EXHIBITION
BIG RAIN COMING 50 years since Cyclone Tracey
Artists from Arnhem Land, Roper Gulf, Torres Strait, Kimberley and Central Desert regions of the NT.
Until 30 January, 2025
“Big rain coming. All the pink galahs in the tree. Flying, sheltering to get out of the rain.”
Grace Kemarre Robinya, Tangentyere Artists
Wandjina (Cloud & Rain Spirit)
The Wandjina spirits are highly respected by the Worrora, Ngarinyin and Wanumbul people who live at Mowanjum and up the Gibb River Road to Kalumburru in the Northwest Kimberley of Australia.
The Wandjina gave the law and the culture to the people to abide by, these customs are still carried on today. The Ungud helped the Wandjina in creation of the land, creating rivers, lakes, gorges, waterholes & billabongs. The Wali are our food source that our ancestors have hunted for thousands of years.
DETAILS
- Etching, framed by Don Whyte
- 74.5cm x 54.5cm (framed size)
- Cat No. 24-0212-25/50
ARTIST
As well as having two major Kimberley painters (now deceased) as grandparents – Nyunkuny Paddy Bedford on her father’s side and Jack Dale Mengenen on her mother’s - Petrina has established herself as a dedicated artist in her own right.
The oldest of seven girls, Petrina has Gija affiliations on her father’s side and Ngarinyin on her mother’s and lives at Imintji community, 230 km east of Derby along the Gibb River Road.
Petrina first exhibited paintings at a commercial gallery in Perth at age twelve, when three of her canvases were hung alongside the work of her maternal grandfather, who she was exceptionally close to. Petrina uses her own style when painting, but the subjects she turns to are similar to her grandfather’s; Wandjina and classical stories relevant to her family.
Text from, 'Mowanjum Daytrip,' August 2015, by Philippa Jahn, Desert River Sea, Art Gallery of WA
ART CENTRE
The Mowanjum Aboriginal Art and Culture Centre is a creative hub for the Worrorra, Ngarinyin and Wunumbal tribes, who make up the Mowanjum community outside Derby, Western Australia. These three language groups are united by their belief in the Wandjina as a sacred spiritual force and the creators of the land. They are the custodians of Wandjina law and iconography. The centre hosts exhibitions, workshops and community projects, as well as the annual Mowanjum Festival, one of Australia's longest running indigenous cultural festivals.
Tears of the Djulpan
DETAILS
- Collograph & Screen print on Hahnemuhle paper, framed by Don Whyte
- 116cm x 89cm (framed size)
- Cat No. 5800-24-20/50
ARTIST
Father was Mungurrawuy Yunupiŋu. Among his other children are former Northern Land Council chairman Galarrwuy, Yothu Yindi lead singer Mandawuy, and 2004 Telstra Aboriginal Art Award first prize winner Gulumbu. Other sisters to win major art awards are Nyapanyapa and Djerrkŋu.
Djakaŋu was married to well known yiḏaki (didjeridu) maker Baḏikupa Gurruwiwi (dec). She had three children, two sons and a daughter. Sadly her daughter died leaving Djakangu's granddaughter in her care. Her mother from the Marrakulu clan was Bunay Wanambi, who was a cow herder for the mission at Yirrkala. As a child and with her father and family she went to the Yirrkala Mission School, taught by Mr Ron Croxford. Bunay's other children in order were Nyapanyapa, Barrupu and Djakaŋu. As the other two became well known artists Djakaŋu only made occasional prints with the Yirrkala Print Space or sold small barks or canvases privately to the Nhulunbuy residents often going from shop to shop.
After her sister Barrupu died in 2012 Djakaŋu took on the role of companion and later carer for her eldest sister Nyapanyapa. This continued until Nyapanyapa's death in 2021. Around 2011 she was a participant in the major print project The Seven Sisters with the abovementioned sisters as well as Ranydjupi, Dela and Dhopiya.
It was only after her sister's death in 2021 that Djakaŋu began to paint at Buku-Larrŋgay on a daily basis and quickly developed themes which evolved to become extremely interesting. The Gurmalili (Djulpan's tears) and Ŋerrk (Cockatoo) motifs on larger barks were almost instantly appreciated by viewers. All of her work shown at the Darwin Aboriginal Art Fair in 2022 sold out and she was invited to exhibit with Alcaston Gallery who had previously represented her sisters Gulumbu, Barrupu and Djerrkŋu. Following this her work was selected for Taranathi Indigenous Art Festival at the Art Gallery of South Australia in 2023 where her largest painting of that period was the featured work of the exhibition.
ART CENTRE
Buku-Larrŋgay Mulka Centre is the Indigenous community controlled art centre of Northeast Arnhem Land. Located in Yirrkala, a small Aboriginal community on the northeastern tip of the Top End of the Northern Territory, approximately 700km east of Darwin. The primarily Yolŋu (Aboriginal) staff of around twenty services Yirrkala and the approximately twenty-five homeland centres in the radius of 200km.
Today Buku-Larrŋgay Mulka Centre now consists of two divisions; the Yirrkala Art Centre which represents Yolŋu artists exhibiting and selling contemporary art and The Mulka Project which acts as a digital production studio and archiving centre incorporating the museum.
Waŋupini
Waŋupini (clouds) is the same story as my father taught me about the sunset. The sun is going down. The sunset on the clouds is like the red sails of the Makassan's ships leaving at the end of the season. We cry because the Makassans are leaving.
The mokuy (spirit) is dancing and leaving - the body is dead and the sprit is going to Balambala. This is Yirritja bäpurru (ceremony), the same as my Grandfather, Yaŋgarriny - this is his manikay (song):
The sun will rise again. The Makassans will come back. And the spirit will return. My father, who passed away, taught me this story. He taught me how to paint the story of Waŋupini.
DETAILS
- Paper: Hahnemuhle
- Dimensions: 69cm x 49cm (paper size), 50 x 32.5cm (image size)
- Cat No. 9169-22-12/40
ARTIST
Bulthirrirri (b. 1981) is an emerging artist and the daughter (by Yolngu law) of great painter and sculpter Nawurapu Wunuŋmurra (dec). Under the guidance of her father (recently deceased) Bulthirrirri is following and maintaining her families rich artistic heritage through her own hand.
Bulthirrirri is also the granddaughter of Yaŋgarriny, great Dhaḻwaŋu clan artist and leader who was a painter of the Yirrkala Church Panels and winner of the best bark prize in the Telstra National Aboriginal and Torres Strait islander art awards in 1997. Balthirrirri has assisted other artists at the Dhaḻwaŋu homeland of Gåṉgaṉ and began making artworks on her own in late 2007. Since then she has explored numerous innovative styles of her own devise. In 2008-9 she was elected to the management committee of the art centre. Following the death of her father Nawurapu she assumed responsibility for the creation of art in his themes.
ART CENTRE
Buku-Larrŋgay Mulka Centre is the Indigenous community controlled art centre of Northeast Arnhem Land. Located in Yirrkala, a small Aboriginal community on the northeastern tip of the Top End of the Northern Territory, approximately 700km east of Darwin. The primarily Yolŋu (Aboriginal) staff of around twenty services Yirrkala and the approximately twenty-five homeland centres in the radius of 200km.
Today Buku-Larrŋgay Mulka Centre now consists of two divisions; the Yirrkala Art Centre which represents Yolŋu artists exhibiting and selling contemporary art and The Mulka Project which acts as a digital production studio and archiving centre incorporating the museum.
