REDOT FINE ART GALLERY in collaboration with Baluk Arts presents
Finding Place Lisa Waup Solo Exhibition
1 September – 30 September 2018
Gallery 2
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Finding Places The ReDot Fine Art Gallery is extremely honoured to present our first ever collaboration with Baluk Arts, an urban Indigenous community arts centre making waves in the art world, based in Mornington, Victoria, in a double-header which highlights the stunning recent developments of this cooperative and its star doyenne, Lisa Waup. Baluk is a local Kulin word meaning many or group of people, clan or mob and this reflects the art centres close connection and the diversity with their artists. Their artists hail from all over Australia and their art expresses their identity and diverse cultural heritage in a contemporary context. Through Baluk Arts, family groups and members of the stolen generation have reconnected with their culture and express their histories through strong artistic practices to support their cultural and creative wellbeing. Finding Place, is the first international solo exhibition for Lisa Waup, a core, cohesive, figure in the development of Baluk Arts since 2012. The exhibition showcases all of Lisa’s
exquisite weaving practices, as she creates stunning 3D sculptural works to symbolise connection to nature, connection to land and connection to her people. Whimsical works of tender detail, painstakingly created, meticulously dreamt up, which entice the audience to reflect on the beauty of modern Australian Indigenous culture. The adjunct exhibition, Badjurr-Baluk (Women of Baluk), has been lovingly curated by Lisa, to complement and energise her own show, and is a collection of works by four key female collaborators from Baluk Arts, Indigenous artists exploring the protective and nurturing role of nature as it applies to them. Beverley Meldrum, Cassie Leatham, Gillian Garvie and Tallara Gray make up the supporting cast in these not to be missed joyous homages to Indigenous Australian culture. The exhibitions run in parallel, creating a beautiful juxtaposition for our audience to enjoy, beginning on Saturday 1st September and runs until Sunday 30th September 2018 and is a fitting final homage to our time at our current location in the heart of the Singaporean central business district. Giorgio Pilla Director ReDot Fine Art Gallery
Watch a short introductory video to the works and practices of one of Australia’s most collectable Indigenous 3D artists by clicking on the image below
“Their woven fibre and threaded objects are important cultural identifiers and hold a significant place in Aboriginal culture and, together with traditional songs and dances, play an important role in ceremonies. The creation of fibre objects takes skill, precision and artistry. Knowledge of the properties of each material, when and where it is be found, its preparation and the most appropriate technique for its use is also important knowledge passed between generations of mothers, daughters and grandmothers. As such, they are an important vehicle for ensuring social and cultural continuity and cohesion an act as a metaphorical connection to place and kin.� Lisa Waup
Lisa Waup at the Opening of Too-roo-dun Exhibition, Melbourne. Source: Š Photo Courtesy of Frank Kiraly & Baluk Arts
Lisa WAUP Birth Date Place of Birth Language
1971 Melbourne Torres Strait Islands and Gunditjmara (Victoria)
Lisa Waup was separated from her Gunditjmara and Torres Strait Islander family at a young age. She received a Bachelor of Arts from RMIT University and developed an affinity with Melanesian culture through her experience of living in Papua New Guinea. Lisa’s work is usually made of many layers or pieces that symbolise layers of history and story, and her stitching symbolises reattaching the fragments. Lisa works with paper and her three-dimensional works have developed a distinctive weaving practice. Artist Statement “I have always had a strong affinity with feathers. As long as I can remember I have always collected and have been attracted to them. The feathers are precious and as individual as the last one I have found, no two are the same. Feathers in my artwork have always symbolised connection to nature, connection to land, giving a place and a time. They for me are a replacement of ancestral Indigenous history that is unknown and lost and is a tangible piece of cultural information. My emu feather baskets also contain other local feathers which have been interwoven into each other, along with seeds, stones and fur. I have found them soul defining to create, and