - Morning Rays of the Sun Shining Down on the Forest, 2012 Sihoti’e Taliobamë’e - Appliquéd Mud-Dyed Barkcloth 77cm x 50cm OM12-001

Sarah has created a design known as maijaro i’e hö’oje. The vertical lines, she explains, are the morning rays of the sun shining down onto the forest. This is an ancestral sihoti’e design (design of the mud) whose origins can be traced back to the Koruwo village area on the Managalasi plateau c.1880. Sihoti’e (mud-dyed barkcloth) represents women’s menstrual blood, relating to the creation story of the first Ömie people, Mina and Suja.

Martha-Jean UHAMO (DOGARINE)

Misai - Misajé Clan Emblem of the River Plant, 2012 Natural Pigments on Barkcloth 87cm x 110cm OM12-016

The lines at the edges and the lines that runs through the work are orriseegé or ‘pathways’ and provide a compositional framework for the design. The design is misai, the Misajé clan emblem of the river plant. When Martha-Jean married her husband and became a part of his clan she was taught their clan-emblem by her motherin-law. The chevrons or arrow-like designs that can be seen between the misai are Martha-Jean’s uehorëro, her own “wisdom”.

Celestine WARINA (KAARU)

Jimu Jimu Nioge (Udane Une, Sigobu Sin’e, Sabu Ahe Ohu’o Cobburé Jö’o Si’o Si’o Ve’e) - Design of the Papuan Flowerpecker (With Eggs of the Giant Spiny Stick Insect, Spots of the Wood-Boring Grub and Pattern of a Snake’s Lip), 2012 Natural Pigments on Barkcloth 161cm x 77.5cm OM12-010

The loose composition of squares formed from parallel lines is a design called jimu jimu nioge symbolising the Papuan Flowerpecker bird (Dicaeum pectorale). Celestine saw this design painted on her grandmother Avarro’s face during times of dancing. The lines that run through the painting are known as orriseegé or ‘pathways’ and provide a compositional framework for the design. The short lines that run parallel through the orriseegé are udane une, the eggs of the Giant Spiny Stick Insect (Eurycantha calcarata). The crosshatch design within the orriseegé is sigobu sin’e, the pattern of the yellow snake’s skin. The spots within the orriseegé are a design called sabu ahe representing the spots which can be seen on the sides of a wood-boring grub. This grub is sacred to Ömie people as it plays an important part within the creation story of how Huvaemo (Mt. Lamington) came to be volcanic. It is a traditional sor’e (tattoo design) which was most commonly tattooed running in one line under both eyes. Today it is applied to Ömie people’s faces with natural pigments for dance performances. The lines that run diagonally edge to edge through the orriseegé are cobburé jö’o si’o si’o ve’e, the pattern of the snake’s mouth.

Lila WARRIMOU (MISASO)

Odunaigë, Mahuva’oje Ohu’o Sabu Deje - Jungle Vines, Pig’s Hoofprints and Spots of the Wood-Boring Grub, 2012 Natural Pigments on Barkcloth 108cm x 106cm OM12-006

The curling leaf-like design is the main design of this work, representing odunaigë, the thorns of the ödae climbing vine which can be found in the rainforests of the Ömie mountains. Lila has traced the edges of the thorns with radiating lines, working inwardly as the cadences themselves become an important part of the visual effect of the work. This is a customary technique, rarely seen, that Lila was taught as a young girl and has mastered. The lines that run through the work, forming squares, are known as orriseegé or ‘pathways’ and provide a compositional framework for the design. The orriseegé is infilled with sabu deje, a design representing the spots which can be seen on the sides of a wood-boring grub. This grub is sacred to Ömie people as it plays an important part within the creation story of how Huvaemo (Mt. Lamington) came to be volcanic. It is a traditional sor’e (tattoo design) which was most commonly tattooed running in one line under both eyes. Today it is applied to Ömie people’s faces with natural pigments for dance performances. The black triangles within the orriseegé frame are mahuva’oje, the hoofprints of a mischievous pig that has wreaked havoc on a garden.

Lila WARRIMOU (MISASO)

Gobibajö’e, Mahuva’oje Ohu’o Sabu Deje - Poison Bubbles that Stun the Fish in the River, Pig’s Hoofprints and Spots of the Wood-Boring Grub, 2012 Natural Pigments on Barkcloth 120cm x 88cm OM12-007

The conjoined circles represent bubbles and this design is called gobibajö’e. When Ömie people want to catch the small freshwater fish from the river they collect a poisonous root and pound it with rocks into the water. This water becomes milky and bubbly from the poison released from the roots and the fish become asphyxiated, making for easy pickings. Lila was taught this design by her former husband Nathan Gama, Chief of Ematé clan men. Nathan clearly remembers the design as he would sit and watch his mother painting her nioge (barkcloth). The border and the lines that run through the work are known as orriseegé or ‘pathways’ and provide a compositional framework for the design. The spots within the orriseegé is a design called sabu deje representing the spots which can be seen on the sides of a wood-boring grub. This grub is sacred to Ömie people as it plays an important part within the creation story of how Huvaemo (Mt. Lamington) came to be volcanic. It is a traditional sor’e (tattoo design) which was most commonly tattooed running in one line under both eyes. Today it is applied to Ömie people’s faces for dance performances with natural pigments. The black triangles within the orriseegé frame are mahuva’oje, the hoofprints of a mischievous pig that has wreaked havoc on a garden.