Baratjala, 2023 (21/60)
Baratjala is a Madarrpa clan estate adjacent to Cape Shield where the artist camped with her father and his many wives as a young girl. It is of the essence of Madarrpa but does not hold the high order sites that Yathikpa does. The artist lived nomadically as part of a clan group with a flotilla of canoes between Groote Eyelandt and the mainland.
Her father’s name was Mundukul (Lightning Snake) and this is also the name of the serpent (also known as Water Python, Burrut’tji or Liasis Fuscus), which lives deep beneath the sea here. These are cyclonic, crocodile infested waters with huge tides and ripping currents and she is part of them.
This print shows the rocks set in deep water between the electric ‘curse’ that the snake spits into the sky in the form of lightning, and the spray of the sea trying to shift the immovable rock foundation of the Madarrpa. Also depicted are duŋgurŋaniny, barnacles that grow on the rock. Yurr’yunna is the word used to describe the rough waves overtopping the rock and the spray flying into the sky.
She has reduced the Law to its elements unclothed in sacred design. Her identity cannot be separated from her art and so although she disavows any sacred intent the echo of miny’tji persists.
~ text provided by Buku-Larrnggay Mulka Centre
DETAILS
- Collagraph, mounted on foam core, ready for framing
- Dimensions: 86.7 x 58cm
- Cat No. 4231-23-21/60
ARTIST
- Homeland: Bäniyala
- Clan: Madarrpa, Yithuwa group
- Moiety: Yirritja
Mrs N. Marawili (dec) is the daughter of the Maḏarrpa warrior Mundukuḻ (lightning snake) and a Gälpu woman Buḻuŋguwuy. She was a wife of Djapu statesman Djutjadjutja Munuŋgurr (deceased) who won best bark painting at the National Aboriginal Art Awards 1997, in which she ably assisted.
She was the mother of four sons before birthing her two daughters, Marrnyula and Rerrkirrwaŋa (both artists – Rerrkirrwaŋa won best bark in Telstra 2009). She is a highly respected senior in her community, knowledgeable in two educational systems and practitioner in the bush and also institutions. She is a prolific producer of art, her work includes bark paintings, ḻarrakitj, carvings, and limited edition prints. Many of the works attributed to her husband Djutadjuta were crosshatched herself as part of teaching her family the required skills. She most often paints her husband’s Djapu clan designs, the Gälpu clan designs of her mother, or that of her own clan the Maḏarrpa.
ART CENTRE
Buku-Larrŋgay Mulka Centre is the Indigenous community controlled art centre of Northeast Arnhem Land. Located in Yirrkala, a small Aboriginal community on the northeastern tip of the Top End of the Northern Territory, approximately 700km east of Darwin. The primarily Yolŋu (Aboriginal) staff of around twenty services Yirrkala and the approximately twenty-five homeland centres in the radius of 200km.
In the 1960’s, Narritjin Maymuru set up his own beachfront gallery from which he sold art that now graces many major museums and private collections. He is counted among the art centre’s main inspirations and founders, and his picture hangs in the museum. His vision of Yolŋu-owned business to sell Yolŋu art that started with a shelter on a beach has now grown into a thriving business that exhibits and sells globally.
Today Buku-Larrŋgay Mulka Centre consists of two divisions; the Yirrkala Art Centre which represents Yolŋu artists exhibiting and selling contemporary art and The Mulka Project which acts as a digital production studio and archiving centre incorporating the museum.
Clouds V12 OF 13
The clouds has many meaning in the zenadth kes. It tells when the weather changes if its going to be wet season or dry season.
DETAILS
- Monoprint on paper, unframed
- Dimensions: 78 x 56cm (paper), 60 x 40cm (image)
- Cat No. 471-23
ARTIST
I was born on Thursday Island but I grew up in Moa Island, Kubin Village. As a child I’ve learnt certain things in life, traditional work with art. I live on Kubin with my mother and two siblings. I would like to base my painting and drawings on the environment surroundings location of my area which is the landscape of the sea and cultural heritage. I haven’t been to any previous exhibitions or art awards but it would be amazing if I attended one in the next upcoming years. ~ Louisa Savage
ART CENTRE
Moa Arts is the trading name of Ngalmun Lagau Minaral, which means ‘our island’s design’. We are an Indigenous owned and operated Art Centre on Mua Island in the western cluster of Zenadth Kes – the Torres Strait. Through our artwork we keep Mualgal traditions and Zenadth Kes arts and culture strong for everyone.
Creative inspiration for the work at Moa Arts comes from Mualgal ancestral stories, totemic representation and connections to sea, land, sky and family. Mua’s artists don’t have to look far to be inspired. The island and its surrounding waters and reefs hold a diverse set of land and marine ecosystems with niches for many rare and unique species such as dugong and sea turtle.
Moa Arts’ reputation is built on the calibre of its limited edition lino prints and etchings, works on paper, woven baskets and bags and traditional island style jewellery – beaded necklaces and earrings. Everything is made on Moa Island and the proceeds of our sales go back directly to our artists and developing creative programs to support the community.
Baratjala, 2023 (30/40)
Baratjala is a Madarrpa clan estate adjacent to Cape Shield where the artist camped with her father and his many wives as a young girl. It is of the essence of Madarrpa but does not hold the high order sites that Yathikpa does. The artist lived nomadically as part of a clan group with a flotilla of canoes between Groote Eyelandt and the mainland.
Her father’s name was Mundukul (Lightning Snake) and this is also the name of the serpent (also known as Water Python, Burrut’tji or Liasis Fuscus), which lives deep beneath the sea here. These are cyclonic, crocodile infested waters with huge tides and ripping currents and she is part of them.
This print shows the rocks set in deep water between the electric ‘curse’ that the snake spits into the sky in the form of lightning, and the spray of the sea trying to shift the immovable rock foundation of the Madarrpa. Also depicted are duŋgurŋaniny, barnacles that grow on the rock. Yurr’yunna is the word used to describe the rough waves overtopping the rock and the spray flying into the sky.
She has reduced the Law to its elements unclothed in sacred design. Her identity cannot be separated from her art and so although she disavows any sacred intent the echo of miny’tji persists.
~ text provided by Buku-Larrnggay Mulka Centre
DETAILS
- Screenprint on paper
- Dimensions: 76.2 x 43.2cm
- Cat No. 4104-23-30/40
ARTIST
- Homeland: Bäniyala
- Clan: Madarrpa, Yithuwa group
- Moiety: Yirritja
Mrs N. Marawili (dec) is the daughter of the Maḏarrpa warrior Mundukuḻ (lightning snake) and a Gälpu woman Buḻuŋguwuy. She was a wife of Djapu statesman Djutjadjutja Munuŋgurr (deceased) who won best bark painting at the National Aboriginal Art Awards 1997, in which she ably assisted.
She was the mother of four sons before birthing her two daughters, Marrnyula and Rerrkirrwaŋa (both artists – Rerrkirrwaŋa won best bark in Telstra 2009). She is a highly respected senior in her community, knowledgeable in two educational systems and practitioner in the bush and also institutions. She is a prolific producer of art, her work includes bark paintings, ḻarrakitj, carvings, and limited edition prints. Many of the works attributed to her husband Djutadjuta were crosshatched herself as part of teaching her family the required skills. She most often paints her husband’s Djapu clan designs, the Gälpu clan designs of her mother, or that of her own clan the Maḏarrpa.