the practice is rapidly evolving into other feathery works.” Lisa Waup is an Indigenous artist of Torres Strait Islander and Victorian Aboriginal heritage from south east Melbourne. She was adopted at a young age and has slowly reconnected with her Indigenous background. Lisa lived for several years in Papua New Guinea, raised a family and taught photography and printmaking at the University of Papua New Guinea in Port Moresby. Lisa’s work is usually made of many layers or pieces that symbolise the layers of her history and story that she is continually uncovering. Lisa’s stitching symbolises reattaching fragments of history, woven into a cohesive visual whole. This is epitomised in her two-dimensional multi-media works in which she includes reports she found through the Freedom of Information Act relating directly to her and her family members. It was when Lisa recently connected with Baluk Arts, an Aboriginal owned art centre in Mornington Victoria that she found working with other Aboriginal artists with similar backgrounds of being culturally disconnected highlighted the importance of having
place to connect to culture through art. The security and understanding of collectively strengthening Aboriginal identity and community has informed and instilled deep Aboriginal cultural elements in Lisa’s work. Baluk Arts provided opportunities to learn different skills and renew traditional techniques which supported and assisted Lisa to develop new three-dimensional works such as kelp baskets and emu feather baskets. From February to July 2013 Lisa created her first five emu feather baskets which were recently acquired by the National Gallery of Victoria (NGV) and were exhibited in the show called Melbourne Now. These baskets were created with a diverse range of locally found materials and resources. The structures of each emu feather basket highlights many varieties of emu feathers and are embellished with shell, stone, seed and other feathers. Lisa enjoyed making them and found the baskets a strong source of connection, relaxation, strength and confidence. This work then inspired a range of significant larger emu feather baskets. For Australian Indigenous people, their woven fibre and threaded objects are important cultural identifiers and hold a significant place in Aboriginal culture and, together with traditional songs and dances, play an important role in ceremonies. The creation of fibre objects takes skill, precision, and artistry. Knowledge of the properties of each material, when and where it is found, its preparation and the most appropriate technique for its use is also important knowledge passed between generations of mothers, daughters and grandmothers. As such, they are an important vehicle for ensuring social and cultural continuity and cohesion an act as a metaphorical connection to place and kin.
Collections National Gallery of Victoria (NGV), Melbourne, VIC, Australia. Mornington Peninsula Regional Gallery, Mornington, VIC, Australia. Kingston City Council, Kingston, VIC, Australia. Bayside Council, Bayside, VIC, Australia. Harriett & Richard England Collection, Sydney, NSW, Australia. Julienne Penny Collection, WA, Australia. Brian Tucker Collection, QLD, Australia.
Selected Awards 2018 Finalist – 35th Telstra National Aboriginal & Torres Strait Island Art Award (NATSIAA) - Museum & Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. 2017 Finalist – 34th Telstra National Aboriginal & Torres Strait Island Art Award Museum & Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia Finalist - Victorian Craft Awards, Melbourne, VIC, Australia. 2016 Finalist – 33th Telstra National Aboriginal & Torres Strait Island Art Award Museum & Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Finalist - Substation Contemporary Art Prize, Newport, VIC, Australia. 2015 Finalist - Victorian Craft Awards, Melbourne, VIC, Australia. Finalist - Victorian Indigenous Arts Awards, Art Gallery of Ballarat, Ballarat, VIC, Australia. 2014 Finalist - Victorian Indigenous Arts Awards, Art Gallery of Ballarat, Ballarat, VIC, Australia. Winner - National Works on Paper Award, Mornington Peninsula Regional Gallery, Mornington, VIC, Australia.
Selected Group Exhibitions 2018 2017
A Lightness of Spirit is the Measure of Happiness - Australian Centre for Contemporary Art (ACCA), Melbourne, Australia. Sea HER Land - Benalla Regional Gallery, Benalla, Victoria, Australia. In Cahoots - Fremantle Arts Centre, Fremantle, WA, Australia. Tarnanthi - Art Gallery of South Australia (AGSA), Adelaide, SA, Australia. Victorian Craft Awards - Finalist, Melbourne, VIC, Australia.
