THE PAINTWEAVERS: Ömie Barkcloth Art of Papua New Guinea
Ömie Artists
20 Sep
2025
2025
18 Oct
2025
CURATORIAL TALK: Saturday 11th October from 3.30pm
Join Ömie Artists Exhibition Curator, Brennan King, for a special exhibition talk where he will give a rare insight into the origins and meanings of the extraordinary symbolism found in the barkcloth art of the Ömie women. Discover how the Ömie's ancient and spiritually-rooted painting tradition has become one of the most significant and dynamic contemporary art movements in the Pacific region today. Be transported by both the beautiful barkcloth art and Brennan's talk to the mysterious and wondrous rainforest mountain world of the Ömie.
In collaboration with Ömie Artists of Oro Province, Papua New Guinea.
Celebrating 50 years of Papua New Guinea’s Independence (1975 – 2025)
Papua New Guinea—formerly under Australian, British and German colonial rule—became a sovereign nation in 1975, marking a pivotal moment in its history. In celebration of the 50th anniversary of Papua New Guinea’s Independence, this exhibition ‘The Paintweavers: Ömie Barkcloth Art of Papua New Guinea’ presents an extraordinary new body of work by the Ömie women, barkcloth painters from the deep interior of Oro Province’s rainforest-clad mountains. Ömie artists have been exhibiting internationally for over two decades and, collectively, the artists have had a profound impact upon, and continue to shape, the global perception of Papua New Guinea’s rich and diverse cultural identity.
The Ömie’s barkcloth textiles are lovingly and delicately painted by the hands of women—hands that move with grace as they are guided by the ancestors to poetically tell of forest, mountain and sky. Through fine and exquisite mark making, these vibrant bark cloths trace connections between the natural world of the Ömie’s homelands and the hidden, unseen realm of the ancestors, as storied throughout Ömie cosmology. The world of the Ömie is one of breathtaking natural beauty, a remote paradise where hidden valleys are ringed by mountains extending to the horizon in every direction, often cloaked in cloud and mist that drifts gently between and beyond the peaks. Ancient, narrow pathways wind through the dense, verdant green of the forests, which burst with flowers, fruits, birds, butterflies and wondrous creatures in a spectrum of splendid colours. Centred around their sacred volcano, Huvaimo, observations of this enchanting natural world—one of the most biodiverse on Earth—have come to adorn the Ömie’s barkcloth textiles and are the central facet of their painted motifs.
Through keen observation, Ömie artists look towards the natural jungle environment to uncover geometries and abstract motifs, uncovering an internal logic or system hidden within nature’s multifarious forms. The artists convey their wealth of knowledge by harmoniously mingling their multitude of organic shapes, symbols and patterns together in every possible variation. With their sophisticated and precise interlacing of designs, it is as if the artists are weaving with paint—using the painted line as their thread to create dazzling optical rhythms and movement that extend beyond the two-dimensional painting surface. The visual result of this method of painting is perhaps one of the most captivating aspects of Ömie art—that such a technical skill has become so highly accomplished and masterful that, for Ömie artists, it almost seems natural and effortless. Through the dynamic designs, the paintings become activated with the experiential feeling of the landscape and environment, rather than simply remaining a representation of it. The beauty and energy of ‘place’ comes to life through the paintings. Furthermore, the compositions never remain static but are constantly evolving and reimagined by the artists with infinite adaptation. The vital sensitivity in their approach firmly upholds the barkcloth traditions’ sacred origins, and ultimately, holds their precious world together.
Barkcloth is one of the oldest forms of natural cloth fibres in human history. Ömie barkcloth textiles are known as nioge, which is the primary artistic medium for their painting. In the absence of a written language, the custom of barkcloth painting remains fundamental to recording, preserving, transmitting and expressing Ömie stories, histories and all aspects of cultural heritage and identity. Ömie barkcloths are produced entirely by traditional methods—from harvesting the bark, to collecting the natural materials from the forest to create the richly-coloured pigments. Ömie Artists works to conserve not only the living tradition of barkcloth creative practice, but the ancestral indigenous worldview of Ömie artists. This worldview is embodied in and transmitted within this time-honoured painting tradition—through the ways in which the barkcloths are made; through the customary rituals and ceremonies in which they are used, worn, danced in, and exchanged; and through the oral traditions, wisdom and stories associated with each of the intricate designs. Barkcloth knowledge is passed on through the matrilineal line in a strong, authentic and unbroken lineage, from mother to daughter, as Ömie jagor’e (law) instructs. Ömie women artists play a pivotal role through creating their traditional barkcloth textiles by transmitting culture between generations, demonstrating how women are central custodians for cultural survival. Ömie Artists currently works directly with over forty women barkcloth artists, facilitating production with the highest cultural integrity across ten villages which supports artistic preservation, conservation of the environment, enables economic independence and growth, promotes sustainability, creates community, and empowers women and their families in one of Papua New Guinea’s most remote regions.