ART CENTRE
Buku-Larrŋgay Mulka Centre is the Indigenous community controlled art centre of Northeast Arnhem Land. Located in Yirrkala, a small Aboriginal community on the northeastern tip of the Top End of the Northern Territory, approximately 700km east of Darwin. The primarily Yolŋu (Aboriginal) staff of around twenty services Yirrkala and the approximately twenty-five homeland centres in the radius of 200km.
In the 1960’s, Narritjin Maymuru set up his own beachfront gallery from which he sold art that now graces many major museums and private collections. He is counted among the art centre’s main inspirations and founders, and his picture hangs in the museum. His vision of Yolŋu-owned business to sell Yolŋu art that started with a shelter on a beach has now grown into a thriving business that exhibits and sells globally.
Today Buku-Larrŋgay Mulka Centre consists of two divisions; the Yirrkala Art Centre which represents Yolŋu artists exhibiting and selling contemporary art and The Mulka Project which acts as a digital production studio and archiving centre incorporating the museum.
Wandjina & Ungud
The Wandjina is the creator spirit that belongs to us (the Wororra, Ngarinyin and Wunumbul people). He is the one that created everything, he also gave us our culture, law and songs and even the dreaming of each child before they are born.
The Ungud Snake was the chosen animal in helping with the creation of mother earth, creating rivers, gorges, stream's and helped with the formation of the earth. Still today it lives in these dark deep water hole's in our country which doesn't want to be disturbed.
DETAILS
- Etching, framed by Don Whyte
- Dimensions: 50 x 32cm (unframed), 74.5cm x 54.4cm (framed)
- Cat No. 23-0095-10/30
ARTIST
Gordon Barunga is a senior cultural advisor and the last remaining Woddorddaa man painting the Wandjina. He was born in Derby in 1961, and grew up at Mowanjum Community, 10kms south of Derby in the West Kimberley of Western Australia. He is the youngest son of well-known and very respected Kimberley leader Albert Barunga [dec] and painter Pudja Barunga [dec].
Gordon has worked at a number of Kimberley stations, including Pantijan, and Christmas Creek, and worked at One Arm Point, before starting to paint. Gordon’s mother was from the Wunumbul people, and he was very close to her, being the youngest boy. His father passed away when he was young, so Pudja raised him. His strong connection to his parent’s countries is reflected in his painting.
Gordon paints the sites he visited as a child, and the stories he was told as a young boy. He loves to paint Pantijan country, as he lived there for some time, and it was special to his mother. Gordon remembers the old people painting on boards and bark, and telling the children all of the Wandjina stories. This was very important as the Worrorra had been moved off their traditional lands in the 1950s and located at two separate sites prior to sellling at Mowanjum.
Gordon primarily paints with acrylic but also uses ochre. His work is typified by fine brushstrokes, indicating the rain falling as a result of the power of the Wandjina, and is equally sensitive and strong, reflecting the deep beliefs inherited from his family.
ART CENTRE
The Mowanjum Aboriginal Art and Culture Centre is a creative hub for the Worrorra, Ngarinyin and Wunumbal tribes, who make up the Mowanjum community outside Derby, Western Australia. These three language groups are united by their belief in the Wandjina as a sacred spiritual force and the creators of the land. They are the custodians of Wandjina law and iconography. The centre hosts exhibitions, workshops and community projects, as well as the annual Mowanjum Festival, one of Australia's longest running indigenous cultural festivals.
Wandjina & Unguds
The Wandjina spirits are highly respected by the Worrora, Ngarinyin and Wanumbul people who live at Mowanjum and up the Gibb
River Road to Kalumburru in the Northwest Kimberley of Australia. The Wandjina gave the law and the culture to the people to abide
by, these customs are still carried on today. The Ungud helped the Wandjina in creation of the land, creating rivers, lakes, gorges,
waterholes & billabongs. The Wali are our food source that our ancestors have hunted for thousands of years.
DETAILS
- Dimensions: 67 x 48 cm
- Cat No. 23-0064-6/30
ARTIST
Kallum was born in Perth in 1996. Kallum's father is a Nyikina man and his mother is from Worrorra country. Kallum's great grandmother, Gudu Mungulu, is a Ngarinyin woman, and his great grandfather is a Worrorra man. Kallum identifies with all of the Mowanjum tribes and commonly paints all three of the Wandjinas. At the age of 16, Kallum moved to Freshwater Cove where he became interested in painting. He began life there working as a tour guide through the old sites. Here, Donny Woolagoodja taught him everything about the Wandjina, his people, his culture and art. The cultural and artistic knowledge that Kallum gained over time helped him develop his own unique style that encompassed painting the three Wandjinas along with Dumbi the owl. His artwork was displayed at the Syndey Opera House Homeground Markets Exhibition in 2017 and is currently displayed at Mowanjum Arts. Not only is Kallum a talented artist, he is also a singer songwriter and the front man of the local band, The Cruisers. Previously, Kallum worked at Derby radio station playing his music on air and recording his work. However, now Kallum performs more freelance gigs and is developing as a solo artist, performing at Mowanjum Festival multiple times. Kallum also works at the North Western coast as a ranger. He finds that this allows him to keep his connection to his country strong. While on country, Kallum finds he has the strongest connection to his painting and his song writing. He paints majority of his spirit paintings while travelling up the coast and writes lyrics and music that explore his culture, history and country.ART CENTRE
The Mowanjum Aboriginal Art and Culture Centre is a creative hub for the Worrorra, Ngarinyin and Wunumbal tribes, who make up the Mowanjum community outside Derby, Western Australia. These three language groups are united by their belief in the Wandjina as a sacred spiritual force and the creators of the land. They are the custodians of Wandjina law and iconography. The centre hosts exhibitions, workshops and community projects, as well as the annual Mowanjum Festival, one of Australia's longest running indigenous cultural festivals.Wandjina Dreaming
DETAILS
- 50 x 60cm (unframed)
- 75x54cm (framed)
- Etching on paper
ARTIST
Shontae Charles is a young Worrorra and Nykina woman. Born in Derby, she was grown-up by elder and lawman Donny Woolagoodja and Mildred Mungulu, both renowned artists.
Shontae paints the traditional Wandjina stories learnt in her childhood but fills her work with a youthful boldness and simplicity. In addition to her painting, Shontae works at the Mowanjum Art and Culture Centre, and enjoys educating visitors about her country and Wandjina culture.
ART CENTRE
The Mowanjum Aboriginal Art and Culture Centre is a creative hub for the Worrorra, Ngarinyin and Wunumbal tribes, who make up the Mowanjum community outside Derby, Western Australia. These three language groups are united by their belief in the Wandjina as a sacred spiritual force and the creators of the land. They are the custodians of Wandjina law and iconography. The centre hosts exhibitions, workshops and community projects, as well as the annual Mowanjum Festival, one of Australia's longest running indigenous cultural festivals.
Wandjinas are most active as cloud spirits during the monsoon period, bringing rain to the entire Kimberley region. The eyes of the Wandjina can represent thunderstorms and even cyclones. The bigger and darker the eyes, the more powerful the Wandjina is said to be. The haloes and lines around the face represent different cloud formations and lightning. Small brush marks on the Wandjinas body usually represent rain drops.”