2017 Telstra National Aboriginal & Torres Strait Island Art Award (NATSIAA) - Museum & Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Global Indigenous Runway - Melbourne Fashion Festival, Melbourne, VIC, Australia. Weaving Country - Footscray Community Arts Centre, Footscray, VIC, Australia. Intertwined - Koorie Heritage Trust, Melbourne, Australia. 2016 Substation Contemporary Art Prize, Finalist, Newport, VIC, Australia. Telstra National Aboriginal & Torres Strait Island Art Award (NATSIAA) - Museum & Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Kart Koodin 2 - Manningham Art Gallery, Manningham City Council, Doncaster, VIC, Australia. Hero Worship, Craft, Melbourne, VIC, Australia. 2015 Koorie Art Show - Koorie Heritage Trust, Melbourne, VIC, Australia. Victorian Craft Awards, Finalist - Melbourne, VIC, Australia. Victorian Indigenous Arts Awards, Finalist - Art Gallery of Ballarat, Ballarat, VIC, Australia. Mungan - Bush Sculpture Creatures - Frankston Arts Centre, Frankston City Council, Frankston, VIC, Australia. Kart Koodin - Works on Paper - Baluk Arts, Mornington, VIC, Australia. 2014 Gawang 2 - Baluk Arts, Mornington, VIC, Australia. Victorian Indigenous Arts Awards, Finalist - Art Gallery of Ballarat, Ballarat, VIC, Australia. Threaded Journey - Koorie Heritage Trust, Melbourne, VIC, Australia. National Works on Paper Award, Winner - Mornington Peninsula Regional Gallery, Mornington, VIC, Australia. From Where I Stand: Place, Culture and Politics - Bunjilaka Aboriginal Cultural Centre at Melbourne Museum, Melbourne, VIC, Australia. Mungan - The Making of Bush Sculpture Creatures - G3 Artspace, City of Kingston, Parkdale, VIC, Australia. Ganggan-Baluk - Flinders Lane Gallery, Melbourne, VIC, Australia. Healing with Intent - The Dax Centre, Melbourne, VIC, Australia. Diverse/City - The Light Factory Gallery, Eltham, VIC, Australia. 2013 Melbourne Now - National Gallery of Victoria (NGV), Melbourne, VIC, Australia. Koorie Art Show - Koorie Heritage Trust, Melbourne, VIC, Australia. Gawang - Baluk Arts, Mornington, VIC, Australia.
Lisa WAUP Knowledge Found Materials and Fibres 60 x 25cm (irregular) 466-14
Lisa Waup was separated from her Gunditjmara and Torres Strait Islander family at a young age. She received a Bachelor of Arts from RMIT University, and developed an affinity with Melanesian culture through her experience of living in Papua New Guinea. Lisa’s work is usually made of many layers or pieces that symbolise layers of history and story, and her stitching symbolises reattaching the fragments. Lisa works with paper, three dimension works has developed a distinctive weaving practice. Lisa has created Knowledge with the inspiration of sharing cultures. The hand woven string bag has Tawny Frog Mouth Owl feathers, King Parrot Feathers, scull of the owl and bones from the Echidna. The Owl symbolizes knowledge traditionally the owl is a sacred creature an animal that posess patience, truth and power. The bag is representative of a magic bag, containing the essence of power and Law. Lisa was originally taught how to make this string bag from Papua New Guinea (PNG) weaver Vicki Kinai and from that knowledge she has created a contemporary take on the traditional string bag. The string bag is not only found in PNG it also has ties to the Torres Strait Islands and for Lisa this represents connections between her family connection one through marriage and one through ancestral.
Lisa WAUP A Waters Edge Porcelain, Bone, Emu Feathers, Parrot Feathers, Peacock Feathers, Birds Wings, Pine Needles, Pandanus, Hemp String, 100% Cotton Thread, Copper Wire 35 x 17 x 11cm (irregular) 16-18
A ’Waters Edge’ is a translation of the beauty of a birds eye topographic view over County and waterways. Their innate connection to the land is inspirational, seeing elements that we would take for granted being on ground level. The porcelain etched design is of water and the movement of this life force. It is a place where certain birds survive off, are protected by and gather strength from. The layers with in the weaving depict the multi facets of mother nature and the ever changing patterns of her structure through weather, natural ecological processes and human influences.
