Blending Fibre, Design and Community: A Conversation on Creativity and Culture

In this Q&A, we speak with an emerging Gumbaynggirr artist about how culture, community and creativity guide her interdisciplinary practice. From fibre work to digital design, she shares how her roots and resourcefulness shape everything she makes.

Can you tell us about your connection to Gumbaynggirr Country and how it shapes your creative practice?

I grew up on Country, just south of Coffs Harbour. It's always been important to uplift the stories of my people, both local and the wider First Nations Community. Lately I’ve started doing more projects based on where I’m living, which feels really special. It’s great to use my skills with people from home.

What does it mean to you to create with (and for) community?

I'm working on a graphic design project that involves creating a book that brings to life the stories of Gumbaynggirr people. These stories aren’t often shared or told, so it’s a really meaningful project. It’s all about reclaiming community.

We’re lucky to have one of the highest literacy rates of language. There was always a Gumbaynggirr dictionary around when I was growing up. My family helped create it. That kind of positive change is something we made ourselves.

The dictionary was developed in the southern dialect from the Nambucca region, led by a group of Elders. There are also northern dialects and dialects out west. A lot of the Elders who were part of the process have passed away now, which makes it even more important to capture that knowledge. Kids are growing up in kindergarten speaking the language now. There was a big gap in language between the 1940s and the early 2000s, but that’s starting to shift.

What story are you hoping to tell through the way you blend fibre art, illustration and design?

I want to build more of an interdisciplinary practice. I’m using what I’ve learned in graphic design and combining it with my fibre art. Each area has its pros and cons. Graphic design is more employable, but often it’s about other people’s visions or business decisions. You have to navigate ethical choices too, and make a living.

What materials do you gravitate towards, and how do you source or select them?

When I knit, I try to use natural fibres wherever possible. Ideally, they’re 100 percent natural. I try to avoid plastic-based materials unless I really need a bit of elasticity. I often get acrylic yarns from op shops. They usually stay on the shop floor for a month or two before going to landfill, so it feels good to use them while I can.

Sustainability is central to your work. What does a resourceful, conscious approach look like in your day-to-day making?

I keep leftover wool scraps and respin them into new yarn. I use a drop spindle. My boyfriend’s jumper was the thing that kicked it off. It didn’t fit him anymore and was really chunky, so I pulled it apart and gave it a new life. That mindset of reusing what’s already there is a big part of how I work.

How has your work been received by the people and communities around you?

Working with community back home has made me realise how much I love being there. It’s meaningful work. There’s a bigger impact when you’re on the ground compared to being in the city.

The generation before us faced really tough conditions. If my work can make things easier for future leaders, that feels important.

What’s your vision for the future of your work, or the stories you want to keep telling next?

I want to keep doing this, telling stories, combining practices and staying grounded in community. Working with people from home has made me realise how fulfilling that is. I hope I can keep creating space for those stories and voices to be heard.