With the
memory of a rustic sign in a front yard along a highway the search for an
obscure ‘basket maker’ turned out to be a more than interesting
enterprise. It was to be one of those occasions when the apparently ordinary
becomes extraordinary, where the everyday somehow becomes somewhat exotic. More
to the point, it became a hunt of a kind where insights into some remarkable
storytelling can be gleaned.
A room can never really be empty because
it is always full of potential. So too it is with any hunt. When a
wispy white feather rides upon the air currents, it just floating there can fill a vast room –
and especially so if it is a ‘whitebox’ art gallery.
That floating feather, or a memory of a sign on a fence, can fill vast spaces
right up. There will always be hints in the feather’s story, even in a memory
of a sign, just by it being there and almost inevitably there is much to
ponder upon.
Nothing is both impossible and an
impossibility. So, what seems to be an emptiness is nothing of the sort. In
looking for missing stories in a place’s history, basket making turns out to be
an exploration of a rich set of ideas –
primordial storytelling even. The
stories attached to basket making are rich stories, surprising stories,
powerful stories, people stories, sometimes there are hidden stories, and generally
all of them speak of ‘place’ and quite loudly.
Wickery touches everyone’s lives
in all kinds of ways. Yet wickery is all so often made in the workplaces of the
underclasses as they labour away so very close to the material’s source. However, it is not like that in Aboriginal cultural realities. And,
eventually wickery will find its way back to the earth somewhere –and always gently.
‘Wickery’ as a
technology is at once primordial and current. Despite ‘wickery’ speaking of a
particular sensibility towards materials, these sensibilities predate the emergence of ceramics and
metallurgy in human histories. Wickery has never lost its currency across cultural divides down
through time. It has become deeply embedded in just about every cultural consciousness
and social reality.
Despite being largely missing in
Launceston’s social histories, by the outbreak of WW1 the Ballard basket enterprise was 50 people strong and touching Launcestonians lives in almost every way. At that time on
the other side of the world Leandro Di Lullo was born in a place almost
certainly unheard of by Launcestonians. Both Leandro’s family and the Ballard family
carried on a cultural tradition, and a technology, that reaches back in time much
further than it is possible for most of us to imagine.
Over the course of a few months the
hunt for Leandro’s stories led to an exhibition project at Design Tasmania,
Wicker Wonderlust. Then came the revelation of an almost underground network of wickery-makers
sprinkled throughout Tasmania along with a myriad of stories embedded in wickery and
the making of it. All these stories deserve to be told and better understood.
Currently, the use of social
media is critical to the success of any investigation. Social media, and the rhizomic
digital connectivity it affords, provides a platform that facilitates new models
of connectivity and the effective sharing of stories. In this way, it is
possible to imagine that a ‘neowickery’ might well evolve and to be built
upon the mobility and the ‘placedness’ found in Leandro Di
Lullo’s placedness and the Ballard family’s place in Launceston’s history.
In a social dimension, ‘wickery’
is typically, but not always, the work of the under-classes, the invalids, the itinerant poor, et al. Outside very narrow social paradigms, the maker’s name
is typically quite unimportant and generally unknown. Even with the so-called ‘Modern Crafts Movement’ of the
1960s/70s/80s ‘wickery makers’ very often had no aspirations to be known as
either ‘artist’ or ‘designers’. Accordingly, their work,
and quite often the ‘makers’ themselves, were often overlooked.
Resonating within a ‘wickery’
sensibility there is something like the
philosophical pillar of ‘mingei’ to be found in Japanese
cultural production. ‘Mingei’
is "hand-crafted art of
ordinary people". Yanagi Sōetsu discovered beauty in the everyday, the ordinary
and utilitarian objects created by nameless and unknown craftsmen.
According to
Yanagi, utilitarian objects made by the common people are "beyond beauty and ugliness". Typically, the ‘mingei
sensibility’ is to do with
things made anonymously, by hand and in quantity. Typically, it is relatively inexpensive
and used by ordinary people as part of their everyday daily life. Consequently,
mingei almost unavoidably reflects a
placedness via its materiality of place and the cultural landscape it
originates within – and in a way
generates. Nonetheless, there is a kind of ‘mingei cum wickery’ equivalence to be found within cultural
landscapes almost everywhere.
Somewhat
unexpectedly this is found in Launceston in Leandro Di Lulllo’s work. In Tasmania,
more generally it is also evident albeit somewhat under the sweep of the cultural
radar.
It seems that generally
with wickery the objects are by and large in daily use and thus there is an
element a ‘wabi-sabiness’ about a
great many of – especially so in
Leandro Di Lullo’s baskets.
So, when an
empty room in a musingplace is somewhat unexpectedly filled extraordinarily
ordinary ‘objects’, typically useful objects, that are as full of
stories as they might be full of the ‘things’ that need to be stored, you
have a room filled with something almost undefinable. If it is as a consequence
of a hunt for the stories behind roadside signage that too is extraordinary.
With the
memory of that sign in a front yard along a highway, that obscure ‘basket
maker’, Leandro Di Lullo, and the hunt for him turned out to be a quite enlightening. The ordinary
became extraordinary and the everyday somehow became somewhat exotic. So, if
there is ever any doubt, remarkable storytelling, and a ‘completness’, can be found
in the simplest of things – wickery especially.
Ray Norman Click here for Resume |
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