Puu mothoshi 2020
acrylic on handmade paper
Art Gallery of New South Wales, purchased under the terms of the Florence Turner Blake Bequest 2022
Hii hi Hisirikipi 2020
acrylic on handmade paper
Art Gallery of New South Wales, purchased under the terms of the Florence Turner Blake Bequest 2022
Sharirima kesi 2020
acrylic on handmade paper
Art Gallery of New South Wales, purchased under the terms of the Florence Turner Blake Bequest 2022
Waimasi 2020
acrylic on handmade paper
Art Gallery of New South Wales, purchased under the terms of the Florence Turner Blake Bequest 2022
Mau utherimi 2020
acrylic on handmade paper
Art Gallery of New South Wales, purchased under the terms of the Florence Turner Blake Bequest 2022
Krimosi 2020
acrylic on mulberry paper
Art Gallery of New South Wales, purchased under the terms of the Florence Turner Blake Bequest 2022
Shereka hemoshi 2020
acrylic on handmade paper
Art Gallery of New South Wales, purchased under the terms of the Florence Turner Blake Bequest 2022
Kohere hena 2020
acrylic on handmade paper
Art Gallery of New South Wales, purchased under the terms of the Florence Turner Blake Bequest 2022
Honokorema kosi frare frare 2020
acrylic on mulberry paper
Art Gallery of New South Wales, purchased under the terms of the Florence Turner Blake Bequest 2022
Manakasi 2020
acrylic on handmade paper
Art Gallery of New South Wales, purchased under the terms of the Florence Turner Blake Bequest 2022
Sheroanawe Hakihiiwe draws on knowledges of signs and symbols in Yanomami culture to build a visual lexicon. Growing up in the remote Yanomami community of Pori Pori, located at the shores of the Orinoco river in the Venezuelan Amazon, he learned the skills of hunting and fishing from his father. From his mother, he learned the visual imagery of Yanomami ancestral knowledges and their application in basketry and body markings used in ritual ceremonies. In the mid 1990s, he learned the practice of making paper from native fibres with Mexican artist Laura Anderson Barbata (born 1958). Since then, his work has developed as a personal interpretation of Yanomami creation stories and identity; his drawings and paintings speak of rites and beliefs, observation of the jungle and his concern for the ecosystem.
This collection of drawings for the 23rd Biennale of Sydney represents the vast botanical universe of the Amazon and the ancestral legacy of the artist’s people. It is an exercise in remembering that which was interrupted with the arrival of the napë (foreigner).