Goni

Hessian played an established role in the history of colonial textiles. In Mauritius, Goni refers in Creole to a hessian or sisal sack, a term derived from Hindi and Sanskrit. Under Dutch, French, and British rule until independence in 1968, and until the late 20th century, sugar – packed in Goni – led the economy.

Goni embodies the harrowing plight of slaves and indentured workers, trafficked from Madagascar, Africa and India, and forced to toil on sugar cane plantations. Dockers manually loaded ships with Goni, each containing up to 80 kilos of sugar, until 1980.

Interpretations of colonial history and legacy often pit economic prowess against social inequity. This iteration of Goni invites us to acknowledge both. It nourished generations of Mauritian families, including my own, while bearing witness to exploitation, suffering and resilience. Today, Goni represents efforts in truth-telling and reconciliation.

In a parallel to industrial sugar cane extraction and transformation, these masks were crafted from hessian, pulped into fine fibres with a Hollander paper beater. As a Mauritian-Australian of mixed heritage, I stand behind these masks, holding the Goni as a delicate triptych of patrimony – both sustaining and painful, with the potential for healing.

Dimensions
Limited edition Giclée print, 94 cm x 26.4 cm

Materials
Hessian

Photography
Mim Stirling

Digital compositing and printing
Warren Macris from High Res Digital

With thanks to
- Mandy Burgess who told me, 'You know you can make paper from hessian?', and generously, tirelessly taught me how to.
- Also Brigitte St Flour, Felicity Jenkins, Lisa Giles, Michael Armstrong, Sue Paull and Niall O’Donnell.