‘Song of my Ancestor’ – Sally Rasmussen – bid is at $110

Sal was born in Worimi country, Forster, where many lakes merge back into the sea.

Although she now lives in and adores the country and vibrant art community of Yass, she still feels profoundly connected with her birth place, and the natural cycles and connectivity represented by lakes returning to ocean appears in much of her work. She grew up between the turquoise waves, skipping over rock pools and investigating their contents.

‘I love the changing of seasons,’ she said.

Sal did a Bachelor of Arts from ANU, with a focus on textiles, but the long hours spent exploring outdoors and her admiration for the natural world remains at the heart of her artistic practice.

She works with a plethora of materials, all recycled/reclaimed and naturally produced fibres, including but by no means limited to: hemp, bamboo, copper wire, polished flax, silk, raffia, seagrass and bamboo.

From these, Sal weaves flowing and organic shapes that connect and diverge with a living delicacy.

Her work is particularly mesmerising, because a love and understanding of nature shines through. Her pieces truly appear as naturally arising structures.

‘I love most the connection you have with people [through creating art], the act of making and speaking in a visual language.’

Sal’s work is on display in Tyger Gallery in Yass. 

Her physical works are gorgeous but they also extend beyond themselves, casting alluring shadows. Sal is keenly aware of light and shadows and often works with this second form in mind.

Her pieces range in size, with some larger works measuring up to a metre in length. Reusing, rediscovering discarded materials is extremely important to Sal, as she wishes to preserve the environments we call home, and pay tribute to the land and its available resources in this way.

Her pieces are highly reminiscent of the shapes that occur in traditional indigenous artworks, that exist to tell stories of the land and conserve its knowledge. Weaving is also a traditional practice that appears in indigenous art forms.

Alongside her own art, Sal is currently one of the team members, ‘tigers’, at ‘Tyger gallery’, a burgeoning space in Yass that supports local artists and hopes to foster community and accessibility in art. Sal is the manager there, and is a big part of the warm and welcoming atmosphere. Sal’s beautiful smile and peaceful energy is a bright and uplifting presence in any room.

‘Now, I hope for kindness  in the words of another “Always try to be a little kinder than is necessary.”  — J.M. Barrie’

Stories or books or films that have lifted her spirits or made her feel hope are ‘Dark Emu,’ by Bruce Pascoe, ‘Braiding Sweetgrass,’ by Robin Wall Kimmerer, and ‘The Tishkin Silk Series,’ by Glenda Millard.

Sal has no kite stories of her own, however she describes herself as an ‘avid bird admirer’.

Her kite thus depicts a majestic black cockatoo spreading its wings in flight. This particular bird has a lot of love and history behind it for Sal.

‘My mum died nearly four years ago and when her spirit left this world a black cockatoo cried out above the hospital where I was with her. I like the idea of flying a black cockatoo kite to meet her spirit.’

The origami cranes that form its tale were made by her daughter Sage, and Sal sees them as a sign of hope.

After the completion of her lovely kite, Sal will return to working on her newest creation, by chance with similar ideals espoused by the ‘Hope Flies’ project.

‘I am working on a piece called glimmers – the simple act of seeing hope or joy in small moments in your day. I also look for that glimmer of change.’

For Sal, art is a way to express her deepest truths and her soul.

‘Its like a best friend that lifts you up, and allows you the space to be unapologetically you.’

by Adelaide Stolba