This exhibition brings together contemporary Ömie paintings that are the latest evolutions of this ancient, yet living, tradition. The exhibition features rare works by elders Lila Warrimou and Faith Jina’emi, and major new works by leading artists such as Diona Jonevari, Jessie Bujava and Magdalene Bujava. The exhibition also presents two special pieces by artist Ilma Ugiobari. Ilma creates her art using the ancient appliqué technique known as sihoti'e taliobamë'e, where the barkcloth is first dyed with mud and then sewn into bold and striking compositions using locally harvested grass thread and a bat wingbone needle. Ilma’s mud-dyed barkcloths echo those created by the first female ancestor, Suja, as told in the sacred Ömie creation story.
Exhibiting artists include Lila Warrimou, Stella Üpia, Faith Jina’emi, Wilma Rubuno, Ilma Ugiobari, Jessie Bujava, Magdalene Bujava, Diona Jonevari, Barbara Rauno, Hilda Mekio, Elvina Naumo, Jean Niduvé, Petra Ijaja, and introducing artists, Helen Rubuno and Roseal Rubuno.
Brennan King, Ömie Artists Manager
Copyright for the text remains with Ömie Artists Inc.
_web.jpg)
Installation View
Artworks
Artworks
Artist Profile/s
Barbara Rauno (Inasu)
Barbara’s father is Albert Sirimi (Nanati), a Sahuoté clanman from Gorabuna village and assistant to his brother, the Paramount Chief of Ömie men, Willington Uruhé. Barbara’s grandmother was Avarro, the former Sahuoté clan chief who is still remembered today as a very important barkcloth painter. Albert remembers Avarro’s designs and has been teaching his daughter Barbara so that the Sahuoté clan tradition of barkcloth painting will live on long into the future. Barbara and her husband Douglas are the happy parents of seven children.
Copyright for the text remains with Ömie Artists Inc.
Diona Jonevari (Suwarari)
Diona Jonevari’s mother was Delma Iarin of Gora village and her father was Abaho Gugonaymi of old Godibehi village (Ematé clan). When Diona married her husband, Nathaniel Jonevari, in 2002, she began to learn to paint the traditional Ömie designs of his mother Dapeni Jonevari (Mokokari), who was the Chief of Ematé clan women and a highly respected artist. Under Dapeni’s tutelage, Diona has become a respected artist in her own right. She incorporates sor’e (tattoo designs) and kuku hon’e sor’e (bamboo smoking pipe designs) taught to her by other elders of her clan such as her father-in-law, Emmanuel Jonevari (c.1920-2010), and Nathan Gama, Chief of Ematé clan men. With this strong foundation and as an astute student, Diona now draws from a wealth of traditional Ömie designs which she paints in her own innovative and expressive style. Her wealth of knowledge, extraordinary natural talent and skills, combined with her bold experimentation, firmly place her among the most significant Ömie artists and she is now leading a new generation of artists.
Copyright for the text remains with Ömie Artists Inc.
Elvina Naumo (Ebahino)
Elvina is the daughter of Mary Naumo, the former Chief of Ematé clan women who was also a highly respected barkcloth artist. She was taught to paint some special designs from her mother before she passed away. She has become an artist of exceptional talent in recent years, painting her dynamic designs in ever experimental and progressive compositions.
Copyright for the text remains with Ömie Artists Inc.
Faith Jina’emi (Iva)
“My mother was Filma Rumono, she was a Chief of the Sahuoté clan. All Ömie people from all clans and villages knew about her paintings, she was a great artist! She taught me how to paint since I was a small girl and now I am painting her wisdom for our clan and people.” ~ Faith Jina’emmi (Iva)
Faith Jina’emi began painting for Ömie Arists in 2012. She learnt to paint as a young woman from her mother Filma Rumono, Chief of Sahuoté clan women. Faith is now a leading elder and cultural authority of the central region of Ömie territory. She paints her ever-increasingly complex and diverse ancestral designs with vitality and integrity. By confidently playing with compositions and combining her plethora of designs, the results are unpredictable and always spectacular. This is one of the true signs of an Ömie master painter. She has reached a level of painting skill that situates her in the highest echelon of senior Ömie painters. Her exquisite work and its recent developments are a very exciting and surprising addition to the unfolding Ömie art movement.
