About this product
This hand woven lampshade is part of a collection of lights developed by Koskela in collaboration with the Tjanpi Desert Weavers. The collaboration, a first of its kind, uses traditional weaving techniques to create a truly beautiful and contemporary design product. As each individual artist has complete freedom to interpret the form, each light is a one off and therefore entirely unique.
Artist: Nancy Jackson Nanana
Materials: Multicoloured/hand-dye raffia coils
Dimensions: 100cm L x 57cm W x 17cm D
Catalogue Number: 80-20
Designed to be hard wired.
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Koskela 10th Anniversary Exhibition: Ngalya- ‘Together’Lurrtjurringku / Tjunguringanyi– ‘Coming Together’
Collection name: Wirra Walykumunu/Piti Wiru– ‘Beautiful Bowl’
Wirraandpiti are important tools made and utilised daily by women from the Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara (NPY) lands. Used in the early days, wirra and pitiare wooden carrying vessels that served a multitude of functions in a woman’s life. To make a wirraorpiti– ‘they would find a hollow tree, burnt out from a fire. They would look for a deep, rounded shape... they would cut it, shape it, clean the burnt black ashes away, and make it smooth and lovely.
Women carved these vessels from purnu/punu (trees, wood). Using the sharpened end of awana (digging they were formed in a variety of sizes and depths for various functions, including the cradling of babies, the gathering of bush tucker, the collection of water from rockholes, digging while hunting, and also during in ma(ceremonial dancing). They were carried on the tops of heads and would be balanced sitting onamanguri/ manguri (head-ring made of plant fibres), or nestled under arms. ‘Some of those first baskets looked like tjanpi piti.’ The oval shape and forms of the wirra and piti have long been influential in the woven-grass basket designs of Tjanpi artists. Since the first weavings began to appear across the NPY lands, women have looked to honour the past in their making. For the Lurrtjurringku / Tjunguringanyi collection, Tjanpi artists have taken these traditional vessels as their inspiration, exchanging the hardness of purnu/punuwith softtjanpi (wildgrass) and raffia, replacing the sharpened wana with sewing needles. Although the Lurrtjurringka/Tjunguringanyi artworks are created using very different materials, techniques and tools to the original wirra and piti, both forms share and are inextricably bound by contrasting elements of hard and soft, smooth and textured, functional and decorative, old and new.‘I used to work with my mother (Jean Burke) and Ivy (Hopkins) in Wingellina, helping with Tjanpi. I would drive them around in the Toyota and we would find plants to make bush dyes. We would find Black Boy (Xanthorrhoea thorntonii), cut away the bark and boil it up to make a lovely yellow colour.
Materials for the Lurrtjurringku / Tjunguringanyi collection have been carefully gathered, prepared and dyed with leaves, bark and roots collected from the local landscape. Subtly infused with the scents of these plant properties, the inclusion of a soft bush-dye palette to sit alongside the wondrous colours that Tjanpi artworks contain has crafted a distinctive aesthetic, a rejuvenation of material experimentation, and a tangible connection to country. The works created as part of this collection continue the Tjanpi artists’ collaborative exploration and innovation in fibre art that is original, contemporary, and imbued with traditional practices and meaning.