The Story of the Lost Boy and Ninivo,The Bird-of-Paradise of Mount Ă&#x2013;mie, 2011 Natural Pigments on Barkcloth 128cm x 76cm OM11-009

Lila WARRIMOU (MISASO)

Due to cultural protocols this story is not available for publication.

Lila WARRIMOU (MISASO)

Roronöhanö’e - Dahorurajé Clan Design of the Leaf Natural Pigments on Nioge (Woman’s Barkcloth Skirt) 88cm x 91cm OM10-012

Lila has painted the Dahorurajé clan design of roronöhanö’e, leaf of the röröne plant. Her strong knowledge of Dahorurajé clan history and symbols inform much of her artistic practice. The fine, radiating lines in the work are Lila’s distinctive creative style.

OM12-008 detail

Lila WARRIMOU (MISASO)

Viojoje Dehe, Siha’u’e,Vison’e Ohu’o Sabu Deje - Wings of the Butterfly, Fruit of the Sihe Tree, Cassowary Bone Jewellery for Initiation Nasal Septum Piercings and Spots of the Wood-Boring Grub, 2012 Natural Pigments on Barkcloth 266cm x 32.5cm OM12-008

This long barkcloth is known as a givai, a loincloth worn only by men. Lila has painted traditional designs taught to her by her auntie, Joyce-bella Mujorumo, former duvahe (Chief) of Dahorurajé clan women. The conjoined concentric circles are viojoje dehe, the wings of the butterfly. The vertical line of diamonds is the men’s tattoo design of the bellybutton, vinohu’e, representing siha’u’e, the fruit of the sihe tree. Lila explains how in the time of the ancestors during times of tribal warfare, the Ömie had no food so they were forced to eat the juice of the siha’u’e. The sawtooth lines of triangles represent vison’e, jewellery for the nasal septum made from a small bone from the leg of a tubor’e (Dwarf Cassowary), the leg bone. This piercing was a very important part of the Ömie initiation rite for boys and girls known as the ujawé. The ujawé initiation rites of piercing and tattooing were performed in underground chambers known as guai. The border and the lines that run through the work are known as orriseegé or ‘pathways’ and provide a compositional framework for the design. The spots within the orriseegé is a design called sabu deje representing the spots which can be seen on the sides of a wood-boring grub. This grub is sacred to Ömie people as it plays an important part within the creation story of how Huvaemo (Mt. Lamington) came to be volcanic. It is a traditional sor’e (tattoo design) which was most commonly tattooed running in one line under both eyes. Today it is applied to Ömie people’s faces for dance performances with natural pigments.

Rex WARRIMOU

The Story of the Trickster Spirit and the Vanishing Boy, 2012 Natural Pigments on Barkcloth 44cm x 62cm OM12-009

Due to cultural protocols this story is not available for publication.

Jessie BUJAVA (KIPORA)

Born Language Group Clan Lives and works Medium

: 1970, Ömie territory, Oro Province, Papua New Guinea : Ömie : Sahuoté : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts); and Bilums (Traditional Woven String-Bags)

Jessie’s father is the Assistant Paramount Chief of Ömie men, Albert Sirimi (Nanati) and her mother was Agnes Sirimi, both Sahuoté clanspeople from Gorabuna village. Jessie was taught to paint traditional Sahuoté clan designs by both her mother Agnes and her grandmother. Along with Ömie artists Lillias Bujava (Kausara) and Felicity Bujava, Jessie is part of a new and exciting school of Sahuoté clan painters whose designs are characterized by an excess of orriseegé or ‘pathways’. Orriseegé is most often used to provide a compositional framework for Ömie painting designs and it reaches its extreme limit in Jessie’s works where her traditional symbolic designs conform to a tight, yet organic, geometric format. She often paints siha’e, the design of the fruit of the tree and visuanö’e, the design of the teeth of the mountain fish. Group Exhibitions 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Art of the Ömie: Barkcloth Paintings from Papua New Guinea, Harvey Art Projects, Sun Valley ID, USA 2011 We hold our mother’s teachings in our hearts and hands, Short St. Gallery, Broome

Lillias BUJAVA (KAUSARA) Born Language Group Clan Lives and works Medium

: 1977, Ömie territory, Oro Province, Papua New Guinea : Ömie : Sahuoté : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts); and Bilums (Traditional Woven String-Bags)

Lillias Bujava (Kausara) has quickly become one of the most accomplished artists amongst a new generation of Ömie barkcloth painters. She utilises an array of traditional Sahuoté clan designs, experimenting with repetitious and often highly complex compositions within the oriseegé (pathways). Combined with her exacting application of coloured pigments, she creates hypnotic visual effects with a wholly unique vitality and dynamism. Her work was included in Wisdom of the Mountain: Art of the Ömie at the National Gallery of Victoria International. To mark the opening of the landmark exhibition Lillias, along with her husband the master Sahuoté songman Raphael and her son Ian, she performed jö’erramo ohu’o javavamo (song and dance) to a delighted audience. Group Exhibitions 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Nohi Dahoru’e - Nohi Nioge (Our Mountain - Our Art), The Depot Gallery, Sydney 2011 We hold our mother’s teachings in our hearts and hands, Short St. Gallery, Broome 2010 The Art of Ömie, William Mora Galleries, Melbourne 2009 Wisdom of the Mountain: Art of the Ömie, National Gallery of Victoria International, Melbourne 2008 Ömie Art of Mt. Lamington, New Guinea Gallery, Sydney