MOWANJUM ARTS
Wandjina the Rainmaker
This Wandjina is called the rainmaker. Two lightning spirits in a cave are waiting for the clouds to gather up, so he can make the rain
and lightning. Where you see a lot of Wandjinas they represent the laws of trees, rivers, rocks, bush fruit, animals and all of creation.
The Wandjinas give the law on how we have to treat and use these creations. These customs are carried on today. The Wandjina
spirits are highly respected by the Worrora, Ngarinyin and Wunumbul people who live at Mowanjum and up the Gibb River Road to
Kalumburru in the North West Kimberley region of Western Australia.
DETAILS
- Acrylic on canvas
- Dimensions: 60 x 80cm
- Cat No. 24-0379
ARTIST
As well as having two major Kimberley painters (now deceased) as grandparents – Nyunkuny Paddy Bedford on her father’s side and Jack Dale Mengenen on her mother’s, Petrina already has established herself as a dedicated artist in her own right. Remarkably, she first exhibited paintings at a commercial gallery in Perth at age twelve, when three of her canvases were hung alongside the work of her maternal grandfather. The oldest of seven girls, Petrina has Gija affiliations on her father’s side and Ngarinyin on her mother’s and lives at Imintji community, 230 km east of Derby along the Gibb River Road. She was exceptionally close to her maternal grandfather, who passed away two years ago. He first encouraged her to paint as a young girl; “painting makes me sad because I think about him, I miss him a lot. But it also makes me feel close to him. I think he might be proud of me now”. She was clearly greatly influenced by her grandfather who, she says, took a special interest in her. At lunch, she managed to completely distract us from eating with her soŌly spoken yet highly expressive renditions of stories from Ngarinyin country. Petrina uses her own style when painting, but the subjects she turns to are similar to her grandfather’s; Wanjina and classical stories relevant to her family. She loves to experiment with paƩern, very evident in her boab nut carving, a technique at which she excels. Her painting style is looser than her carving in which her mark making, when using just a sharp pen knife, can be exceptionally detailed and precise. Text from, 'Mowanjum Daytrip,' August 2015, by Philippa Jahn, Desert River Sea, Art Gallery of WAART CENTRE
The Mowanjum Aboriginal Art and Culture Centre is a creative hub for the Worrorra, Ngarinyin and Wunumbal tribes, who make up the Mowanjum community outside Derby, Western Australia. These three language groups are united by their belief in the Wandjina as a sacred spiritual force and the creators of the land. They are the custodians of Wandjina law and iconography. The centre hosts exhibitions, workshops and community projects, as well as the annual Mowanjum Festival, one of Australia's longest running indigenous cultural festivals.Wandjina, Ungud & Wali
The Wandjina spirits are highly respected by the Worrora, Ngarinyin and Wanumbul people who live at Mowanjum and up the Gibb River Road to Kalumburru in the Northwest Kimberley of Australia. The Wandjina gave the law and the culture to the people to abide by, these customs are still carried on today. The Ungud helped the Wandjina in creation of the land, creating rivers, lakes, gorges, waterholes & billabongs. The Wali are our food source that our ancestors have hunted for thousands of years.
DETAILS
- Acrylic on canvas, unstretched
- Dimensions: 67 x 67cm
- Cat No. 24-0630
ARTIST
Born in Darwin NT to a European father and a Umida/Ungardun woman from the West Kimberley coast of WA. My mother and I moved from Darwin to Derby/Mowanjum and stayed with families for a while. We then moved to Broome until the age of 6. I returned to Derby where I now reside permanently with my partner, three children and a grandchild.
As a child I was taken out to my grandfather's country (Yaloon/Cone Bay), where my oldest uncle ( Sam Umbagai ) told me dreamtime stories and about country, he always told me the story about Dumbi the Owl. My uncle told us to respect the country and not to harm it or the animals or the spirits of the land will get angry and will punish us, and I learnt it at first hand. " When I was a child I was making humbug and not listening, I fell and hurt myself very badly " and from that day on I always listened. I've just began painting earlier this year (2017), and I like to paint the Jilinya the first bush woman. I was told she is the mother of all people, and there is a place in George Waters area on the coast where her dreaming is at, and I am connected to this place through my mother's grandfather (mother's side) and that is the reason I paint her.
ART CENTRE
The Mowanjum Aboriginal Art and Culture Centre is a creative hub for the Worrorra, Ngarinyin and Wunumbal tribes, who make up the Mowanjum community outside Derby, Western Australia. These three language groups are united by their belief in the Wandjina as a sacred spiritual force and the creators of the land. They are the custodians of Wandjina law and iconography. The centre hosts exhibitions, workshops and community projects, as well as the annual Mowanjum Festival, one of Australia's longest running indigenous cultural festivals.
Wandjina (Cloud & Rain Spirit)
The Wandjina spirits are highly respected by the Worrora, Ngarinyin and Wanumbul people who live at Mowanjum and up the Gibb River Road to Kalumburru in the Northwest Kimberley of Australia. The Wandjina gave the law and the culture to the people to abide by, these customs are still carried on today. The Ungud helped the Wandjina in creation of the land, creating rivers, lakes, gorges, waterholes & billabongs. The Wali are our food source that our ancestors have hunted for thousands of years.
DETAILS
- Etching on paper
- Dimensions: 50 x 60cm
- Cat No. 23-0196-7/30
ARTIST
Mildred was born at Derby in the old Native Hospital (Numbala Nunga) and spent her 22 years at Mowanjum (“old site”) on the Derby Highway. This was where Mildred watched her father Alan Mungulu (dec) make didgeridoos and boomerangs at home.
“When I was there, I would see him do them.”
In 1979 the community was moved to a new site on the Gibb River Road and this is where Mildred now resides. Mildred paints, “what represents us, from our mothers and fathers. We keep it going from generation to generation.” Her artwork demonstrates an array of traditional symbolic representations, including Wandjinas from the three tribes of the Mowanjum community: the Ngarinyin, Worrorra and Wunambal tribes. Coastal Wandjina are signified by the series of circular lines crossed with radial lines fanning from the Wandjina’s head. It has been said this represents a cyclone and lightning.
Traditionally a painter, etching is a new medium now being explored by Mildred.
ART CENTRE
The Mowanjum Aboriginal Art and Culture Centre is a creative hub for the Worrorra, Ngarinyin and Wunumbal tribes, who make up the Mowanjum community outside Derby, Western Australia. These three language groups are united by their belief in the Wandjina as a sacred spiritual force and the creators of the land. They are the custodians of Wandjina law and iconography. The centre hosts exhibitions, workshops and community projects, as well as the annual Mowanjum Festival, one of Australia's longest running indigenous cultural festivals.
Waŋupini
Waŋupini (clouds) is the same story as my father taught me about the sunset. The sun is going down. The sunset on the clouds is like the red sails of the Makassan's ships leaving at the end of the season. We cry because the Makassans are leaving.
The mokuy (spirit) is dancing and leaving - the body is dead and the sprit is going to Balambala. This is Yirritja bäpurru (ceremony), the same as my Grandfather, Yaŋgarriny - this is his manikay (song):
The sun will rise again. The Makassans will come back. And the spirit will return. My father, who passed away, taught me this story. He taught me how to paint the story of Waŋupini.
