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subdued. She was concerned to have a distinct style that is different from that of her peers. The small dots and lines that she includes in her work aim at giving the impression of a surface of the land or an object, alluding to the surface of the spiritual realm and power it holds. Frequent motifs and themes in her painting include animals, Dreaming, and the Kulama ceremony. Like many Tiwi artists, Orsto's painting involved the used of the pwoja comb, a traditional painting comb that is created by carving ridged lines along the edge of a piece of ironwood cut during the production of a
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in 1990 by combining
Yikiyikini Women's Centre and Pirlangimpi Pottery under the same name. In 1994, Orsto became one of the first female artists to produce a textile for Tiwi Designs, and art center founded by artists Giovanni Tipungwuti and Bede Tungutalum. In 1997, Orsto alongside artist Jock Puautjimi, created a series of seven designs for the first issue of pre-paid envelopes commissioned from Australia Post.
225:, five of Orsto's batik designs on silk lengths and one batik on cotton were featured in the National Gallery of Victoria's TIWI exhibition. Jilamara means body painting to celebrate kulama (coming of age ceremony). In the same exhibition, Orsto made the bark basket used as part of a ceramic sculpture created by Mark Virgil Puautjimi.
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The
Kurlama ceremony is performed annually during the wet season when yams are ripe and a gold ring forms around the moon. The ceremony lasts two to three days and nights and consists of dancing, singing and ritual body painting. The Pukumani ceremony involves the carving and painting of burial poles
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Maria
Josette Orsto's career began by assisting her father at Tiwi Island Design arts cooperative. Later on in the 90s Orsto began working at the Munupi Arts and Crafts Association during its early days as an arts center. She was the first female artist to work at the art center after it was formed
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Maria
Josette Orsto's art practice was inspired by the Tiwi Island fabric designs. Orsto worked in a variety of media and techniques including painting, batik-printmaking, and wood sculpture. Her style initially reflected her father's bold painting style and then gradually became more subtle and
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Screen printing and fabric were introduced to the islands with the arrival of Father Gsell and the
Catholic mission at Nguiu, Bathurst Island in 1911. This greatly impacted the way Tiwi Islanders dress from paperbark aprons to calico skirts and later items of clothing with single motif prints of
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Tiwi designs used to be painted on people's bodies for ceremonies in order to disguise the identity of the individual so they are hidden from the spirit of the deceased. Nowadays, the Tiwi people wear garments made from fabrics with screen printed designs. The two main ceremonies that play an
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animals and other subjects. These calico skirts were made using woodblock painting. Screen printing on fabric offered Tiwi people a channel through which to participate in the
Western market. The printed fabric was able to be sold locally to tourists as well as to outlets in Darwin.
630:"Textile length, 'Jilamara' (design), red and brown screenprint on beige cotton, based on three paintings by Josette Orsto in 1994, developed as screenprint by Osmond Kantilla in 1995, printed at Tiwi Designs, Bathurst Island, Northern Territory, 1996"
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exhibition of sugarlift etching works created by Tiwi artists including Maria
Josette Orsto over the course of three years at Northern Editions, a printmaking studio at the University at Charles Darwin University. The exhibition features Orsto's work
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December 21, 2015 to
February 21, 2016 - Being Tiwi exhibition at the Museum of Contemporary art in Australia featured prints and paintings by nine Tiwi artists including Maria Josette Orsto's piece Kulama
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important role in Tiwi life are the
Kurlarma initiation ceremony which celebrates health and regeneration and the Pukumani ceremony which is a ceremony associated with death and mourning.
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were renowned as painters, sculptors and performance artist. Her father was a ceremony man and artist and her mother was a senior artist. Orsto learned to paint and carve from her father.
830:
Fredericksen, C. (2002). Caring for
History: Tiwi and Archaeological Narratives of Fort Dundas/Punata, Melville Island, Australia. World Archaeology, 34(2), 288–302. Retrieved 2021-03-19.
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The Tiwi designs illustrate a link between the Tiwi people and their country. They play a significant role in tying the past and the future as well carrying important cultural knowledge.
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562:, Darwin Festival 2012, Charles Darwin University, Jean Baptiste Apautimi Art & Artist Files, held in the National Gallery of Australia Research and Archive Collection.
