Circular Economies Residency: HONF in Narrogin #2

Nov 27

House of Natural Fiber’s (HONF) M.Haryo Hutomo and Irene Agrivina are currently working with the community of Narrogin and hosted by Arts Narrogin. This residency forms part of SPACED’s program, Circular Economies. They share their most recent reflection with us.

Exploring the Cultural and Ecological Significance of Natural Pigments in Narrogin

Upon arriving in Narrogin, we connected with local producers Ned Crossley and Cheryl Wilkins, whose insights into the community and natural landscape were invaluable for our artistic research on The Fifth Element. They warmly introduced us to the local ecosystem and guided us through various sites, sharing their knowledge of the region’s unique flora, fauna, and geological features. This immersion into Narrogin’s environment allowed us to deeply observe and appreciate the intricate ways the colours and textures of the landscape represent the natural elements. Through our explorations, we began to see how these surroundings could be transformed into pigments and symbols, integral to understanding cultural preservation and the spirit of this place.

We had the privilege of meeting Doug Sawkins, an environmental preservation expert, at Foxes Lair—a remarkable bushland reserve located in Narrogin. Known for its beautiful walking trails, picnic spots, and diverse wildlife, Foxes Lair is home to an incredible variety of wildflowers, native plants, and bird species that paint the landscape in vibrant, natural hues. He shared his wealth of knowledge about the local ecosystem, explaining the environmental history and delicate balance that has allowed this area to flourish. Doug introduced us to the natural processes behind the pigments we see in native plants and rocks, describing how minerals in the soil and environmental factors like sunlight and rainfall contribute to the formation of colours. These pigments, he explained, are not just aesthetic—they represent centuries of natural history, offering insights into the ecological evolution and resilience of the region. We gained a deeper understanding of how these natural pigments are created, as well as a greater appreciation for the cultural and ecological significance of preserving this vibrant environment.

Later we met Ross Storey, a local Wilman Noongar man and traditional custodian of the area Narrogin is located, who shared his rich cultural heritage and deep connection to the land. Raised by his grandparents, Ross spent much of his childhood on a farm, though his true education took place in the bush with his Elders. Here, he learned the land's stories, traditions, and cultural practices that continue to shape his life. An artist himself, Ross often works with the community, weaving symbolic meanings into his art to honor his heritage and pass down traditional Noongar knowledge.

During our time together, Ross guided us to a sacred site, where he shared insights into Noongar rituals and the cultural significance of natural pigments. In Wilman Noongar tradition, each colour holds profound meaning, acting as a bridge between the present and the ancestors. Red ochre, symbolizing blood, represents life itself, connecting the living with their kin. White clay, embodying purity, is used in rituals to bless and protect, while black, drawn from charred wood, signifies transformation—a reminder of the renewal found in nature’s cycles. For Noongar people, these colours are not only pigments; they are vessels of tradition, identity, and memory, carrying stories from the past and preserving the wisdom and spirit of their ancestors for future generations.

Our interviews with Ned Crossley, Cheryl Wilkins, Doug Sawkins, and Ross Storey provided diverse perspectives on how natural pigments embody cultural preservation and connect deeply to the land and its history. Ned and Cheryl shared insights on the craftsmanship and reverence involved in extracting pigments and turning colours from the earth into expressions of local heritage. Doug explained the scientific processes that shape these pigments over centuries, underscoring their ecological significance, while Ross, with his permission, revealed the spiritual and cultural importance of pigments in Noongar traditions, where each colour serves as a tribute to ancestors and a keeper of tradition. Together, these voices illuminate how natural pigments bridge ecological and cultural awareness, embodying the five elements and preserving stories that link people, nature, and art in a celebration of heritage and resilience.

Over a week, we immersed ourselves in pigment experimentation at our studio. Some pigments came together beautifully, while others required further refinement and testing. Along the way, we gained valuable insights from local Narrogin artists who generously shared their knowledge of creating pigments and colours from natural sources, enriching our understanding and techniques. Amid our focused lab work, we engaged with the local community and cultural life—attending a theater performance at the town hall, lending a hand at the bustling local farmer's market, and even spending time on Ned Crossley and Avril Baxter's farm nestled in the bushlands. Our stay on the farm gave us a closer connection to the land and a deeper appreciation of the local ecosystems that influence the rich, earthy hues we aim to capture in our work. These experiences wove us into Narrogin’s vibrant fabric, making our artistic journey one of shared culture, discovery, and exchange.

We launched our public event series with an engaging open studio day, where local community members gathered to witness our pigment-making process firsthand. Attendees were able to see how natural materials are transformed into vibrant colours and got involved in some of the paint-making experiments themselves. Following the open studio, we hosted a hands-on public workshop, giving Narrogin residents the chance to dive deeper into pigment exploration. Participants created their artwork using naturally derived pigments, discovering how different hues interact with textures and surfaces. Additionally, we introduced an interactive component—a DIY electronic device designed to generate unique sounds from the pigments, forming what we called a “pigment orchestra.” This unique intersection of art, technology, and natural materials allowed attendees to not only see and feel the pigments but also experience their essence through sound, creating a multisensory exploration of colour and its connection to nature.

Our time in Narrogin allowed us to connect deeply with the land, community, and the rich legacy of natural pigments. Guided by local artists, environmental experts, and Traditional Custodians of the Land, we uncovered the profound cultural and ecological significance of colour—its roots in nature and its role in preserving heritage. Through collaborative experiments, public workshops, and shared insights, we engaged the community in a multisensory journey that celebrated pigments not just as colours, but as symbols of resilience, identity, and connection to the earth’s elements. This experience has underscored the enduring power of art as a bridge between tradition, nature, and innovation, weaving together stories that resonate across generations.

Images courtesy of the artist in oder: Noman’s Lake, meeting with Doug Sawskin, Irene grinding the clay, open studio activity. Cover image of Ross Storey and Haryo by Cheryl Wilkins.

More information about the Circular Economies artists, host communities and projects as they unfold can be found by subscribing to SPACED’s monthly email newsletter, and following SPACED on Facebook and Instagram.

To learn more about HONF, M.Haryo Hutomo and Irene Agrivina, check out their respective Instagram profiles.

Circular Economies is produced as a joint partnership by PICA - Perth Institute of Contemporary Arts and SPACED.