Aspasia GADAI (YÉWO)

Born Lives and works Language Group Clan Medium

: c.1963, Ömie territory, Oro Province, Papua New Guinea : Ömie territory, Oro Province, Papua New Guinea : Ömie : Ematé : Natural Pigments on Nioge (Women’s Barkcloth Skirts)

Aspasia has been painting for Ömie Artists since its establishment in 2004. Aspasia’s mother was Florence Umasisé of Jiapa village (Ematé clan) and her father was Naré of Budo village (Sahuoté clan). Aspasia was taught to paint by her mother, Florence, as well as by her grandmother including the following designs: dahoru’e - Ömie mountains, hartu’e - design of the ceremonial Dwarf Cassowary-chestbone necklace, buboriano’e - beaks of Blyth’s Hornbill and sabu ahe - black spots of the wood-boring grub. She is married to Aiden Gadai (Alowa) and they have two children. Group Exhibitions 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Nohi Dahoru’e - Nohi Noge (Our Mountain - Our Art), The Depot Gallery, Sydney 2012 Second Skins: Painted Barkcloth from New Guinea and Central Africa, Fowler Museum at UCLA, Los Angeles 2012 Nohi niogero aru’aho ma’ene munomehi jajuho (Our barkcloth holds the spirit of our culture), RAFT Artspace, Alice Springs 2011 No si hijomiono’o jabesi sor’e jajivo (We are painting the designs of our ancestors), ReDot Fine Art Gallery, Singapore 2010 Rweromo garé niogehu mamabahe ajivé (Come and see the beauty and brightness of our barkcloths), Chapman Gallery, Canberra 2009 Wisdom of the Mountain: Art of the Ömie, National Gallery of Victoria International, Melbourne 2009 Ömie: Barkcloths from New Guinea, Annandale Galleries, Sydney 2006 Ömie:The Barkcloth Art of Ömie, Annandale Galleries, Sydney

Dapeni JONEVARI (MOKOKARI) Born Language Group Clan Lives and works Medium

: 1949, Ömie territory, Oro Province, Papua New Guinea : Ömie : Ematé : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Woman’s Barkcloth Skirts)

Dapeni has been painting for Ömie Artists since its establishment in 2004. Her mother was Yéwo and her father was John Koré, both Sahuoté clanspeople from Budo village. She was born two years before the eruption of Huvaemo (Mount Lamington) and grew up at Budo and Jiapa villages. As a young girl Dapeni was taught to paint traditional Ömie barkcloth designs by her aunts at Budo Village. She also paints soru’e (tattoo designs) she saw on her grandfather’s body and uehorëro (her own wisdom). Since 2002, Dapeni has been teaching her daughter-in-law Diona Jonevari to paint traditional Ömie barkcloth designs. Group Exhibitions 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Nohi Dahoru’e - Nohi Nioge (Our Mountain - Our Art), The Depot Gallery, Sydney 2012 Contemporary Ömie Bark Cloth, de Young Museum, San Francisco 2012 Art of the Ömie: Barkcloth Paintings from Papua New Guinea, Harvey Art Projects, Sun Valley ID, USA 2012 Second Skins: Painted Barkcloth from New Guinea and Central Africa, Fowler Museum at UCLA, Los Angeles 2012 Nohi niogero aru’aho ma’ene munomehi jajuho (Our barkcloth holds the spirit of our culture), RAFTArtspace, Alice Springs 2012 Barkcloth Paintings by Ömie Chiefs and Elders, William Mora Galleries, Melbourne 2011 No si hijomiono’o jabesi sor’e jajivo (We are painting the designs of our ancestors), ReDot Fine Art Gallery, Singapore, 2010 Rweromo garé niogehu mamabahe ajivé (Come and see the beauty and brightness of our barkcloths), Chapman Gallery, Canberra 2010 17th Biennale of Sydney:The Beauty of Distance - Songs of Survival in a Precarious Age, Museum of Contemporary Art, Sydney 2010 The Art of Ömie, William Mora Galleries, Melbourne 2010 Miami International Art Fair / Art Palm Beach, USA, presented by Osborne Samuel, London 2010 Wisdom of the Mountain: Art of the Ömie, National Gallery of Victoria International, Melbourne 2009 Ömie: Barkcloths from New Guinea, Annandale Galleries, Sydney 2007 In the Shadow of a Volcano:The Barkcloth Art of the Ömie, Holmes à Court Gallery, Perth 2006 Ömie:The Barkcloth Art of Ömie, Annandale Galleries, Sydney

Nerry KEME (NAMUNO)

Born Language Group Clan Lives and works Medium

: c.1975, Ömie territory, Oro Province, Papua New Guinea : Ömie : Ematé : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts)