DETAILS
- Framed print
- 91cm x 71cm (framed size)
- Cat No. 5817-22-47/50
ARTIST
Bulthirrirri (b. 1981) is an emerging artist and the daughter (by Yolngu law) of great painter and sculpter Nawurapu Wunuŋmurra (dec). Under the guidance of her father (recently deceased) Bulthirrirri is following and maintaining her families rich artistic heritage through her own hand. Bulthirrirri is also the granddaughter of Yaŋgarriny, great Dhaḻwaŋu clan artist and leader who was a painter of the Yirrkala Church Panels and winner of the best bark prize in the Telstra National Aboriginal and Torres Strait islander art awards in 1997. Balthirrirri has assisted other artists at the Dhaḻwaŋu homeland of Gåṉgaṉ and began making artworks on her own in late 2007. Since then she has explored numerous innovative styles of her own devise. In 208-9 she was elected to the management committee of the art centre. Following the death of her father Nawurapu she assumed responsibility for the creation of art in his themes.
ART CENTRE
Buku-Larrŋgay Mulka Centre is the Indigenous community controlled art centre of Northeast Arnhem Land. Located in Yirrkala, a small Aboriginal community on the northeastern tip of the Top End of the Northern Territory, approximately 700km east of Darwin. The primarily Yolŋu (Aboriginal) staff of around twenty services Yirrkala and the approximately twenty-five homeland centres in the radius of 200km.
In the 1960’s, Narritjin Maymuru set up his own beachfront gallery from which he sold art that now graces many major museums and private collections. He is counted among the art centre’s main inspirations and founders, and his picture hangs in the museum. His vision of Yolŋu-owned business to sell Yolŋu art that started with a shelter on a beach has now grown into a thriving business that exhibits and sells globally.
Today Buku-Larrŋgay Mulka Centre consists of two divisions; the Yirrkala Art Centre which represents Yolŋu artists exhibiting and selling contemporary art and The Mulka Project which acts as a digital production studio and archiving centre incorporating the museum.
Kunkurra (The Spiralling Wind)
"Kunkurra', the spiralling wind is associated with several sites in the Kardbam clan estate. On one level, this painting can be interpreted as a depiction of the kinds of mini-cyclones common during the wet season in Arnhem Land, where the artist lives.
DETAILS
- Stringybark (Eucalyptus Tetradonta) with Ochre Pigment and PVA Fixative
- Dimensions: 90 x 40cm
- Cat No. 1491-24
ARTIST
Obed is an emerging artist at Maningrida Arts and Culture. He has learnt to paint under the tutelage of his father, the acclaimed senior artist Ivan Namirrkki. In 2023 he was runner up in the National Emerging Artist Prize, with his bark painting Wak Wak, 2023. In 2024 Obed entered the Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) for the first time for his Lorrkkon, Kunkurra. He was a finaliast and took home the Wandjuk Marika Memorial 3D Sculpture Award for the Lorrkkon.
ART CENTRE
Maningrida Arts & Culture is a pre-eminent site of contemporary cultural expression and art-making, abundant with highly collectable art and emerging talent. Through their homelands resource organisation, Bawinanga Aboriginal Corporation, artists turned an art trade that began just over 50 years ago into a multi-million dollar arts and cultural enterprise.
Maningrida Arts & Culture supported hundreds of artists on their homelands, more than 20 artworkers, held 20 exhibitions annually, won prestigious awards, and enjoyed the international fame and success that the boom in the Aboriginal art market of the 1990s and 2000s enabled.
Kunkurra (The Spiralling Wind)
"Kunkurra', the spiralling wind is associated with several sites in the Kardbam clan estate. On one level, this painting can be interpreted as a depiction of the kinds of mini-cyclones common during the wet season in Arnhem Land, where the artist lives.
DETAILS
- Stringybark (Eucalyptus Tetradonta) with Ochre Pigment and PVA
- Dimensions: 61 x 17 x 17cm
- Cat No. 260-24
ARTIST
Obed is an emerging artist at Maningrida Arts and Culture. He has learnt to paint under the tutelage of his father, the acclaimed senior artist Ivan Namirrkki. In 2023 he was runner up in the National Emerging Artist Prize, with his bark painting Wak Wak, 2023. In 2024 Obed entered the Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) for the first time for his Lorrkkon, Kunkurra. He was a finaliast and took home the Wandjuk Marika Memorial 3D Sculpture Award for the Lorrkkon.
ART CENTRE
Maningrida Arts & Culture is a pre-eminent site of contemporary cultural expression and art-making, abundant with highly collectable art and emerging talent. Through their homelands resource organisation, Bawinanga Aboriginal Corporation, artists turned an art trade that began just over 50 years ago into a multi-million dollar arts and cultural enterprise.
Maningrida Arts & Culture supported hundreds of artists on their homelands, more than 20 artworkers, held 20 exhibitions annually, won prestigious awards, and enjoyed the international fame and success that the boom in the Aboriginal art market of the 1990s and 2000s enabled.
Kunkurra' (the spiralling wind) is associated with several sites in the Kardbam clan estate. On one level, this painting can be interpreted as a depiction of the kinds of mini-cyclones common during the wet season in Arnhem Land, where the artists live.
Maningrida Arts & Culture
Kunkurra (The Spiralling Wind)
Kunkurra' (the spiralling wind) is associated with several sites in the Kardbam clan estate. On one level, this painting can be interpreted as a depiction of the kinds of mini-cyclones common during the wet season in Arnhem Land, where the artist lives.
DETAILS
- Stringybark (Eucalyptus Tetradonta) with Ochre Pigment and PVA Fixative
- Dimensions: 88 x 38cm
- Cat No. 1431-24
ARTIST
Kenan Namunjdja is the eldest son of artists Bulanj (1965-2018) and Deborah Yulidjirri. Trained by his father who was nationally and internationally recognised for his particularly fine rarrk and depiction of the kunkurra (spiralling wind). His grandfather, Peter Marralwanga (1916-1987), was also a much celebrated bark painter and a leader in the 1970’s Outstation movement. Kenan continues this strong legacy, through his exceptionally fine mark-making in depicting the djang of his country, Mankorlod.
ART CENTRE
Maningrida Arts & Culture is a pre-eminent site of contemporary cultural expression and art-making, abundant with highly collectable art and emerging talent. Through their homelands resource organisation, Bawinanga Aboriginal Corporation, artists turned an art trade that began just over 50 years ago into a multi-million dollar arts and cultural enterprise.
Maningrida Arts & Culture supported hundreds of artists on their homelands, more than 20 artworkers, held 20 exhibitions annually, won prestigious awards, and enjoyed the international fame and success that the boom in the Aboriginal art market of the 1990s and 2000s enabled.
Acclaimed senior artists including John Mawurndjul, brothers Owen Yalandja and Crusoe Kurddal, Bob Burruwal, Lena Yarinkura and Laurie Marbaduk continue to expand their mediums and narratives. Artists such as Paul Nabulumo, Samson Bonson, Anniebelle Marrngamarrnga, Samuel Namundja, Kay Lindjuwanga and Fiona Jin-majinggal have emerged to become a formidable force in the national and international landscape. They sit alongside the leading proponents of a fibre sculpture movement. Frewa Bardaluna, Helen Stewart, Vera Cameron, Lorna Jin-gubarrangunyja, Freda Wayartja Ali, Bonnie Burarn.garra and Doreen Jinggarrabarra are a group of mostly female artists who reinterpret functional forms using natural fibres to create highly sought-after pieces across the fine art and interior design sectors.
