The world’s longest stock route, Canning Stock Route in the desert of Western Australia, finds reflection on canvases, which have come all the way, to be displayed at DLF Place Saket in the Capital. Around 70 aboriginal artists who travelled along the 1850 km stock route on a six week intensive engagement with their country created a body of art work called ‘Yiwarra Kuju: The Canning Stock Route’. Over 100 artworks were produced during the expedition, reproductions of which are now on view at the venue. The artists draw on both traditional art conventions and new figurative styles to recount their sacred and secular life experiences through their art. The exhibition opened at the National Museum of Australia in Canberra on 30 July 2010 and ran until 26 January 2011 before travelling to Western Australia, New South Wales and Queensland.
Michael Pickering, Senior Curatorial Fellow, National Museum of Australia elaborates on the exhibition and the unique process that led to it.
How did this project evolve?
The project was initiated by a Western Australian not-for-profit arts support organisation called FORM. It was initially intended to create economic and professional development opportunities for remote communities located near the stock route. FORM then approached the National Museum of Australia with the offer of an art display. The National Museum recognised the deeper significance of the project and advocated a much larger exhibition that included more of the stories surrounding the lives of the artists, their lands and the Canning Stock Route story.
Did any of the artists have any personal connections with the route?
All the artists had personal connections with the route. The route crossed their traditional country and the lands with which they had spiritual, social and historical affiliation. Many had lived fully traditional lives on the lands before being removed to communities. Many of the artists had spent much on their lives on or near the stock route, which crossed their traditional lands. The project gave them the opportunity to reunite with their lands. The artists and their FORM support group spent six weeks travelling the entire length of the stock route, stopping at important sacred sites and historical sites to paint and tell the historical and cultural stories associated with that place. The trips were in 2009. In later follow up trips some artists were again taken out to country on shorter trips.
Does the show feature artists from different communities?
A map of the communities can be found at http://www.nma.gov.au/exhibitions/yiwarra_kuju/art_centres_map. The major communities featured here — Birriliburu artists, Kayili artists, Mangkaja artists, Martumili artists, Ngurra, Papunya Tula, Paruku Indigenous Protected Area, Warlayirti artists, Yulparija artists.
Has aboriginal art changed over the years?
Originally, the first art to hit western commercial markets was strongly traditional in content and design, reflecting forms used in ceremonies. Over time leading artists began to experiment with new forms of personal expression. They used newer colours, and developed newer iconography. Stories often became more secular and representations of traditional sacred objects were removed. Artists developed unique styles of their own. All art is still informed by tradition, however.
New colours, new paints, and new canvases have encouraged exploration and variation. Artists are exploring new mediums, now working on audio visual art forms such as movies and animations, using different ‘canvases’ including cars, and museum walls.
What is the objective of the initiative?
The initiative originally aimed at encouraging the development of an Aboriginal art industry in remote communities. It would showcase their works to western markets. However, the scope of the project grew to include telling the historical and cultural stories behind the artists and their art. The public was exposed to a complete user-friendly learning experience that told them much more about Aboriginal culture than if it was solely an art exhibition.
What is the significance of this showcase in India?
Such exhibitions are a constant reminder that culture lies at the heart of all art, whether traditional or more experimental and modern. We should not just look at art for its immediate aesthetic, we must look at it for the hidden meanings and stories of sacred and secular histories that are embodied in the works. This is important for appreciating the richness of art from all Indigenous and folk communities.
(The exhibition is on view at DLF Place, Saket till June 22)