Lisa WAUP Home Emu Feathers, Blue Parrot Feathers, Wood, 100% Cotton, Stone 28 x 15cm (irregular) 216-15
Lisa created Home with the inspiration from the Satin Bowerbirds, which are found along most of the eastern and south eastern coast of Australia. The male Satin Bowerbird is perhaps the best known and well documented of all the bowerbirds in Australia. This fame partially stems from its practice of building and decorating a bower to attract females. The male decorates it with bright blue coloured objects that it collects; blue clothes pegs, drinking straws and bottle tops are among the favourite stolen items, while bright blue parrot feathers, flowers and even snail shells make up the majority of decorations of it’s home. Lisa has also incorporated a small stone inside the basket to represent an egg showing new life. She is greatly intrigued by the lengths that this male bower bird goes to, to entice it’s mate into his home. Lisa is of Gunditjmara and Torres Strait Island decent and was separated from her culture at a very young age. For many years Lisa has been connecting, researching and inspired by stories that connect her back to home.
Lisa WAUP Culture Basket Emu feathers, Black Turkey feathers, Rooster feather, Kangaroo, Bandicoot & Possum jaws, Echidna & Kangaroo bones, Lemongrass, Ginger, Possum tail, Stone, 100% cotton 19 x 15cm (irregular) 219-15
Puripuri, Mai or Black magic (sorcery) is practiced across the Torres Strait and Papua New Guinea in a great many of communities. I have gathered my inspiration of this Culture Basket from Posin Bag’s, or a Sharman’s Bag, having great connection through marriage with Papua New Guinea. Being of Torres Strait heritage we also share the connection to puripuri (black magic). Having been told many stories about Posin Bag’s and the power contained with in them, has given me great inspiration to create my own contemporary version of one. Within the weaving, this work has many elements that you would find in an active Posin Bag. This work is made entirely from emu feathers, with lemongrass, black bird feathers and an array of bones. Inside the lid are a few special pieces including a possum tail giving a direct link to my Gunditjmara heritage and the traditionally wearing of possum skin cloaks from this country. The basket also possess a painted stone which represents the keeper of the basket - the spirit of the basket. The Culture basket is created from the spirit of the environment in which it comes from. Traditionally the spirit is put into the bag. It details the great connection to country and the nature that is intertwined into it’s being.
Lisa WAUP Following Home Emu Feathers, Parrot Feathers, Peacock Feathers, Bird Wings, Kelp, 100% Assorted Cottons 16 x 10.5 x 24cm (irregular) 609-17
Following Home is a detailed representation of my plight to find home. They say home is where the heart is and this is so very true, I gather much comfort knowing that my children and family nourish this to me daily. Following Home is made totally out of feathers, with the hue of blue referencing the waters that have ancestrally been travelled. Birds always fly back to where they belong, I feel at times that I am a bird looking for my total belonging. There is missing spaces in this weaving and that depicts misplaced history, lost history of my family of my ancestral lands.
Lisa WAUP Joining Country Emu Feathers, Parrot Feathers, Cockatoo Feathers, Gala Feathers, Pheasant Feathers, Peacock Feathers, Alpaca Wool, 100% Cottons, Wools, Hemp Fibre, Twine, 100 year old Ship Rope, Pandanus Fibre, Shark Vertebrae 24.5 x 14.5 x 45cm (irregular) 223-15
Lisa gathered great inspiration on a recent exhibition at the Koorie Heritage Trust in Melbourne, where she was commissioned to create a piece that would complement their weaving collection. She spent some time in the depths of their collection, gathering insight and motivation from their stories, materials and beauty. The collection features traditional and contemporary feather and fibre craft practices that existed pre-invasion, and that have continued to evolve over the past 200 years. Through this investigation Lisa created Joining Country which features many collected found materials from nature and from an array of Country, such as Boonwurrung, Wurrundjeri, Taungurung and Yorta Yorta. Her intention was to create a connection through these stories and materials, to join the different lands into one piece, reflecting the beauty and strength of the women whom have resided and shared cultural strength to their people for thousands of years.
