HAWAIIAN REED : A CULTURAL FIBER EXPLORATION. by Okka Wikka

We were shown a strong reed basket from Chile, and asked to check the local reed for making this beautiful twinned reed basket.

This local reed was worked through a small Kauai Weaving Network.

A swab of designs emerged wonderful durable work baskets.

Bravo!

Artist as a living myth/meaning. by Okka Wikka

Jung comes to the conclusion that myth originates and functions to satisfy the psychological need for contact with the unconscious - not merely to announce the existence of the unconscious, but to let us experience it.

To be a practising folk craft artist, especially with our Pacific Basin fibers, is to meld with the great cauldron of cultures and artists who have gone before. My work is never individual in its technique, yet I recognise the individual hand in every basket. This movement from the individual to the cultural, to the universal is an aspect of our inward and outward breath.

We encourage children to learn basic fiber patterns and introduce them to a portal of belonging.   

MYTH FOR OUR TIMES? by Okka Wikka

WHY IS "THE FIRST STORY" THE MYTH FOR OUR TIMES?

Jung  comes to the conclusion that myth originates and functions to satisfy the psychological need for contact with the unconscious--not merely to announce the existence of the unconscious, but to let us experience it.

 

"THE STORY FOR OUR TIME"  

Today our story is as our grandmothers' was

"KEEPING FAMILY AND LAND STRONG"

 

As a PRACTICING ARTIST, I find my practice is a continuum of my version of my personal Myth or Story that provides meaning.

From a life of practice and sharing, I recognise that my work has impressions from many Cultural Collective memories.

I have been tutored to also recognise impressions from a deeper Collective Unconscious Cauldron.

 

My cultural weaving and my Karrinyarra families paintings, maintain universal visual arts practices.

These practices have always nourished all generations from humanities dawn.

They are energetic and inspirational today,  as a living practicing continuum.

 

We dare not limit their archetypal shape and influence with too much reason

Let the ARTS Metaphor take us to a mood experience that is an important keystone for our contemporary life

Llwyd. march 2017

'PULKA KARRINYA' - THE FIRST STORY COLLECTION  

At Pulka Karrinya, families have always gathered about a perennial cauldron of water

Primarily this story depicts families sitting in a customarily practice PATTERN about the Kanta-kanta - women from many directions coming together for ceremony and then returning to their home country

FAMILY is ENDURING - TO WESTERN DESERT ANGANU, THIS IS THE WATER OF FAMILY LIFE  

This story is about WATER and cultural families relationship to it

The story is commodity/site specific and metaphoric - The CONTINUUM :

I CHING: under the water, under the great water, under the lake, within the storm, the still mountain lake' - images for the collective unconscious

 

'THE FIRST BASKET' is the UNIVERSAL VESSEL THAT HUMANITY MADE AS A FIRST TOOL, to NOURISH and FEED  FAMILY

'THE FIRST BASKET' is the UNIVERSAL VESSEL THAT HUMANITY MADE AS A FIRST TOOL, to NOURISH and FEED  FAMILY

BAMA RAINFOREST FOOD BASKETS by Okka Wikka

KOCA has been a network of master weavers based in the Wet Tropics and embraced traditional fiber artists from all over the Far North Queensland Region. Our primary family continuum has been from the Wet Tropic aboriginal BAMA communities of Mosman, Mona Mona and Jumbun. These baskets were primarily used for food preparation where endemic food was leached to remove plant toxins. Emily Murray is one of the few weavers who carried this Bama basketry memory through the last 35 years of cultural change. Her Mum, Daisy Denim was a great cultural heritage artist who has washed all the Jumbun families with her craft skills. Today master weavers such as Emily and her sisters are transferring this unbroken practice Into the hands of the next generations.

KOCA has been a network of master weavers based in the Wet Tropics and embraced traditional fiber artists from all over the Far North Queensland Region. Our primary family continuum has been from the Wet Tropic aboriginal BAMA communities of Mosman, Mona Mona and Jumbun.

These baskets were primarily used for food preparation where endemic food was leached to remove plant toxins.

Emily Murray is one of the few weavers who carried this Bama basketry memory through the last 35 years of cultural change. Her Mum, Daisy Denim was a great cultural heritage artist who has washed all the Jumbun families with her craft skills. Today master weavers such as Emily and her sisters are transferring this unbroken practice Into the hands of the next generations.