Nerry is the daughter of the Paramount Chief of Ömie men, Willington Uruhé. She grew up immersed in her culture with its rich heritage of tattooing clan insignia on the skin, known as sor’e. She has mastered these traditional designs, working over the surface of a nioge (barkcloth) with her spirited filigree style. Group Exhibitions 2013 Painted and Woven in Song: Ömie Barkcloths and Bilums, RAFT Artspace, Alice Springs 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Art of the Ömie: Barkcloth Paintings from Papua New Guinea, Harvey Art Projects, Sun Valley ID, USA 2012 Nohi niogero aru’aho ma’ene munomehi jajuho (Our barkcloth holds the spirit of our culture), RAFT Artspace, Alice Springs 2011 We hold our mother’s teachings in our hearts and hands, Short St. Gallery, Broome 2010 Paperskin:The Art of Tapa Cloth, Museum of New Zealand Te Papa Tongarewa, Wellington 2010 The Art of Ömie, William Mora Galleries, Melbourne 2009 Wisdom of the Mountain: Art of the Ömie, National Gallery of Victoria International, Melbourne 2009 Paperskin: Barkcloth Art Across the Pacific, Queensland Art Gallery, Brisbane 2009 Ömie: Barkcloths from New Guinea, Annandale Galleries, Sydney 2007 In the Shadow of a Volcano:The Barkcloth Art of the Ömie, Holmes à Court Gallery, Perth 2007 Cloth That Grows on Trees, Textile Museum of Canada, Toronto 2006 Ömie:The Barkcloth Art of Ömie, Annandale Galleries, Sydney Collections National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Queensland Art Gallery, Brisbane

Brenda KESI (ARIRÉ) Born Language Group Clan Lives and works Mediums

: c.1937, Ömie territory, Oro Province, Papua New Guinea : Ömie : Ematé : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Barkcloth) and Sihoti’e Taliobamë’e (MudDyed Barkcloth Appliquéd on White Barkcloth)

Brenda was a young girl during the turmoil of World War II and she remembers the 1951 eruption of Dahore Huvaemo (Mount Lamington). Brenda’s mother was Go’ovino and her father was Valéla, both Ematé clanspeople from old Enopé village between the Jordan and Maruma Rivers. It was here that her mother taught her how to sew her grandmother, Munne’s, sihoti’e taliobamë’e - designs of the mud. This method of appliquéing mud-dyed barkcloth was first practiced by Suja, the first woman and mother of the world, as told in the Ömie creation story. Brenda has begun to teach her sister Teresa Kione (Avur’e) to sew the ancestral Ömie sihoti’e designs such as wo’ohohe - ground-burrowing spider and taigu taigu’e - ancestral tattoo designs. Brenda lives happily by the Jordan River with her husband Robinson Kesi. Group Exhibitions 2013 Painted and Woven in Song: Ömie Barkcloths and Bilums, RAFT Artspace, Alice Springs 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Art of the Ömie: Barkcloth Paintings from Papua New Guinea, Harvey Art Projects, Sun Valley ID, USA 2012 Nohi niogero aru’aho ma’ene munomehi jajuho (Our barkcloth holds the spirit of our culture), RAFT Artspace, Alice Springs 2012 Barkcloth Paintings by Ömie Chiefs and Elders, William Mora Galleries, Melbourne 2011 No si hijomiono’o jabesi sor’e jajivo (We are painting the designs of our ancestors), ReDot Fine Art Gallery, Singapore 2010 Rweromo garé niogehu mamabahe ajivé (Come and see the beauty and brightness of our barkcloths), Chapman Gallery, Canberra 2009 Ömie: Barkcloths from New Guinea, Annandale Galleries, Sydney 2008 Ömie Art of Mt. Lamington, New Guinea Gallery, Sydney Collections National Gallery of Australia, Canberra University of Queensland Anthropology Museum Museum of Archaeology and Anthropology, University of Cambridge, UK Drusilla Modjeska Collection, Sydney

Batilda KIMMIKIMMI (ASID’E)

Born Language Group Clan Mother’s clan Father’s clan Lives and works Medium

: c.1952, Ömie territory, Oro Province, Papua New Guinea : Ömie : Dioborajé : Evorajé : Berirajé : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts)

Batilda Kimmkimmi (Asid’e) began painting for Ömie Artists in 2012. Her mother was Kasiri, an Evorajé clanwoman. Batilda shares the same husband as artist Botha Kimmikimmi (Hirokiki). Group Exhibitions 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2008 Ömie Art of Mt. Lamington, New Guinea Gallery, Sydney

Botha KIMMIKIMMI (HIROKIKI) Born Language Group Clan Lives and works Medium

: c.1941, Ömie territory, Oro Province, Papua New Guinea : Ömie : Sahuoté : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts)

Botha Kimmkimmi (Hirorkiki) was born in 1941, ten years before the eruption of Huvaemo (Mount Lamington). Her father was Teedulé and her mother was Moroja, both Ematé clanspeople. Botha’s mother passed away when she was young and she was adopted by the Kimmikimmi family. Here she was taught to paint by Moira Kimmkimmi, her mother-in-law. She was taught distinctive Ömie designs such as dahoru’e - Ömie mountains, tuböru une - eggs of the Dwarf Cassowary and sabu ahe - spots of the woodboring grub. Her work was featured on the exhibition poster for the landmark exhibition of Ömie barkcloth paintings Wisdom of the Mountain: Art of the Ömie at the National Gallery of Victoria, Melbourne. She is married to Dropmus Kimmikimmi and together they have two children. Group Exhibitions 2013 Painted and Woven in Song: Ömie Barkcloths and Bilums, RAFT Artspace, Alice Springs 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Nohi Dahoru’e - Nohi Nioge (Our Mountain - Our Art), The Depot Gallery, Sydney 2012 Art of the Ömie: Barkcloth Paintings from Papua New Guinea, Harvey Art Projects, Sun Valley ID, USA 2012 Nohi niogero aru’aho ma’ene munomehi jajuho (Our barkcloth holds the spirit of our culture), RAFT Artspace, Alice Springs 2012 Barkcloth Paintings by Ömie Chiefs and Elders, William Mora Galleries, Melbourne 2011 No si hijomiono’o jabesi sor’e jajivo (We are painting the designs of our ancestors), ReDot Fine Art Gallery, Singapore 2010 Miami International Art Fair/Art Palm Beach, USA presented by Osborne Samuel, London 2009 Wisdom of the Mountain: Art of the Ömie, National Gallery of Victoria International, Melbourne 2008 Ömie Art of Mt. Lamington, New Guinea Gallery, Sydney Collections National Gallery of Victoria, Melbourne Museum of Archaeology and Anthropology, University of Cambridge, UK