Kunkurra (The Spiralling Wind)
Kunkurra' (the spiralling wind) is associated with several sites in the Kardbam clan estate. On one level, this painting can be interpreted as a depiction of the kinds of mini-cyclones common during the wet season in Arnhem Land, where the artist lives.
DETAILS
- Stringybark (Eucalyptus Tetradonta) with Ochre Pigment and PVA Fixative
- Dimensions: 130 x 15 x 15cm
- Cat No. 364-24
ARTIST
Maningrida Arts & Culture is a pre-eminent site of contemporary cultural expression and art-making, abundant with highly collectable art and emerging talent. Through their homelands resource organisation, Bawinanga Aboriginal Corporation, artists turned an art trade that began just over 50 years ago into a multi-million dollar arts and cultural enterprise.
Maningrida Arts & Culture supported hundreds of artists on their homelands, more than 20 artworkers, held 20 exhibitions annually, won prestigious awards, and enjoyed the international fame and success that the boom in the Aboriginal art market of the 1990s and 2000s enabled.
Acclaimed senior artists including John Mawurndjul, brothers Owen Yalandja and Crusoe Kurddal, Bob Burruwal, Lena Yarinkura and Laurie Marbaduk continue to expand their mediums and narratives. Artists such as Paul Nabulumo, Samson Bonson, Anniebelle Marrngamarrnga, Samuel Namundja, Kay Lindjuwanga and Fiona Jin-majinggal have emerged to become a formidable force in the national and international landscape. They sit alongside the leading proponents of a fibre sculpture movement. Frewa Bardaluna, Helen Stewart, Vera Cameron, Lorna Jin-gubarrangunyja, Freda Wayartja Ali, Bonnie Burarn.garra and Doreen Jinggarrabarra are a group of mostly female artists who reinterpret functional forms using natural fibres to create highly sought-after pieces across the fine art and interior design sectors.
Kenan Namunjdja is the eldest son of artists Bulanj (1965-2018) and Deborah Yulidjirri. Trained by his father who was nationally and internationally recognised for his particularly fine rarrk and depiction of the kunkurra (spiralling wind). His grandfather, Peter Marralwanga (1916-1987), was also a much celebrated bark painter and a leader in the 1970’s Outstation movement. Kenan continues this strong legacy, through his exceptionally fine mark-making in depicting the djang of his country, Mankorlod.
ART CENTRE
Maningrida Arts & Culture is a pre-eminent site of contemporary cultural expression and art-making, abundant with highly collectable art and emerging talent. Through their homelands resource organisation, Bawinanga Aboriginal Corporation, artists turned an art trade that began just over 50 years ago into a multi-million dollar arts and cultural enterprise.
Maningrida Arts & Culture supported hundreds of artists on their homelands, more than 20 artworkers, held 20 exhibitions annually, won prestigious awards, and enjoyed the international fame and success that the boom in the Aboriginal art market of the 1990s and 2000s enabled.
Acclaimed senior artists including John Mawurndjul, brothers Owen Yalandja and Crusoe Kurddal, Bob Burruwal, Lena Yarinkura and Laurie Marbaduk continue to expand their mediums and narratives. Artists such as Paul Nabulumo, Samson Bonson, Anniebelle Marrngamarrnga, Samuel Namundja, Kay Lindjuwanga and Fiona Jin-majinggal have emerged to become a formidable force in the national and international landscape. They sit alongside the leading proponents of a fibre sculpture movement. Frewa Bardaluna, Helen Stewart, Vera Cameron, Lorna Jin-gubarrangunyja, Freda Wayartja Ali, Bonnie Burarn.garra and Doreen Jinggarrabarra are a group of mostly female artists who reinterpret functional forms using natural fibres to create highly sought-after pieces across the fine art and interior design sectors.
Kunkurra (The Spiralling Wind)
Kunkurra' (the spiralling wind) is associated with several sites in the Kardbam clan estate. On one level, this painting can be interpreted as a depiction of the kinds of mini-cyclones common during the wet season in Arnhem Land, where the artist lives.
DETAILS
- Stringybark (Eucalyptus Tetradonta) with Ochre Pigment and PVA Fixative
- Dimensions: 100 x 33cm
- Cat No. 1429-24
ARTIST
Kenan Namunjdja is the eldest son of artists Bulanj (1965-2018) and Deborah Yulidjirri. Trained by his father who was nationally and internationally recognised for his particularly fine rarrk and depiction of the kunkurra (spiralling wind). His grandfather, Peter Marralwanga (1916-1987), was also a much celebrated bark painter and a leader in the 1970’s Outstation movement. Kenan continues this strong legacy, through his exceptionally fine mark-making in depicting the djang of his country, Mankorlod.
ART CENTRE
Maningrida Arts & Culture is a pre-eminent site of contemporary cultural expression and art-making, abundant with highly collectable art and emerging talent. Through their homelands resource organisation, Bawinanga Aboriginal Corporation, artists turned an art trade that began just over 50 years ago into a multi-million dollar arts and cultural enterprise.
Maningrida Arts & Culture supported hundreds of artists on their homelands, more than 20 artworkers, held 20 exhibitions annually, won prestigious awards, and enjoyed the international fame and success that the boom in the Aboriginal art market of the 1990s and 2000s enabled.
Acclaimed senior artists including John Mawurndjul, brothers Owen Yalandja and Crusoe Kurddal, Bob Burruwal, Lena Yarinkura and Laurie Marbaduk continue to expand their mediums and narratives. Artists such as Paul Nabulumo, Samson Bonson, Anniebelle Marrngamarrnga, Samuel Namundja, Kay Lindjuwanga and Fiona Jin-majinggal have emerged to become a formidable force in the national and international landscape. They sit alongside the leading proponents of a fibre sculpture movement. Frewa Bardaluna, Helen Stewart, Vera Cameron, Lorna Jin-gubarrangunyja, Freda Wayartja Ali, Bonnie Burarn.garra and Doreen Jinggarrabarra are a group of mostly female artists who reinterpret functional forms using natural fibres to create highly sought-after pieces across the fine art and interior design sectors.
Waŋupini
Waŋupini (clouds) is the same story as my father taught me about the sunset. The sun is going down. The sunset on the clouds is like the red sails of the Makassan's ships leaving at the end of the season. We cry because the Makassans are leaving.
The mokuy (spirit) is dancing and leaving - the body is dead and the sprit is going to Balambala. This is Yirritja bäpurru (ceremony), the same as my Grandfather, Yaŋgarriny - this is his manikay (song):
The sun will rise again. The Makassans will come back. And the spirit will return. My father, who passed away, taught me this story. He taught me how to paint the story of Waŋupini.
DETAILS
- Paper: Hahnemuhle
- Dimensions: 69cm x 49cm (paper size), 50 x 32.5cm (image size)
- Cat No. 9169-22-12/40
ARTIST
Bulthirrirri (b. 1981) is an emerging artist and the daughter (by Yolngu law) of great painter and sculpter Nawurapu Wunuŋmurra (dec). Under the guidance of her father (recently deceased) Bulthirrirri is following and maintaining her families rich artistic heritage through her own hand.