Lisa WAUP Bloodlines White Emu Feathers, Emu Feathers, Mother of Pearl Shells, Porcelain, 100% Cotton 13 x 12 x 4cm (irregular) 14-18
Circles represent family for me, they are included a great deal in my work. They are a connection to the now and well into the past, for me it creates a dialogue, it becomes an intermediary. It is a documentation of family connections and the paths that bridges of generational bloodlines. At times they are broken yet ultimately it is a visual link to my family groups. The porcelain motif on the base of the weaving encompasses family groups, and the weaving is a representation of layers of history, being uncovered through constant investigation. The mother of pearl shells is a direct link to salt water people and the travelling routes they travelled. The red stitching highlight the bloodlines and the innate parallel bonds. The feathers used are all emu feathers in particular white emu feathers, these represent white ochre which is traditionally used as a body paint and a reference to mourning. For me it is a symbol of mourning for family lost, family stolen and family found.
Lisa WAUP Spirit Found Materials and Fibres 11 (5 cm base) x 7.5 cm (irregular) 225-15
On a trip to Yorta Yorta Country – Echuca, Toorumbarry, whilst visiting my cousin I made a series of baskets using found materials around me, which were in abundance. Traditionally the land that I stayed on was a ceremonial ground, filled with hundreds of scar trees and a great presence of spirit. Today it is farming country – cattle and milking mainly. Within the basket you will find an array of materials including packing tape which held straw bales together. Galah feathers, cockatoo feathers, emu feathers, parrot feathers, artichoke flower stamins (from the vegie garden of my cousin) and insect wing (pink winged preying mantis) are also included in this weaving. Lisa found it a great spiritual connection to be on that Country - one that at times can be so harsh, yet so very beautiful. She wanted to capture the essence of spirit that is with in this Country.
Lisa WAUP Connections Found Materials and Fibres 12 x 11 x 12cm (irregular) 120-18
In Gunditjmara Culture there are two totemic moieties, the Red-tailed Black Cockatoo and the White Sulphur- crested Cockatoo. Depending on what family group you are linked with is what you belong to, there are multiple other moieties within this complexed social and family system. This piece is dedicated to ancestors and distant family that have lived and breathed this beautiful right of passage. Lisa has always been greatly attracted to cockatoos, to there sophisticated family hierarchy and their ability to let her know that they are always around. Lisa uses the White Sulphur-Crested Cockatoos a great deal in her work, these feathers in particular were gifted and lovingly collected by a dear friend whom prepared and bought them back to Melbourne for her from Queensland. The Cowry shells are from Papua New Guinea which along with a multitude of Oceanic regions, traditionally used and for many still used as traditional shell money. Through research Lisa has found Torres Strait Islanders also used shell money for currency and trade.
Lisa WAUP Tapping into Identity Found Materials and Fibres 13 (6 cm top) x 6.5 cm (irregular) 226-15
Tapping Identity is created from Tapa Cloth, Emu and Parrot Feathers and Shells. Tapa cloth is made out of bark fibre found in specific trees, which are softened and pounded into sheets of cloth. The tapa making tradition is found all across Oceania, and highly renowned from certain provinces in Papua New Guinea. This basket shows the connection I have with Papua New Guinea. It has a strong presence in my children’s lives, being their land of birth which is represented as the essence of this piece and connecting to cultural identity. The shells symbolize my connection to the ocean and the ancestoral travel routes that connects me to the lands and sea.
Lisa WAUP Blue Bird Emu and Peacock Feathers, Shells, Shark Vertibrae, Wild Banana Seed, Cotton 10 x 10 x 8cm (irregular) 101-18
Blue Bird has been woven with peacock feather and emu feathers, the peacock feathers were gifted to Lisa by a dear friend who has peacocks on her property. The peacock symbolises Vision, Spirituality, Awakening, Guidance, Protection and Watchfulness. Throughout different mythologies and cultures the peacock has extensive meanings, such as having eyes to the stars. Yet is always represented to patience, kindness and luck. The colours of the feathers are incredible and variant in hues, the feathers glow and pick up the light, flickering a multitude of colours.
Lisa WAUP Connecting Cultures White Emu Feathers, Emu Feathers, Mother of Pearl Shells, Porcelain, 100% Cotton 15 x 8cm (irregular) 231-15
Connecting to Cultures is inspired by the connections all Indigenous peoples of the world have with one another. Regardless from what part of this earth, we all posses the same passion and protection of this beautiful land. A dear friend of mine whom is Peruvian, asked me on a recent trip back to Melbourne what I would like from Peru? I kindly requested for her to bring me some seeds. She took a trip to the Amazon before she came, and bought me such a precious gift of the Huayruro (why-ru-row) seeds. This weaving is about the connection from Australia all the way over the water and land to the distant lands of the Peru. The parrot feathers give the connection of Australia and the abundance of beautifully coloured birds found in our backyard.