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referred to as tutini, gifts given to the spirit of the dead. The poles are decorated with white, yellow and red ochres creating geometric designs.
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Vanags, M.A. (2017). Printing Knowledge and Preserving Tradition: Printmaking on the Tiwi Islands. . Open Research Library. Retrieved 2021-03-19.
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and Maria Josette Orsto's 2 and 3 dimensional prints, showing with Bede Turngutalum's Japanese-style wood blocks prints.
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Caruana, W. (1991). The Collection of Aboriginal Art at the Australian National Gallery, Canberra.
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Maria Josette Orsto was born at Pirlangimpi, on Melville Island. Her parents, Declan Apuatimi and
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399:"Printing Knowledge and Preserving Tradition: Printmaking on the Tiwi Islands"
856:"Communicating knowledge about the world: reflective, collaborating artists"
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Cubillo, F. (2012). "Maria Josette Orsto". In Lane, C.; Cubillo, F. (eds.).
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401:. The Australian National University, The Australian National University.
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63:(October 30, 1962 - November 30, 2020) was an aboriginal artist born at
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538:. Canberra, A.C.T.): National Gallery of Australia. pp. 104–109.
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Bourke, A. (1991). Contemporary Aboriginal Art 1990—from Australia.
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Zemits, B., Anderson, S., De Groot, A., & Taylor, J. (2016).
249:(formerly the Powerhouse Museum), together with a further work,
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The Asian Conference on Ethics, Religion & Philosophy 2016
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862:. The International Academic Forum (IAFOR). pp. 13–23.
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Her work is held in several public collections including:
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Undisclosed : 2nd National Indigenous Art Triennial
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2012 - The second triennial indigenous art exhibition,
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785:Queensland Art Gallery Report 2008-2009 Appendices
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332:"Japingka Aboriginal Art: Maria Josette Orsto"
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872:: CS1 maint: multiple names: authors list (
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285:(1990), gift of Christopher Chapman.
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827:(3), 33–40. Retrieved 2021-03-19.
820:(3), 41–45. Retrieved 2021-03-19.
756:"QAGOMA: Annual report 2007-2008"
366:"MCA Artist: Maria Josette Orsto"
153:Maria Josette Orsto and Tiwi Art
508:"1996/1997, PP no. 30 of 1998"
193:Jikapayinga (Female crocodile)
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897:Australian Aboriginal artists
682:Orsto, Maria Josette Gohier.
257:National Gallery of Australia
609:National Gallery of Victoria
791:. QAGOMA. 2009. p. 54.
658:"DAAO: Josette Orsto Works"
259:: Some 25 works, including
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735:"QAGOMA: Assets 2003-2004"
311:"NGV: Maria Josette Orsto"
602:"TIWI Large print labels"
281:(2007), purchased 2007,
907:Australian women artists
277:(2002), purchased 2003,
210:, Darwin Festival 2012,
813:. Retrieved 2021-03-19.
166:Significant exhibitions
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708:Orsto, Maria Josette.
634:collection.maas.museum
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407:10.25911/5CAC750A1F9F0
397:Vanags, Maija (2019).
212:Jean Baptiste Apuatime
113:Jean Baptiste Apuatimi
85:Jean Baptiste Apuatimi
279:Ngirringani jilamara
275:Kulama body painting
182:Armband and Jilamara
178:Kurlama and Jilamara
99:(formerly Ngiui) on
61:Maria Josette Orsto
22:Maria Josette Orsto
710:"Miyinga Jilamara"
577:www.ngv.vic.gov.au
197:Pakitiringa (Rain)
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230:Collections
189:Undisclosed
180:(1994) and
65:Pirlangimpi
35:Pirlangimpi
886:Categories
684:"Jilmaira"
614:15 January
582:15 January
459:nga.gov.au
290:References
241:: A work,
173:Printabout
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107:Biography
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283:Jilimara
261:Jilmaira
243:Jilamara
223:Jilamara
195:(2007),
54:Painting
558:Flyer,
267:(2013).
251:Kurlama
218:(2010).
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201:Mayinga
184:(1994).
171:1996 -
133:History
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160:tutini
119:Career
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