Vivian MARUMI (ROSUJA)

Born Passed away Language Group Clan Lives and works Medium

: c.1980, Ömie territory, Oro Province, Papua New Guinea : 2012 : Ömie : Dahorurajé (Sidorajé) : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts)

When Vivian married into her husband’s Dahorurajé clan he taught her his family’s traditional clan design of odunaigë, the jungle vine. Today,Vivian is the foremost painter of this important ancestral Ömie design and is highly skilled and innovative artist. She and her husband Prout have five children. Group Exhibitions 2013 Painted and Woven in Song: Ömie Barkcloths and Bilums, RAFT Artspace, Alice Springs 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Nohi Dahoru’e - Nohi Nioge (Our Mountain - Our Art), The Depot Gallery, Sydney 2012 Second Skins: Painted Barkcloth from New Guinea and Central Africa, Fowler Museum at UCLA, Los Angeles 2011 We hold our mother’s teachings in our hearts and hands, Short St. Gallery, Broome 2010 Paperskin:The Art of Tapa Cloth, Museum of New Zealand Te Papa Tongarewa, Wellington 2010 The Art of Ömie, William Mora Galleries, Melbourne 2009 Wisdom of the Mountain: Art of the Ömie, National Gallery of Victoria International, Melbourne 2009 Paperskin: Barkcloth Art Across the Pacific, Queensland Art Gallery, Brisbane 2007 In the Shadow of a Volcano:The Barkcloth Art of the Ömie, Holmes à Court Gallery, Perth Collections National Gallery of Victoria, Melbourne Queensland Art Gallery, Brisbane Fowler Museum at UCLA, Los Angeles

Flora OVIRO (ANU) Born Language Group Clan Lives and works Medium

: 1973, Ömie territory, Oro Province, Papua New Guinea : Ömie : Dahorurajé (Sidorajé) : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts)

Flora was taught to paint by her mother Uveyvo Ajiro (Dahorurajé clan) who is still remembered as a highly skilled barkcloth artist, as well as by her grandmother, Nogi. Her father was Reginal Ajiro, an Ematé clansman. She often paints nuni’e - design of the eye as well as vahuhu sine - skin of the yellow snake. Her barkcloths were included in the landmark exhibition of Ömie art Wisdom of the Mountain: Art of the Ömie at the National Gallery of Victoria International. Flora is married to Tony Oviro and tells of how. between looking after her five young children and gardening and painting, she is kept very busy. Group Exhibitions 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Nohi Dahoru’e - Nohi Nioge (Our Mountain - Our Art), The Depot Gallery, Sydney 2012 Art of the Ömie: Barkcloth Paintings from Papua New Guinea, Harvey Art Projects, Ketchum ID, USA 2012 Second Skins: Painted Barkcloth from New Guinea and Central Africa, Fowler Museum at UCLA, Los Angeles 2012 Barkcloth Paintings by Ömie Chiefs and Elders, William Mora Galleries, Melbourne 2011 No si hijomiono’o jabesi sor’e jajivo (We are painting the designs of our ancestors), ReDot Fine Art Gallery, Singapore 2010 Rweromo garé niogehu mamabahe ajivé (Come and see the beauty and brightness of our barkcloths), Chapman Gallery, Canberra 2010 The Art of Ömie, William Mora Galleries, Melbourne 2010 Wisdom of the Mountain: Art of the Ömie, National Gallery of Victoria International, Melbourne 2009 Ömie: Barkcloths from New Guinea, Annandale Galleries, Sydney 2007 In the Shadow of a Volcano:The Barkcloth Art of the Ömie, Holmes à Court Gallery, Perth 2006 Ömie:The Barkcloth Art of Ömie, Annandale Galleries, Sydney Collections National Gallery of Victoria, Melbourne Museum of Archaeology and Anthropology, University of Cambridge, UK

Barbara RAUNO (INASU)

Born Language Group Clan Lives and works Medium

: 1973, Ömie territory, Oro Province, Papua New Guinea : Ömie : Sahuoté : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts)

Barbara’s father is Albert Sirimi (Nanati), a Sahuoté clanman and assistant to his brother, the Paramount Chief of Ömie men, Willington Uruhé. Barbara’s grandmother was Avarro, the former Sahuoté clan chief who is still remembered today as a very important barkcloth painter. Albert remembers Avarro’s designs and has been teaching his daughter Barbara so that the Sahuoté clan tradition of barkcloth painting will live on long into the future. Barbara and her husband Douglas are the happy parents of seven children. Group Exhibitions 2013 Painted and Woven in Song: Ömie Barkcloths and Bilums, RAFT Artspace, Alice Springs 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Nohi Dahoru’e - Nohi Nioge (Our Mountain - Our Art), The Depot Gallery, Sydney 2011 We hold our mother’s teachings in our hearts and hands, Short St. Gallery, Broome

