Kyra Mancktelow

Kyra Mancktelow’s multidisciplinary practice investigates legacies of colonialism, posing important questions such as how we remember and acknowledge Indigenous histories.

A Quandamooka artist with links to the Mardigan people of Cunnamulla and South Sea Islanders. Macktelow’s practice includes printmaking, ceramics, and sculpture – each applying a unique and distinct aesthetic. Mancktelow works with various materials to share her rich heritage, stories, and traditions to educate audiences and strengthen her connection to Country. Her printmaking explores garments that were used as a tool of deconstruction towards Aboriginal culture by the attempt of assimilation.

Mancktelow graduated with her first class honours bachelor from the Quuensland College of Art’s Contemporary Australian Indigenous Art program. Mancktelow won the 2021 Telstra Emerging Artist Award at The National Aboriginal & Torres Strait Islander Art Awards, and a Special Commendation at the 2021 Churchie National Emerging Art Prize.

Tell us about your creative process, what drives your practice?

I identify as a visual storyteller who draws upon historical events as the focus of subject truth-telling. My multidisciplinary practice spans printmaking, weaving, and sculpture. The material I used to create my prints is called tarleton. It’s a printmaking fabric we use to take away colour from an etching plate. I chose this material because it represents that attempt of Assimilation and taking away identity, culture and traditions.

My practice encourages audiences to reflect on the truth of a collective First Nations histories, which has been largely overlooked by the education system. My practice is a platform through which I can raise awareness of historical events, traditions and customs inherent to Aboriginal culture.

In your practice, printmaking exists as unique state impressions rather than as editions. How do you approach printmaking as part of your multidisciplinary practice?

I developed my printing process at university. I create my prints by first recreating the historical garments. I then soak the garments in ink and press them flat on a light background. The resulting images are ink impressions of the garments — a combination of ephemeral qualities with the forensic detailing of outlines, weave, stitching, loose threads, and rough edges.

What is the significance of your use of textile mediums, both printed and sculptural, to explore archival histories and colonialism?

The history of garments in Australia is overlooked and often ignored. I love the history of garments and identity, and my practice brings those two together. I’m hoping my practice will fill gaps in knowledge and open up conversations about our forgotten and ignored past.

Are there any female printmakers | artists that influence you?

Judy Watson and Nicola Hooper continue to inspire me. Nicola hooper is also a Logan-based artist who immerses herself in her illustrative and lithographic worlds. I was privileged to have Nicola as a mentor throughout my undergraduate degree at QCA. Her amazing skills and techniques with lithography that explores zoonoses and the resulting relationships between humans and animals, particularly focusing on our contradictory perceptions of animals in the context of fear of disease.

Finally, what exciting projects are you working on at the moment?

I’m currently working on a body of new prints that reference contemporary garments worn during protests around the country. I’m also making new work for the next Tamworth Textile Triennial, weaving new dillybags to make into bronze sculptures for a body of work which will be shown overseas, and a solo show at N.Smith Gallery in Sydney.