Bulthirrirri is also the granddaughter of Yaŋgarriny, great Dhaḻwaŋu clan artist and leader who was a painter of the Yirrkala Church Panels and winner of the best bark prize in the Telstra National Aboriginal and Torres Strait islander art awards in 1997. Balthirrirri has assisted other artists at the Dhaḻwaŋu homeland of Gåṉgaṉ and began making artworks on her own in late 2007. Since then she has explored numerous innovative styles of her own devise. In 2008-9 she was elected to the management committee of the art centre. Following the death of her father Nawurapu she assumed responsibility for the creation of art in his themes.
ART CENTRE
Buku-Larrŋgay Mulka Centre is the Indigenous community controlled art centre of Northeast Arnhem Land. Located in Yirrkala, a small Aboriginal community on the northeastern tip of the Top End of the Northern Territory, approximately 700km east of Darwin. The primarily Yolŋu (Aboriginal) staff of around twenty services Yirrkala and the approximately twenty-five homeland centres in the radius of 200km.
Today Buku-Larrŋgay Mulka Centre now consists of two divisions; the Yirrkala Art Centre which represents Yolŋu artists exhibiting and selling contemporary art and The Mulka Project which acts as a digital production studio and archiving centre incorporating the museum.
Clouds V1 OF 13
The clouds has many meaning in the zenadth kes. It tells when the weather changes if its going to be wet season or dry season.
DETAILS
- Monoprint on paper, framed by Don Whyte
- 82 x 64cm (framed)
- Cat No. 461-23
ARTIST
I was born on Thursday Island but I grew up in Moa Island, Kubin Village. As a child I’ve learnt certain things in life, traditional work with art. I live on Kubin with my mother and two siblings. I would like to base my painting and drawings on the environment surroundings location of my area which is the landscape of the sea and cultural heritage. I haven’t been to any previous exhibitions or art awards but it would be amazing if I attended one in the next upcoming years.
ART CENTRE
Moa Arts is the trading name of Ngalmun Lagau Minaral, which means ‘our island’s design’. We are an Indigenous owned and operated Art Centre on Mua Island in the western cluster of Zenadth Kes – the Torres Strait.
Through our artwork we keep Mualgal traditions and Zenadth Kes arts and culture strong for everyone. Creative inspiration for the work at Moa Arts comes from Mualgal ancestral stories, totemic representation and connections to sea, land, sky and family. Mua’s artists don’t have to look far to be inspired. The island and its surrounding waters and reefs hold a diverse set of land and marine ecosystems with niches for many rare and unique species such as dugong and sea turtle.
Moa Arts’ reputation is built on the calibre of its limited edition lino prints and etchings, works on paper, woven baskets and bags and traditional island style jewellery – beaded necklaces and earrings. Everything is made on Moa Island and the proceeds of our sales go back directly to our artists and developing creative programs to support the community.
Big Rain Coming
Big rain coming. All the pink galahs in the tree. Stopping to get out of the rain. Dogs on the hill looking at the rain coming.
DETAILS
- Painting on paper, framed by Don Whyte
- Dimensions: 25.5cm x 33.7cm (unframed), 44cm x 36.5cm (framed)
- Cat No. 13505-24
ARTIST
Grace Kemarre Robinya is a celebrated artists from Tangentyere Artists, based in Mparntwe/Alice Springs. Robinya was born and raised in Ntaria (Hermannsburg), her father was a Rubuntja from Mt Hay (Urre), and her mother was an Ungkwanaka from Running Water (Irremangkere).
An artist and seed jeweller of many years standing, Robinya hot-wires and paints traditional patterns onto gum nuts, which she threads together with the Innernte (Batwing Coral) and other seeds she collects during winter. Robinya’s paintings have always been highly considered and labour intensive, and generally distinguished by very neat multi-layered dot work, balanced colour schemes and symmetrical compositions.
More recently, Robinya’s figurative paintings, often near miniatures, detail important locations and events in her life: her childhood at Hermannsburg Mission and surrounding Ntaria region, or visits to her beloved Irremangkere. She also records details of station life at Coniston and Napperby Stations, where she and her husband worked as a domestic, and ringer respectively, while raising their family.
A frequent return visitor to Laramba Aboriginal Community now established on Napperby Station, Robinya also documents exciting football and softball carnivals in which her grandsons and granddaughters feature, playing for the winning Anmatyerr teams. These and other works detail life in the remote Aboriginal communities in which Robinya has lived throughout her life.
ART CENTRE
Established in 2005, Tangentyere Artists is an Aboriginal owned, not-for-profit enterprise for Town Camp Artists. When Tangentyere Artists began, Jukurrpa Artists, Warumpi and Sandover Arts (all art centres previously operating in Alice Springs) had closed. Irrkerlanyte Arts and Ngurratjuta Iltja Ntjarra were servicing a limited number of Town Camp families. Tangentyere Artists was established with the express aims of combatting the prevalence of carpetbaggers, providing professional and career development opportunities to artists and operating an industry best practice enterprise.
Today, Tangentyere Artists is the central hub for arts activities across the Town Camps. This includes the internationally renowned Yarrenyty Arltere Artists, located at Larapinta Town Camp. We work to a studio, gallery and outreach program, supporting emerging and established artists. Tangentyere Artists also welcome Aboriginal artists visiting town from remote communities, offering an open and safe environment where people from across Central Australia can sit down together to create artworks and share artistic skills as well as stories.
Tangentyere Artists is committed to innovative, sustainable, fine art outcomes for Town Camp Artists. We are renowned for figurative paintings, diversity of mark making, rich colour palettes and embracing traditional and contemporary Aboriginal art making. Our practice includes short animations. Through their art, Town Camp artists communicate stories about their families, identity and everyday lives. Their contemporary art practice aims to show the everyday experience of Aboriginal people in Central Australia and through this work Tangentyere Artists have become part of the national conversation on reconciliation.
Big Rain Coming
Big rain coming. All the pink galahs in the tree. Stopping to get out of the rain. Dogs on the hill looking at the rain coming.
DETAILS
- Painting on paper, framed by Don Whyte
- Dimensions: 25.5cm x 33.7cm (unframed), 44cm x 36.5cm (framed)
- Cat No. 13507-24
ARTIST
Grace Kemarre Robinya is a celebrated artists from Tangentyere Artists, based in Mparntwe/Alice Springs. Robinya was born and raised in Ntaria (Hermannsburg), her father was a Rubuntja from Mt Hay (Urre), and her mother was an Ungkwanaka from Running Water (Irremangkere).
An artist and seed jeweller of many years standing, Robinya hot-wires and paints traditional patterns onto gum nuts, which she threads together with the Innernte (Batwing Coral) and other seeds she collects during winter. Robinya’s paintings have always been highly considered and labour intensive, and generally distinguished by very neat multi-layered dot work, balanced colour schemes and symmetrical compositions.
More recently, Robinya’s figurative paintings, often near miniatures, detail important locations and events in her life: her childhood at Hermannsburg Mission and surrounding Ntaria region, or visits to her beloved Irremangkere. She also records details of station life at Coniston and Napperby Stations, where she and her husband worked as a domestic, and ringer respectively, while raising their family.
A frequent return visitor to Laramba Aboriginal Community now established on Napperby Station, Robinya also documents exciting football and softball carnivals in which her grandsons and granddaughters feature, playing for the winning Anmatyerr teams. These and other works detail life in the remote Aboriginal communities in which Robinya has lived throughout her life.