BODY ADORNMENT
Lisa WAUP Woven Passage Porcelain, Emu Feathers, Peacock Feathers, Pandanus, River Reed, Shells, Seed, Cotton 43 x 21.5 x 4cm (irregular) 160-18
Woven Passage is a visual representation of Bride Price. Through marriage to a Papua New Guinean, and giving birth to three beautiful children in Papua New Guinea (PNG), Lisa wanted to detail the importance of Custom. Lisa whom got married traditionally in PNG, and also was given a Kina Shell Breastplate as part of her Dowry (Bride Price) she has strong connections to the Culture and values with PNG. Shell money was and still is currency in PNG. The shape of Woven Passage is from a series of art work depicting a shell that would have traditionally been worn in ceremony. The markings on Woven Passage are of a string bag which is a greatly valued and sacred object in both PNG, Torres Strait Island and Aboriginal communities. The woven white emu and cockatoo feathers represents mourning, which traditionally is found in the form of white Ochre, painted on to the body for ceremony and loss. The colour white for Lisa shows the loss of history and culture from being detached at a young age and for her ancestors through history that have been stolen and lost from Culture. The Peacock feathers represent to Lisa the light of belonging, they glisten in the light and are a focus to follow to find connection and peace.
Lisa WAUP Woven History Porcelain, Glaze, Emu and Parrot Feather, Cottons, Pandanus, Jobs Seed 30 x 15 x 10cm (irregular) 164-17
Woven History depicts, the Sunrise (front) and Sunset (back), which details the strong traditional customary associations with the Torres Strait and Papua New Guinea (PNG), the two being interconnected. The Sunrise symbolizes the waters of the Strait, where the Coral and Arafura Seas meet in one of the most fragile and intricate waterways in the world. You will find the rise of hundreds of islands, islets, cays, reefs and sandbanks. No two islands are identical, each being shaped by its unique landscape, stories and history. Sunset symbolizes the connection that PNG has with the Torres Strait, they maintained a complexed trade practice, with intricate kinship relationships and social behavior which was guided by long held rituals and customs, many of these customs and practices still continue still this day. My ancestral connections are with Torres Strait, my children their ancestral connections also extend to PNG, their place of birth through their father. The shape of Woven History depicts a shell that would have traditionally been worn in ceremony and most likely a traded object between the two communities. It is also inspired by the shell that Lisa was given through bride price being married to a Papua New Guinean, long before she knew that she had ancestral links between the two countries, the woven feathers link the two into one.
Lisa WAUP Woven Bridges Found Materials and Fibres 40 x 16 x 5cm (irregular) 273-17
Woven Bridges depicts the strong traditional customary ties between the Torres Strait and Papua New Guinea (PNG), the two being interconnected. The Torres Strait was a land bridge that connected the present day Australian continent with PNG. The patterns etched into the porcelain represent the land bridges that traditionally connected the two together, before the land changed approximately 12,000 years ago. The land bridge was submerged by rising sea levels at the of the last ice age glaciation, forming the Strait that now connects the Arafura Sea and Coral Sea. For many generations the two have shared a complexed trade practice, and an intricate kinship relationship and social behaviours guided by a long held connection between rituals and customs. Today you will find many of these rituals and customs still take place. Lisa’s ancestral connections are with the Torres Strait Islands and her children, their ancestral connections also extend to PNG, their place of birth through their father. The shape of Woven Bridges is from a series of art work depicting a shell that would have traditionally been worn in ceremony and most likely a traded object between the two communities. It is also inspired by the shell that Lisa was given through bride price being married to a Papua New Guinean, long before she knew that she had ancestral links between the two countries. The woven feathers link the two into one and the shells reflect the importance of the water especially as Lisa is a salt water person.
In collaboration with
Listen to an interview with Lisa Waup: Weaving a story: artist Lisa Waup on family, friendships and bunyips
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