Rex WARRIMOU Born Language Group Clan Lives and works Medium

: c.1945, Ömie territory, Oro Province, Papua New Guinea : Ömie : Dahorurajé (Sidorajé) : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Barkcloth; Kukuhon’e (Bamboo Smoking Pipe)

Rex Warrimou is a strong jagor’e (law) man for the Dahorurajé clan and the son of the late Warrimou, a very important Chief who was a key figure in helping to preserve the Ömie tribe’s traditional visual arts and culture. In the late 1940’s missionary encroachment was attempting to stamp out all traditional Ömie cultural practices and had already banned important initiation and funerary ceremonies. The volcano Huvaemo (Mount Lamington), a highly sacred place where Ömie ancestor spirits reside, erupted in 1951 and Warrimou believed the ancestor spirits were warning his people that their culture was being lost. In order to appease the ancestors Warrimou actively encouraged the women artists to paint the men’s tattoo designs onto barkcloth. Still to this day, the survival of Ömie barkcloth art is largely credited to Warrimou (as well as his wife Nogi). Warrimou instilled in his son Rex the importance of preserving and maintaining traditional cultural practices and Rex is now considered a ‘keeper’ of the profound knowledge taught to him by his father. Rex’s traditional lands encompass the southern and eastern sides of the volcano and the surrounding mountain ranges. With his family, Rex tirelessly watches over and cares for his lands, maintaining the vital balance of his people - his ancestors, the living and future generations - with the sacred environment from which they were created and are so intrinsically a part of. Rex began painting his clan stories onto barkcloth in 2012. He is married to artist Jean-Mary Warrimou (Hujama) and together they have seven children. Rex’s sister is the Paramount Chief of Ömie women, Lila Warrimou (Misaso). Group Exhibitions 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore

Fate SAVARI (ISAWDI) Duvahe (Chief) of Dahorurajé Clan Women

Born Language Group Clan Lives and works Medium

: c.1933, Ömie territory, Oro Province, Papua New Guinea : Ömie : Dahorurajé (formerly Evorajé) : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts) and Givai (Men’s Barkcloth Loincloths)

Fate has been painting for Ömie Artists since 2009. Her mother was Majaho and her father was the legendary Lokirro, both Dahorurajé clanspeople from Sidonejo village. Fate tells a vivid account of her time during the Second World War: “I was in the house with my family at old Sidonejo village when we first heard the warplane flying over.When we went outside and saw the plane my parents gathered up my family and we ran as quickly as we could towards our new yam garden and hid ourselves in the bush under a tree.” Fate learnt a wealth of soru’e (tattoo designs) from her mother including vinohu’e - design of the bellybutton. She depicts her knowledge of Ömie custom creations and history in splendid detail in her paintings. In one painting she illustrates a boy’s initiation ceremony after undergoing tattooing in a guai - an underground site used during the time of the ancestors. Fate has taught her designs to her daughter-in-law Linda-Grace Savari (Majaré), duvahe (Chief) of Evorajé clan women. Fate is the proud mother of seven children. Group Exhibitions 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Art of the Ömie: Barkcloth Paintings from Papua New Guinea, Harvey Art Projects, Sun Valley ID, USA 2012 Second Skins: Painted Barkcloth from New Guinea and Central Africa, Fowler Museum at UCLA, Los Angeles 2012 Barkcloth Paintings by Ömie Chiefs and Elders, William Mora Galleries, Melbourne 2011 No si hijomiono’o jabesi sor’e jajivo (We are painting the designs of our ancestors), ReDot Fine Art Gallery, Singapore 2010 Rweromo garé niogehu mamabahe ajivé (Come and see the beauty and brightness of our barkcloths), Chapman Gallery, Canberra Collections National Gallery of Victoria, Melbourne Fowler Museum at UCLA, Los Angeles Museum of Archaeology and Anthropology, University of Cambridge, UK

Linda-Grace SAVARI (MAJARÉ) Duvahe (Chief) of Evorajé Clan Women Born Language Group Clan Lives and works Medium

: c.1962, Ömie territory, Oro Province, Papua New Guinea : Ömie : Evorajé : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts)

Linda-Grace has been painting for Ömie Artists since 2009. Her mother was Horéja (Saro’ore clan) and her father was Buré’i (Sahuoté clan). She is married to Sylvester Savari, the son of artist Fate Savari from whom she was taught to paint. Linda-Grace and Sylvester have five children. As the duvahe (Chief) of Evorajé clan women Linda-Grace has the authority to paint uehorëro (her own wisdom). mahuva’ojé - the pig’s footprint, nyoni han’e - fern leaves and odunaigö’e - jungle vines are common subjects as well as a myriad of soru’e (tattoo designs). Group Exhibitions 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Art of the Ömie: Barkcloth Paintings from Papua New Guinea, Harvey Art Projects, Sun Valley ID, USA 2012 Nohi niogero aru’aho ma’ene munomehi jajuho (Our barkcloth holds the spirit of our culture), RAFT Artspace, Alice Springs 2011 We hold our mother’s teachings in our hearts and hands, Short St Gallery, Broome 2011 No si hijomiono’o jabesi sor’e jajivo (We are painting the designs of our ancestors), ReDot Fine Art Gallery, Singapore 2010 Rweromo garé niogehu mamabahe ajivé (Come and see the beauty and brightness of our barkcloths), Chapman Gallery, Canberra Collections Museum of Archaeology and Anthropology, University of Cambridge, UK