Copyright for the text remains with Ömie Artists Inc.
Helen Rubuno
“I went to school but my Ömie teacher has always been my mother. She told me the stories of our history, taught me our songs and how to make gardens. Sometimes while we talked and sang she would paint our history.”
Helen is married to Morris Murray Rubuno. They, along with their five children, are members of the Ina’e clan. Helen began painting nioge (barkcloth) designs such as odunaige - thorned climbing vine; subudejö’e – caterpillar markings (design of the caterpillar’s black spots); jö’e soru’e – patterns of a woman’s facial tattoos. Her work has since evolved and she now paints a very beautiful, spirited design of dahoru’e, the Ömie mountains.
Copyright for the text remains with Ömie Artists Inc.
Hilda Mekio
Hilda’s birth mother is Fate Savari (Isawdi), Chief of Dahorurajé clan women. Her mother-in-law is Flora Mekio. She is married to Edgar Mekio and is learning old Ematé clan barkcloth designs that her mother-in-law painted as well as from her mother Fate Savari.
Copyright for the text remains with Ömie Artists Inc.
Ilma Ugiobari (Ajikum’e)
Ilma Savari is the daughter of venerated elder and pre-eminent Ömie artist Sarah Ugibari. In recent years, Sarah (the oldest living Ömie, at approximately ninety-seven years of age), has begun the crucial task of imparting her store of ancient wisdom to daughter Ilma. Among other things, this has involved Sarah teaching Ilma to paint and sew a number of enduring Ömie and Managalasi barkcloth designs. Both mother and daughter began working with Ömie Artists Inc. in 2009. These days, Ilma spends much of her time preparing barkcloths and painting and sewing the many ancestral designs Sarah has handed-down to her. She also enjoys preparing for (and singing and dancing at) tribal celebrations.
At the dawn of time, Managalas and Ömie Ancestors emerged from the underground cave Vavago as a single people. Over time, these first people migrated across the greater Huvaimo region and into Hydrographer’s Range above Managalasi Plateau. Subsequently this group split into separate tribes which both still celebrate ‘Mina and Suja’, a shared ancestral creation story about the first man and woman. They also have many customs and barkcloth designs in common. Ilma creates works originating from both tribes because her mother Sarah was born Managalasi but later married an Ömie man. It was she who brought knowledge of Managalasi culture into the Ömie realm.
Ilma’s painted Ömie designs depict traditional Sidorajé clan tattoo markings, while her painted Managalasi designs originate from Koruwo and Kiara villages high on Hydrographer’s Range. Her appliquéd mud-dyed barkcloth designs, in the form of Chiefs’ prestige barkcloths, are derived from both tribes. Along with abstract paintings and appliquéd mud-dyed barkcloth designs, Ilma also paints important stories relating to sacred sites of Gora and her surrounding homelands. She uses a unique (for Ömie) combination of figuration and symbolism to create these compelling images.
Copyright for the text remains with Ömie Artists Inc.
Jean Niduvé (Urihö)
Jean is the daughter of Albert Sirimi (Nanati), the assistant paramount Chief of Ömie men. She is married to Marumo Niduvé. Ematé clan elder Brenda Kesi (Ariré) remembered seeing Jean’s mother-in-law painting barkcloth clan designs, and taught Jean to paint them in 2012. Over the past decade, 2012-2022, Jean has developed into an artist of exceptional painting skill and talent. The emergence and survival of her strong ancestral barkcloth painting designs is quite miraculous for the present day.
Copyright for the text remains with Ömie Artists Inc.
Jessie Bujava (Kipora)
Jessie’s father is the Assistant Paramount Chief of Ömie men, Albert Sirimi (Nanati), and her mother was Agnes Sirimi, both Sahuoté clanspeople from Gorabuna village. Jessie was taught to paint traditional Sahuoté clan designs by both her mother Agnes and her grandmother. Along with Ömie artists Lillias Bujava (Kausara) and Barbara Rauno (Inasu), Jessie is part of a new and exciting school of Sahuoté clan painters whose designs are characterized by an excess of orriseegé or ‘pathways’. Orriseegé is most often used to provide a compositional framework for Ömie painting designs and it reaches its extreme limit in Jessie’s works where her traditional symbolic designs conform to a tight, yet organic, geometric format. She often paints siha’e, the design of the fruit of the tree and visuanö’e, the design of the teeth of the mountain fish.
