Printmaking
Printmaking is a new medium to me as an Artist, and exploring monotypes was a great introduction into this vast arena of printmaking. Monotypes typically only produce two images the original and what is called a ghost print from the ink that is left over on the plate. Most artists will manipulate the ghost image either on the plate itself or after it is printed on paper. I chose the later, and varied the image after it was printed with chalk pastels and sometimes Chinese ink.
I have been a sculpture for 15 years in the medium of clay and have worked with the female form for the majority of that time. It was second nature for me to translate the female form to paper. I wanted to showcase segments of the female body and concentrate on enhancing the backgrounds of the print by using vibrant colours and enhancing the patterns that were created in the print making process.
I created a series of prints that show tattooing on the body, which is my way of bringing to light the rich history of female tattooing here in Fiji. This account of ritual female tattoo was brought to my attention by my “soul sister” Josie and her tireless investigation of the empowering ritual of female tattooing that occurred here in Fiji over 90 years ago. This series is dedicated to her and her journey to showcase the women of Fiji empowered and their sacred role in society, as consecrated beings. Blessed be the Feminine Devine and Josie for her pioneering work.
Portraits
In my series of painted female portraits I am exploring a theme I have been investigating for years, mark making and symbols that are used around the globe. After extensive research it has been revealed to me how similar our symbols are. Sometimes, it is even difficult to discern which area a symbol comes from if shown out of context, thus reinforcing my personal belief that we are all one.
In this group of paintings I am taking the concept that we are all one, one more step. Each woman is of a specific ethnic origin and the symbols that make up her hair are representing a different ethnic group. I want the paintings to reflect the rich tapestry of our cultures that influence us, and how each and every culture can be represented through their symbols. How closely our symbols link us together as one people, rich in different cultural treasures that we can embrace, enjoy and share with each other. In a world that is constantly claiming things, land, resources as mine, not yours, my way, not your way, I want to share the idea of looking at our similarities that bring us together, not our differences that keeps us apart. One nation made up of all cultures cohabitating on one planet; respecting, honouring, and supporting each other and our home called earth.
Bamboo
As a result of being a Canadian and living on the West coast, I have had the honour of being exposed to the traditions of our aboriginal people and one of their art forms, the totem poles. I wanted to bring this tradition from my homeland and represent the totem with a South Pacific flavour. I did this by using the bamboo plant that grows here in Fiji and plays an important role in Fijian culture.
The bamboo installation is my investigation into mark making and what I consider the beginning of art and its evolution to present day symbols. On most of the bamboo totems there are areas that are unpainted where I etched rock art (petroglyphs) from Fiji and the South Pacific. I then took 3 of the bamboo poles to represent the Lapita pottery markings; the next 3 represent tapa symbols from across the South Pacific. Lastly, two of the poles show symbols from around the world and the final pole is my own creation.
While working on this installation I was struck with the idea of having blank pieces of bamboo that you can mark and leave your symbol behind, to become a part of this journey of mark making, of creating the beings of art.
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