Ivy-Rose SIRIMI

Born Language Group Clan Lives and works Medium

: 1974, Ömie territory, Oro Province, Papua New Guinea : Ömie : Sahuoté : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts)

“My painting designs were passed down to me through the generations - from before my grandmother’s time.” Ivy-Rose is the daughter of the late Chief of Inorajé clan women Filma Rumono who was also a highly-skilled barkcloth painter. Inorajé is a sub-clan of the Sahuoté clan. Ivy-Rose’s father, Bartholomew Dehorumo, is an Ematé clansman. Ivy-Rose’s father-in-law Albert Sirimi (Nanati), the Assistant Paramount Chief of Ömie men has also taught her some important traditional Sahuoté clan designs such as mairi’e jeje ijo’oho - the forbidden tree of Lawe’s Parotia. She feels very fortunate to have inherited such special designs, and she speaks of their cultural meaning and significance with great affection. Group Exhibitions 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Second Skins: Painted Barkcloth from New Guinea and Central Africa, Fowler Museum at UCLA, Los Angeles 2012 Nohi niogero aru’aho ma’ene munomehi jajuho (Our barkcloth holds the spirit of our culture), RAFT Artspace, Alice Springs 2011 We hold our mother’s teachings in our hearts and hands, Short St. Gallery, Broome 2010 The Art of Ömie, William Mora Galleries, Melbourne 2008 Ömie Art of Mt. Lamington, New Guinea Gallery, Sydney Collections Fowler Museum at UCLA, Los Angeles Queensland University Anthropology Museum, Brisbane Museum of Archaeology and Anthropology, University of Cambridge, UK

Sarah UGIBARI Born Birth name Language Group Clan Lives and works Mediums

: c.1919, Managalasi Plateau, Oro Province, Papua New Guinea : Solloborro [Samwejé (Managalasi/Ese Language Group) : Samwejé and Ömie : Sidorajé : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts) and Sihoti’e Taliobamë’e (Appliquéd Mud-Dyed Barkcloth)

“I produce barkcloth art to show the world the strength of Ömie culture.” Sarah has been painting for Ömie Artists since 2009 and she loves to sit and paint ancestral barkcloth designs as well as to sing and dance for celebrations. Her mother was Maranabara of Koruwo village and her father was Suevini of Kiara village on the Managalasi Plateau. As a young woman, Sarah married an Ömie man of the Sidorajé clan. Managalasi people and Ömie people share the same ancestral creation story of Mina and Suja, the first man and woman as well as many of the same barkcloth designs. Sarah learnt to paint as well as create sihoti’e taliobamë’e, designs of the mud, from both her mother and her grandmother. She is credited as the oldest Ömie woman. She is the foremost authority on traditional customary dress and spends days preparing the hair of young girls for dancing. Sarah teaches Ilma Savari how to paint and sew Ömie designs. Group Exhibitions 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Art of the Ömie: Barkcloth Paintings from Papua New Guinea, Harvey Art Projects, Sun Valley ID, USA 2012 Second Skins: Painted Barkcloth from New Guinea and Central Africa, Fowler Museum at UCLA, Los Angeles 2012 Nohi niogero aru’aho ma’ene munomehi jajuho (Our barkcloth holds the spirit of our culture), RAFT Artspace, Alice Springs 2012 Barkcloth Paintings by Ömie Chiefs and Elders, William Mora Galleries, Melbourne 2011 No si hijomiono’o jabesi sor’e jajivo (We are painting the designs of our ancestors), ReDot Fine Art Gallery, Singapore 2010 Rweromo garé niogehu mamabahe ajivé (Come and see the beauty and brightness of our barkcloths), Chapman Gallery, Canberra Collections National Gallery of Australia Museum of Archaeology and Anthropology, University of Cambridge, UK

Martha-Jean UHAMO (DOGARINE)

Born Language Group Clan Lives and works Mediums

: 1968, Ömie territory, Oro Province, Papua New Guinea : Ömie : Sidorajé : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts); and Bilums (Traditional Woven String-Bags)

“My mother, my grandmother and my mother-in-law were all barkcloth painters and now I paint their designs. And like me, my daughter will learn the designs of our clans, I will teach her so that our traditions are carried on into the future.” Martha-Jean has been painting for Ömie Artists since 2010. Her mother was Martha Ruruvé (Sahuoté clan - Beriirajé/Samwé sub-clan) and her father was Clement Towora (Ina’e clan). As a girl Martha-Jean would sit and watch her mother painting her barkcloths and has inherited her beautiful designs. When she married her husband Alfius, she also learnt designs from her mother-in-law Gununu Uhamo, who was a Misajé clanwoman. Martha has one daughter and one grandchild. Group Exhibitions 2013 Painted and Woven in Song: Ömie Barkcloths and Bilums, RAFT Artspace, Alice Springs 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Nohi Dahoru’e - Nohi Nioge (Our Mountain - Our Art), The Depot Gallery, Sydney 2012 Art of the Ömie: Barkcloth Paintings from Papua New Guinea, Harvey Art Projects, Sun Valley ID, USA 2012 Nohi niogero aru’aho ma’ene munomehi jajuho (Our barkcloth holds the spirit of our culture), Raft Artspace, Alice Springs 2011 We hold our mother’s teachings in our hearts and hands, Short St. Gallery, Broome Collections University of Queensland Anthropology Museum Collection of Marta Rohatynskyj

