One of Twelve has been promoting the work of contemporary artists and artisans from across the Asia-Pacific region since 2018. Born out of a passion for contemporary art and desire to promote practicing artists, One of Twelve translates the original artworks of collaborating artists into our signature collection of luxurious silk scarves and ties, providing a platform for artists to reach a broader audience and support themselves through their art practice.
"We work closely with Aboriginal and Torres Strait Islander art centres, who play a vital role in sustaining remote communities, both financially and culturally. Art centres are community hubs–places where artists and their families (and camp dogs!) meet, paint, tell stories and pass on important cultural and ecological knowledge. One of our core objectives at One of Twelve is to increase public awareness of the crucial, often under-funded work these art centres do, and support them by providing an additional income stream."
Wilarra is the word for moon in Manyjiljarra, and also the name of the site depicted in this work. A cluster of saltwater pools known for their healing properties are found at the site, and Martu people still frequent them to bathe cuts and sores. Mulyatingki Marney and her sisters often camped at Wilarra where a wungkurr (windbreak) provided shelter. Of this ethereal work, Marney says:
“The moon and the lake. The moon is taking care of the dingo pups, it’s looking after them. This here is the salt lake [and the] dingo pups here laying down, they’re laying there with their mum. [The] father is here, [the] father of the pups with his wife. They are talking to each other, laying down next to each other. They sang out, kept howling. The pups listened and ran away. The moon is laying down taking care of the pups.”
In Jukurrpa (Dreaming) times, the moon called a family of dingoes to Wilarra where she cared for them, creating a windbreak for the family to shelter. The dingoes then continued their travels, following the moon to the east, stopping at various sites along the way.
87cm x 115cm 14mm 100% silk satin with hand rolled edges.
“You got to get that kalaru, grind it and make a damper. Get him up and wash him, wash him, wash him then grind him into flour for a damper.” – Nancy Nyanjilpayi Chapman
In this work, Chapman depicts the edible native succulent kalaru (samphire). Kalaru grows in abundance around the warla (salt lakes) and lyinji (clay pans) of Chapman’s Country. The plant sheds edible black seeds that are collected, rinsed many times over, ground into a flour, then used to make damper. It is a time consuming dish that is still created for special occasions today.
Chapman’s painting practice is defined by a similar commitment to process. In this work, the delicate fanning of kalaru fronds gently frame Chapman’s meticulously fine dot work, representing a cache of jewel-like seeds. Chapman’s masterful use of colour and layering add a depth and movement to the work that seems to ripple with the motion of winnowing.
110cm X 110cm 12mm 100% silk satin with hand rolled edges.
Cassaria Young Hogan’s work is a joyful chronicle of bush trips to her grandfather’s Country south west of Kalka, encompassing the sacred sites of Kunatjara in South Australia and Mamutjara over the border in Western Australia.
Young Hogan shares a mastery of vibrant colour with her grandfather, senior lawman Nyayati Stanley Young. The artist harnesses her striking colour palette to create a cast of electric characters that boldly announce themselves, jostling for attention against a black background.
The viewer is left to marvel at the neon gathering of forms, perhaps catching glimpses of maku (witchetty grub) and tjala(honey ants) as they are scooped up by Young Hogan and her family during a bush trip to her grandfather’s homelands.
110 x 110cm 12mm 100% silk satin with hand rolled edges.
All of our scarves are packaged in a beautiful gift box and include an artist’s card, detailing the artist’s work and practice.