An Exploration of Bark

As bark painting designs originated from body painting, rich in story and law, so too does barkcloth share similar connotation – dazzling effects of line and motif, brought to life through dance and movement inherent in ceremonial practice.

Barkcloth is a traditional part of Pacific Islander culture, and the tapa is the customary textile of the Ömie from Oro Province in Papua New Guinea.  Barkcloth is made from the inner bark of rainforest trees, folded and pounded on stones with black palm mallets to form a strong, fibrous cloth. After drying, cloth is dyed or painted using natural colour made from fruit, ferns, leaves and charcoal, then appliquéd with a batwing bone needle.
Traditionally barkcloth has been produced and painted by the tribeswomen, although male artists are known to paint cloth also. Worn by women, men and children, barkcloth is important in ceremonial practice, with particular significance for marriage, funerary and initiation rites.

Ömie Artists (Inc.) is fully owned and governed by Omie people operated through five art centres servicing 12 villages.  Ömie Artists have been successfully exhibiting their barkcloth since 2006 and their work is held in both national and international collections.
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Maningrida artists are well known for their shimmering raark – the line work so meticulously painted, the overlay of ochre on white, creating light and optical movement. The geometric abstraction and repetition of motif, the relationship between ancestors and country, and the system of law that governs design, are similar to both Top End bark painting and barkcloth. It is a wonderful reminder of the links between Indigenous cultures, ancient practice and cultural preservation.

Outstation Gallery is delighted to present this first in exhibiting both Ömie and Maningrida works together, complementing and reflecting the shared and diverse qualities of their respective cultures.

Omie Artists have been generously supported by Pacific Island Trade & Invest for this exhibition.