Objects of Art - Objects of Desire?

"Akamaaraanga", 3.00 m X 0.25 m, © A. Eimke 2008

In Cook Islands Maori language, the word "ora" can be translated with both time and life. These three words were sewn freely into delicate lace of hibiscus bark fibres and thread inserted between finest layers of Paper Mulberry tapa, following the tapa fibres' flow as the passage of time determines the passing of life. "Akamaaraanga" means remembering.

 

(right: "Fence", detail letter «d», © A. Eimke 2008)

Hands can speak their own language. Nine hands made out of hibiscus bark fibre, pieces of tapa cloth and machine-sewn lace are aligned like a fence to spell the plea "don't touch ".

(above: "Tukinga Upoko", bark cloth sculpture, 42cm X 20 cm X 25 cm, © A. Eimke 2008)

"Tukinga Upoko" is the name of an ancient sacred area where meetings were held to make decisions. Often translated with 'bashing heads', one could also understand it as 'wrecking one's brain'. Interfacing, Banyan and breadfruit barks were used to create this life-size head sculpture.

 

(right: "Home", lace sculpture made of tapa cloth, hibiscus bark fibres and thread, © A. Eimke 2008)

 

Reflections on a life far away from one's native country and surrounded by a culture very different to the one she grew up with have inspired Andrea to create delicate textile sculptures of delicate beauty.

 

 

Home can be anywhere when one is grounded in and at peace with oneself.

Artist's Statement

"For many years, tapa (bark cloth) has fascinated me as a material that I had never heard of before moving to Atiu. The mamas, with whose help I founded the Atiu Fibre Arts Studio (below), were very generous in sharing their knowledge regarding the preparation and techniques of traditional fibre art. It was their quest for regaining lost knowledge that prompted us to engage in extensive practical research in 1987/88.

I dedicated the years following that initiation into the secrets of local plant fibres to working with textiles and techniques, most of which stem from my own European cultural background. But the urge to use tapa and bark fibres as material in my art has never left me.

 

When the opportunity arose to engage in practical studies towards a MA in Art and Design, I knew that I wanted tapa to be one of my basic materials.

Working with an anthropologist on a joint book project helped me to gain considerable knowledge beyond the material aspects of tapa. Not only did it strengthen and support my belief that tivaivai succeeded sheets of tapa in their traditional use and cultural importance, but it also kindled again this interest in a material so little known in my native part of the world.

The works shown here – as also on the relevant catalogue page – termed ‘art objects’ are stepping stones on the path through are part of my practical studies. I feel that these sculptural objects spiral back full circle to the beginning of my textile quest. "

If you are interested in receiving more detailed information about the works shown on this page, please contact us.

 

(above left: needlepoint lace object "Happy Birthday Linda"made of
hibiscus bark, © A. Eimke 1991)