The coiled baskets were originally designed for rice cultivation. Their history traces the fortunes of African-Americans in the South
The piece was made by Mary Jackson, an African-American fibre artist, in 2007. Dale Rosengarten, a historian and curator, describes Mrs Jackson as a “genius”. Such acclaim is not uncommon. In 2008 Mrs Jackson received one of the MacArthur Foundation’s prestigious grants, worth $500,000, to support the creation of work that both preserved “the centuries-old craft of sweetgrass basketry” and moved “the tradition in stunning new directions”.
Born in 1945, Mrs Jackson grew up in Mount Pleasant, South Carolina. She is Gullah, a member of an ethnic group which predominantly lives in the Sea Islands region along the coast of Florida, Georgia and South Carolina. This remoteness has allowed Gullah people to preserve the African roots of their distinctCoiled baskets were originally designed for rice cultivation.
Mrs Jackson was introduced to traditional weaving techniques by her mother and grandmother at the age of four. As well as mastering the art, learning how to harvest, dry and manipulate the grasses was a way of keeping her and her siblings busy in the summer. As a youngster she regarded basketmaking as something of a chore.
Her work pays homage to Gullah basketmaking, yet she has experimented with bold shapes and innovative dimensions. Early works, such as “Cobra with Handle”, were intricate, but still usable, baskets. Mid-career pieces, including “Two Lips”, reveal a subtle turn away from utility towards aestheticism. The piece’s handle connects to a cosmetic “lip” woven midway up the basket. It is a delicate work that is ill-suited to holding rice or produce.
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