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FIONA CLARKE
Hunting, water, the land, ceremony and the spiritual world are some of the main subjects which enter her artworks. She believes she has all the images inside and they often come out during sleep. She speaks of trusting her instincts, allowing images to flow from her subconscious and prefers to let the work speak for itself rather than explain each story or detail in a painting. Through her art she can examine herself and learn about her culture, because that knowledge is naturally embedded deeply in her own spirit.
In 1996 she was commissioned to do a painting for the Warrnambool South West College of TAFE Koorie Unit. She acted in a role for the true documentary-movie, (produced and directed by Adele Howard of Fraynework Productions), called 'Ursula Frayne - A Woman of Mercy'. She designed a substantial amount of the promotional material for the 1996 inaugural 'Tarerer Concert', (also for the 1997 Tarerer concert). She was commissioned to take part in Shane Howard's 'Clan' CD cover.
In 1998 Fiona won two awards for her artwork, the first for 'Best Other Work of Art' from the Cobden Historical Society for her paining, 'Vibrations', her second award was second prize in the Koorie Section of the Warrnambool Rotary Art Show for her painting, 'Spiritual Healing'. Also in 1998 Fiona was commissioned to paint a stage design for the Port Fairy Folk Festival's, 'Tree of Understanding' event.
I first began tutoring in 1998. I was to teach them for eight weeks. I didn't quite know how I would go as I hadn't taught before, but I found it very rewarding. The students were keen to learn and felt comfortable working with me. I am Koorie, knew most of them, I am related to many of them and have a good knowledge of the art of our Aboriginal ancestors. Knowledge I had learned from experience, my own spirit and from documentation of Victorian Aboriginal art shown in such books as James Dawson's 'Australian Aborigines', George Augustus Robinson's Journals on Local Aborigines, and a copy of the designs from a cloak which was made by Aborigines from Lake Condah. It was reportedly produces before white settlers came. In the beginning the students didn't know where to start. I showed them my work and symbols used locally. I showed them the documentation I had on local Aboriginal art. I stressed the importance and need for Victorian Aborigines to produce Victorian Aboriginal Art. After showing them how to prepare their painting surface, I set them to work. They slowly began working out their designs; some worked faster than others and had a better idea of what they were going to do. As they worked, I advised them and guided them as much as I could, but making sure I didn't interfere with their individual designs.
Their own tribal spirits had returned to them through their art. in 1999 the Museum of Victoria came down to the Western District and bought some of their works, to house in their new Victorian and Eastern Australian Aboriginal Art Collection. They were very proud and I was proud of them. I felt they and I had achieved something for Victorian Aboriginal arts.
'Eel Trap 2' 2001 Tapestry 38 x 58 cm
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ReconciliationReflectionFurther Learning |
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Fiona
Clarke's painting and tapestry work is a journey to retrace her
heritage. Drawing on her own intuitive understanding of her culture
and using both the art of Aboriginal people as well as a more contemporary
style, her at is growing and changing, so too is her perception
of herself within this cross-cultural society. Fiona's work is,
at this stage of her career, very professional in the way she uses
colour and in the design of her works. Although her designs don't
conform to Western society's traditions, with the focus of her works
mainly directing you to the centre, they have the impact and spiritual
feeling to capture your imagination.
Painting
and tapestry weaving now for eight years, she has accomplished a
lot in that time. In 1993 she completed the Associate Diploma of
Studio textiles at the Warrnambool South West College of TAFE. 1993
was also the year Brian Dunlop painted a series of portraits of
Fiona, one of which was selected for the 1994 National Doug Moran
Portrait Prize. Since then she has been involved in a few group
exhibitions, such as the 1996 'We Iri - We Homeborn,' (in which
one of her paintings was selected to be exhibited at the National
Gallery of Victoria and two at the St Kilda Town Hall).
In
1997 Fiona had her first solo exhibition at the Warrnambool Art
Gallery titled 'My Gunditjmara Land', which was held July 7-27 and
was very successful. The Allan Lane Community Gallery filled to
the brim on opening night. She sold five paintings on the opening
night and five more by the end of the exhibition. Chris Booth also
commissioned her to write an article for a Biography, which was
being written on him. Gaining more and more respect as her career
and art developed, she was invited to exhibit at the Libby Edwards
gallery, South Yarra, for their 'Summer Exhibition' in October 1997.
Warrnambool
South West College of TAFE had organised a Koorie Art and Design
course for local Koories. As I had been paining for eight years
and specialised in painting Victorian Aboriginal art, they chose
me to teach them.
In
this first eight weeks they still couldn't get away from the dot
work, which is not really from here, although the work was very
good. But when I had them again later in the year, for another three
weeks, to my amazement they had developed their own individual styles.
They had moved away from the dots and started to do designs, which
were more obviously Victorian Aboriginal art, working with more
linework and crosshatching.
