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29 Apr 2019 – 14 Jul 2019
QAG | Gallery 4 | Free
Women’s Wealth focuses on the closely connected matrilineal societies of Bougainville and the Solomon Islands, and the art forms made by women — from cane and pandanus weaving, to shell ornamentation and earthenware pottery.
The project explores ideas of value and the role of these art forms as a kind of wealth or currency. Women’s Wealth highlights the significance of creative spaces — such as the weaving circle — within indigenous communities and emphasises the ways in which women’s practices act as a quiet means of resilience in the face of major historical changes.
Women’s Wealth is co-curated with Sana Balai, a respected curator and elder in the Pacific community in Australia and include a video installation by Taloi Havini, contextualising the project and workshops.
Co-curator: Sana Balai Project Co-ordinator: Marilyn Havini
Artists: Sister Theresita Alona, Adelaide Mekea Aniona, Pauline Kimei Anis, Kiria Asike, Elisa Jane Carmichael, Gwendalyn Dava Damusoe, Janet Fieldhouse, Jesmaine Sakoi Gano, Taloi Havini, Josephine Manta Kaepaku, Kay Lawrence, Georgianna Maetale Lepping, Joy Wongatina Pazabeto Madada, Emma Hopuhopu Makusu, Elizabeth Gawa Marata, Helen Dusimoi Miriona, Aida Hilo Pais, Elizabeth Watsi Saman, Imelda Vaevavini Teqae
Support: Prisca Suana, Maria Wotsugogha, Milceller Gabu, Lucy Makoro, Maria Hugese, Therese Harohi, Rachael Hakot, Elizabeth Lambert, Lydian Havini, Judith Pena, Nancy Butu, Rose Peter, Papou Pirian, Christie Tohua, Hakö Women’s Collective, Solomon’s Artist Alliance, Choiseul Provincial Council for Women, Nazareth. Rehabilitation Centre and the Australian High Commission, Port Moresby
Women’s Wealth is supported by the Australian Government through the Australian Cultural Diplomacy Grants Program of the Department of Foreign Affairs and Trade, Gordon Darling Foundation, Queen Emma Chocolates, QUT Creative Industries, Brisbane Bougainville Community Group Inc. and the Cairns Bougainville Association
The Solomon Islands artists’ participation has been supported by QAGOMA’s Oceania Women’s Fund, enabled by the generous bequest of Jennifer Phipps