Celestine WARINA (KAARU) Duvahe (Chief) of Sahuoté Clan Women Born Language Group Clan Lives and works Medium:

: c.1947, Ömie territory, Oro Province, Papua New Guinea : Ömie : Sahuoté (Samorajé subclan) : Ömie territory, Oro Province, Papua New Guinea Natural Pigments on Nioge (Women’s Barkcloth Skirts); and Bilums (Traditional Woven String-Bags)

“As a young girl I would sit and watch my mother paint.When I was old enough I began to paint myself and my mother would correct me. She taught me the traditional way of painting Sahuoté clan designs.” Celestine Warina’s mother was Rebecca Wosilli (Usirri) and her father was Emosi Waruré, both Sahuoté clanspeople. Celestine explains how during the time of the eruption of Huvaemo (Mount Lamington) she was a small baby and her mother carried her around in the bilum. Her mother Usirri and her grandmother Awarro were both barkcloth painters. Celestine has inherited the old Sahuoté clan designs and is a highly-skilled artist. She is now teaching her daughters the traditional Sahuoté style of painting. Group Exhibitions 2013 Painted and Woven in Song: Ömie Barkcloths and Bilums, RAFT Artspace, Alice Springs 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Nohi Dahoru’e - Nohi Nioge (Our Mountain - Our Art), The Depot Gallery, Sydney 2012 Nohi niogero aru’aho ma’ene munomehi jajuho (Our barkcloth holds the spirit of our culture), RAFT Artspace, Alice Springs 2012 Barkcloth Paintings by Ömie Chiefs and Elders, William Mora Galleries, Melbourne 2011 No si hijomiono’o jabesi sor’e jajivo (We are painting the designs of our ancestors), ReDot Fine Art Gallery, Singapore Collections Museum of Archaeology and Anthropology, University of Cambridge, UK Gabriella Roy Collection, Sydney Drusilla Modjeska Collection, Sydney Michelle Picker Collection, Melbourne

Lila WARRIMOU (MISASO) Paramount Chief of Ömie Women

Born Language Group Clan Lives and works Medium

: c.1944, Ömie territory, Oro Province, Papua New Guinea : Ömie : Dahorurajé (Sidorajé) : Ömie territory, Oro Province, Papua New Guinea : Natural Pigments on Nioge (Women’s Barkcloth Skirts)

Lila has been painting for Ömie Artists since its establishment in 2004. As the Paramount Chief of Ömie women her uehore (wisdom) is unrivalled. Her mother was Eronay Atai and her father was Warrimou Moiwa, both Dahorurajé clanspeople. She was formerly married to Fabian Jerrirumu to whom she had four children but after he passed away she remarried Nathan Gama - duvahe (Chief) of Ematé clan men. Lila’s auntie Joyce-Bella Mujorumo, former duvahe of Dahorurajé clan women, taught her to paint a plethora of Ömie designs and clan symbols and also taught her about the origins of Ömie art, culture and history. In turn, Lila has taught a number of Ömie women to paint including her sister-in-law Jean-Mary Warrimou (Hujama). Group Exhibitions 2013 Painted and Woven in Song: Ömie Barkcloths and Bilums, RAFT Artspace, Alice Springs 2013 Of Spirit and Splendour: Barkcloth Art of the Ömie, ReDot Fine Art Gallery, Singapore 2012 Art of the Ömie: Barkcloth Paintings from Papua New Guinea, Harvey Art Projects, Sun Valley ID, USA 2012 Second Skins: Painted Barkcloth from New Guinea and Central Africa, Fowler Museum at UCLA, Los Angeles 2012 Nohi niogero aru’aho ma’ene munomehi jajuho (Our barkcloth holds the spirit of our culture), RAFT Artspace, Alice Springs 2012 Barkcloth Paintings by Ömie Chiefs and Elders, William Mora Galleries, Melbourne 2011 No si hijomiono’o jabesi sor’e jajivo (We are painting the designs of our ancestors), ReDot Fine Art Gallery, Singapore 2010 Rweromo garé niogehu mamabahe ajivé (Come and see the beauty and brightness of our barkcloths), Chapman Gallery, Canberra 2010 17th Biennale of Sydney:The Beauty of Distance - Songs of Survival in a Precarious Age, Museum of Contemporary Art, Sydney 2010 The Art of Ömie, William Mora Galleries, Melbourne 2009 Wisdom of the Mountain: Art of the Ömie, National Gallery of Victoria International, Melbourne 2009 Ömie: Barkcloths from New Guinea, Annandale Galleries, Sydney 2007 In the Shadow of a Volcano:The Barkcloth Art of the Ömie, Holmes à Court Gallery, Perth 2007 Cloth That Grows on Trees, Textile Museum of Canada, Toronto 2006 Ömie:The Barkcloth Art of Ömie, Annandale Galleries, Sydney

Collections National Gallery of Victoria, Melbourne Museum of Archaeology and Anthropology, University of Cambridge, UK High Commission of Papua New Guinea, Canberra

Village Spirit

ABOVE Artists and families gather for a photograph. OPPOSITE TOP Mackenzie Ajiro performing a traditional dance with his clan. OPPOSITE BOTTOM Artist Dapeni Jonevari (Mokokari) with EmatĂŠ Male Chiefs.

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