Diverse codes of creativity around Indian Ocean are on show in Bunbury through iOTA24. Olivia Little reviews two exhibitions as a part of Seesaw’s Regional Mentoring Program.

A fascinating alignment of two exhibitions by artists from opposite sides of the Indian Ocean has made its way to regional Western Australia.

Bunbury Regional Art Gallery (BRAG) has opened its doors for the second edition of the Indian Ocean Craft Triennial – iOTA24.

The international triennial involves about 200 artists from six countries – India, Indonesia, Iran, Malaysia, South Africa, First Nation Australians and Australians of diverse heritages. The artists have skilfully represented iOTA24’s theme ‘Codes in Parallel’ with their own unique contemporary crafts.

Alongside the international exhibition, additional art spaces, community venues and galleries across the state are supporting a festival program of exhibitions, workshops and talks from August through to October.

As one of iOTA24’s major exhibition partners, BRAG is hosting South African artist Madoda Fani, who was also the iOTA24 artist-in-residence at Denmark Arts during Djilba season (August – September), and Jillian Green from the Great Southern region, in the Shire of Denmark, Western Australia. Using found objects within her woven textiles, Green’s art is inspired by her two sweet donkeys, Joseph and Frank, while Fani shares his craft in the form of large carved smoke-fired vessels, tapping into his cultural roots.

Madoda Fani, ‘Imbokodo,’ iOTA24 Exhibition.

Viewers are invited to explore the level of detail in Fani’s art through his enticing sense of illusion. In his first-ever Australian exhibition, co-curated by Carola Akindele-Obe and Jude Van Der Merwe in conjunction with BRAG, Fani’s five-piece collection ‘Imbokodo,’ demonstrates the evolution of the traditional ceramics that are inspired by his Xhosa heritage.

Emphasising a contemporary approach with distinct complex hand-carved elements, his large-scale pieces are uniquely crafted with a curved vessel-like body, and are made from hand-coiled, burnished and smoke-fired earthenware.

The fine detail executed through skilful hand-carving techniques and the colour of the vessels creates texture and exhibits delicacy, initially suggesting that Fani’s art appears to look like it is made out of wood.

Some of Fani’s pieces have small openings inviting the viewer to peer in. If you look closely, you will find a face that represents an emotion connected to the title of the artwork. At first glance, you may miss the hidden and obscure details like I did, but this impressive collection offers many rewards such as this.

Madoda Fani, Ionwabo (Happiness), 2023, Smoke-fired earthenware unique.

As he notes in his artist statement, Fani portrays his interpretation of women seen metaphorically as rock or stone to show their resilience and strength through adversity in their ongoing battle with Apartheid. Fani’s artistic expression forms a parallel connection between the hidden meaning behind his art and referencing his chosen medium, clay, which originates from rock, by demonstrating its flexibility to correspond with its strength.

The exhibition arrangement for this collection was expertly executed in a visually appealing and appropriate formation. However, due to the size of the room in comparison to the number of pieces in this collection, I only wish I could have seen more.

Green’s collection ‘The Upholstered Donkey,’ curated by Dr. Michael Bianco, uncovers a connection between the relationship she has developed with her two donkeys and her interest with geometric abstraction.

Green integrates abstract elements of geometry and colours that are relevant to her donkey’s natural environment within her interwoven practice, using found objects like wood and steel to hang her skilfully woven work. Green cleverly links codes in parallel as the textiles in this collection have also served a purpose as rugs and coats to protect her donkeys during the cold, wet winter months.

Photographs of her donkeys looking warm and content at home in Denmark are on display in the gallery, prompting an emotional connection from visitors as they find great layers of meaning in an exhibition that initiates feelings of comfort and compassion.

Jillian Green, YOKE, 2024, wood/woven string and wool.

Hints of figurative art in religious iconography also make an appearance in this collection, as seen in Green’s previous work for the Mandorla Art Award, various commissioned paintings, including a series of paintings for the Boardroom at Saint John of God Healthcare, West Perth, and in many of her solo exhibitions such as ‘The Prayer Series,’ (2004) at The Church Gallery in Claremont.

The diversity of talent and skill uncovered in this exhibition is remarkable. Green’s decoding of complexity within simplicity highlights the perceptions of inter-species association within her fine craft, and Fani’s traditional ceramic practices draw attention to the hidden messages in his work to trigger an inquisitive fascination from his audience.

BRAG should be congratulated for pairing these artists as part of iOTA24. As Bunbury is met with many waves of influence from across the Indian ocean, the spreading impact of iOTA24 is certainly worth embracing. Such an initiative, featuring an international artist like Fani will help attract more visitors to the Bunbury region. In turn, this has also created an opportunity for local and remote artists exhibiting alongside Fani to reach a wider audience.

Visit Bunbury Regional Art Gallery to witness this extraordinary exhibition and experience the world of contemporary craft within the Indian Ocean regions.

‘The Upholstered Donkey’ and ‘Imbokodo’ are running until October 27. Details: https://www.bunbury.wa.gov.au/brag/exhibitions/current-exhibitions

Artist events ‘Drawing in the Gallery with Fiona Rafferty | Madoda Fani Ceramics’ and ‘Artist Talk and Afternoon Tea | Jillian Green The Upholstered Donkey’ Details: https://www.bunbury.wa.gov.au/brag/whats-on/events

Olivia Little has written this review as a participant through Seesaw’s Regional Mentoring Program.

Featured image: Jillian Green, ‘The Upholstered Donkey,’iOTA24 Exhibition.

Photos: Bunbury Regional Art Gallery