Copyright for the text remains with Ömie Artists Inc.
Lila Warrimou (Misaso)
Lila has been painting for Ömie Artists since its establishment in 2004. As the Paramount Chief of Ömie women her uehore (wisdom) is unrivalled. Her mother was Eronay Atai and her father was Warrimou Moiwa, both Dahorurajé clanspeople from Savodobehi village. She was formerly married to Fabian Jerrirumu to whom she had four children but after he passed away she remarried Nathan Gama, duvahe (Chief) of Ematé clan men. Lila’s auntie Joyce-Bella Mujorumo, former duvahe of Dahorurajé clan women, taught her to paint a plethora of Ömie designs and clan symbols and also taught her about the origins of Ömie art, culture and history. In turn, Lila has taught a number of Ömie women to paint including her sister-in-law Jean-Mary Warrimou (Hujama).
Her work is held in the permanent collections of the National Gallery of Victoria, Melbourne; the Museum of Archaeology and Anthropology, University of Cambridge, UK; and the High Commission of Papua New Guinea, Canberra.
Copyright for the text remains with Ömie Artists Inc.
Magdalene Bujava (Kolahi)
Magdalene is the daughter of Emily Levoré, former wife of Eric Afukasi and current wife of senior Sahuoté cafe clan-man and master song-man, Raphael Bujava. She began painting for Ömie Artists in 2012 (when she was known as Magdalene Afukasi). She paints designs belonging to her father’s clan, Ematé, as well as her husband’s clan, Sahuoté. She is one of the leading Sahuoté clan painters with knowledge and painting skills directly related to the body designs of the ancient and sacred Ujawé tattooing initiation rite.
Copyright for the text remains with Ömie Artists Inc.
Petra Ijaja (Jaujé)
Petra’s mother is Pina Goja and her father is Kinsley Goja, an Ina’e clanman. She is learning to paint old Sahuoté clan designs from the Assistant Paramount Chief of Ömie men, Albert Sirimi. Albert is a highly respected elder and the foremost authority on Sahuoté clan stories and designs, having learnt from his mother, Avarro. Avarro is still remembered today as a master Sahuoté clan painter and has left a vast legacy of designs to her living descendants like Petra.
Copyright for the text remains with Ömie Artists Inc.
Roseal Rubuno
Roseal Rubuno is a new painter from Birrojo village. She paints with a delicate, minimilist approach that sets her apart from other emerging painters of her generation. Her sense of space and composition is impressive for a young painter and she shows great promise as an important nioge (barkcloth) painter for the Sahuote clan of the southern-most region of the Ömie mountains.
Copyright for the text remains with Ömie Artists Inc.
Stella Üpia (Agisé)
Stella began painting for Ömie Artists at its inception in 2004. Her mother was Yévo and her father was John Koré, both Sahuoté clanspeople originally from Budo village. She is married to Randolph Üpia and has two children to her first husband. Stella’s design jawubimu’é, the design of the mountain pine tree, was shown to her by her husband and was originally painted by the barkcloth artist Jona who was still painting at Asapa c.1967. Stella loves to share the traditional Ömie story behind the mountain pine tree design.
Copyright for the text remains with Ömie Artists Inc.
Wilma Rubuno (Lamay)
As a young girl, Wilma was adopted by the late Cecilia Badaru, a Sahuoté clanwoman. Cecilia was the daughter-in-law of a very important barkcloth painter, Avarro, who was a former Chief of Sahuoté clanwomen. In 2010 Wilma’s mother Cecilia came to her in a dream, she was holding up a barkcloth painting and she asked Wilma “Can you see this design?”...Wilma replied, “Yes” and then her mother told her, “This is your design now and you must paint this design”. The next day when Wilma awoke she began painting the design. When the village Chiefs and elders saw the design Wilma was painting they were very surprised because she was painting one of Avarro’s designs, that is, without ever having met Avarro. Wilma has been very passionate about painting this important barkcloth design. Her painting style has developed to such intricacy, with a truly breathtaking delicate and careful complexity and harmonious balance of designs, that her works dazzle the eye. She is the proud mother of six children.
Copyright for the text remains with Ömie Artists Inc.