ART CENTRE
Established in 2005, Tangentyere Artists is an Aboriginal owned, not-for-profit enterprise for Town Camp Artists. When Tangentyere Artists began, Jukurrpa Artists, Warumpi and Sandover Arts (all art centres previously operating in Alice Springs) had closed. Irrkerlanyte Arts and Ngurratjuta Iltja Ntjarra were servicing a limited number of Town Camp families. Tangentyere Artists was established with the express aims of combatting the prevalence of carpetbaggers, providing professional and career development opportunities to artists and operating an industry best practice enterprise.
Today, Tangentyere Artists is the central hub for arts activities across the Town Camps. This includes the internationally renowned Yarrenyty Arltere Artists, located at Larapinta Town Camp. We work to a studio, gallery and outreach program, supporting emerging and established artists. Tangentyere Artists also welcome Aboriginal artists visiting town from remote communities, offering an open and safe environment where people from across Central Australia can sit down together to create artworks and share artistic skills as well as stories.
Tangentyere Artists is committed to innovative, sustainable, fine art outcomes for Town Camp Artists. We are renowned for figurative paintings, diversity of mark making, rich colour palettes and embracing traditional and contemporary Aboriginal art making. Our practice includes short animations. Through their art, Town Camp artists communicate stories about their families, identity and everyday lives. Their contemporary art practice aims to show the everyday experience of Aboriginal people in Central Australia and through this work Tangentyere Artists have become part of the national conversation on reconciliation.
Rain time
All the birds flying and enjoying the water after the big rain. Cloudy day.
DETAILS
- Painting on paper, framed by Don Whyte
- 44cm x 36.5cm (framed)
- Cat No. 13508-24
ARTIST
Grace Kemarre Robinya is a celebrated artists from Tangentyere Artists, based in Mparntwe/Alice Springs. Robinya was born and raised in Ntaria (Hermannsburg), her father was a Rubuntja from Mt Hay (Urre), and her mother was an Ungkwanaka from Running Water (Irremangkere).
An artist and seed jeweller of many years standing, Robinya hot-wires and paints traditional patterns onto gum nuts, which she threads together with the Innernte (Batwing Coral) and other seeds she collects during winter. Robinya’s paintings have always been highly considered and labour intensive, and generally distinguished by very neat multi-layered dot work, balanced colour schemes and symmetrical compositions.
More recently, Robinya’s figurative paintings, often near miniatures, detail important locations and events in her life: her childhood at Hermannsburg Mission and surrounding Ntaria region, or visits to her beloved Irremangkere. She also records details of station life at Coniston and Napperby Stations, where she and her husband worked as a domestic, and ringer respectively, while raising their family.
A frequent return visitor to Laramba Aboriginal Community now established on Napperby Station, Robinya also documents exciting football and softball carnivals in which her grandsons and granddaughters feature, playing for the winning Anmatyerr teams. These and other works detail life in the remote Aboriginal communities in which Robinya has lived throughout her life.
ART CENTRE
Established in 2005, Tangentyere Artists is an Aboriginal owned, not-for-profit enterprise for Town Camp Artists. When Tangentyere Artists began, Jukurrpa Artists, Warumpi and Sandover Arts (all art centres previously operating in Alice Springs) had closed. Irrkerlanyte Arts and Ngurratjuta Iltja Ntjarra were servicing a limited number of Town Camp families. Tangentyere Artists was established with the express aims of combatting the prevalence of carpetbaggers, providing professional and career development opportunities to artists and operating an industry best practice enterprise.
Today, Tangentyere Artists is the central hub for arts activities across the Town Camps. This includes the internationally renowned Yarrenyty Arltere Artists, located at Larapinta Town Camp. We work to a studio, gallery and outreach program, supporting emerging and established artists. Tangentyere Artists also welcome Aboriginal artists visiting town from remote communities, offering an open and safe environment where people from across Central Australia can sit down together to create artworks and share artistic skills as well as stories.
Tangentyere Artists is committed to innovative, sustainable, fine art outcomes for Town Camp Artists. We are renowned for figurative paintings, diversity of mark making, rich colour palettes and embracing traditional and contemporary Aboriginal art making. Our practice includes short animations. Through their art, Town Camp artists communicate stories about their families, identity and everyday lives. Their contemporary art practice aims to show the everyday experience of Aboriginal people in Central Australia and through this work Tangentyere Artists have become part of the national conversation on reconciliation.
Clouds V10 OF 12
The clouds has many meaning in the zenadth kes. It tells when the weather changes if its going to be wet season or dry season.
DETAILS
- Monoprint on paper, unframed
- Dimensions: 77 x 56cm (paper), 60 x 40cm (image)
- Cat No. 469-23
ARTIST
I was born on Thursday Island but I grew up in Moa Island, Kubin Village. As a child I’ve learnt certain things in life, traditional work with art. I live on Kubin with my mother and two siblings. I would like to base my painting and drawings on the environment surroundings location of my area which is the landscape of the sea and cultural heritage. I haven’t been to any previous exhibitions or art awards but it would be amazing if I attended one in the next upcoming years.
ART CENTRE
Moa Arts is the trading name of Ngalmun Lagau Minaral, which means ‘our island’s design’. We are an Indigenous owned and operated Art Centre on Mua Island in the western cluster of Zenadth Kes – the Torres Strait. Through our artwork we keep Mualgal traditions and Zenadth Kes arts and culture strong for everyone.
Creative inspiration for the work at Moa Arts comes from Mualgal ancestral stories, totemic representation and connections to sea, land, sky and family. Mua’s artists don’t have to look far to be inspired. The island and its surrounding waters and reefs hold a diverse set of land and marine ecosystems with niches for many rare and unique species such as dugong and sea turtle.
Moa Arts’ reputation is built on the calibre of its limited edition lino prints and etchings, works on paper, woven baskets and bags and traditional island style jewellery – beaded necklaces and earrings. Everything is made on Moa Island and the proceeds of our sales go back directly to our artists and developing creative programs to support the community.
Clouds V3 OF 13
The clouds has many meaning in the zenadth kes. It tells when the weather changes if its going to be wet season or dry season.
DETAILS
- Monoprint on paper, framed by Don Whyte
- 85 x 65cm (framed)
- Cat No. 462-23
ARTIST
I was born on Thursday Island but I grew up in Moa Island, Kubin Village. As a child I’ve learnt certain things in life, traditional work with art. I live on Kubin with my mother and two siblings. I would like to base my painting and drawings on the environment surroundings location of my area which is the landscape of the sea and cultural heritage. I haven’t been to any previous exhibitions or art awards but it would be amazing if I attended one in the next upcoming years.
ART CENTRE
Moa Arts is the trading name of Ngalmun Lagau Minaral, which means ‘our island’s design’. We are an Indigenous owned and operated Art Centre on Mua Island in the western cluster of Zenadth Kes – the Torres Strait. Through our artwork we keep Mualgal traditions and Zenadth Kes arts and culture strong for everyone.
Creative inspiration for the work at Moa Arts comes from Mualgal ancestral stories, totemic representation and connections to sea, land, sky and family. Mua’s artists don’t have to look far to be inspired. The island and its surrounding waters and reefs hold a diverse set of land and marine ecosystems with niches for many rare and unique species such as dugong and sea turtle.
Moa Arts’ reputation is built on the calibre of its limited edition lino prints and etchings, works on paper, woven baskets and bags and traditional island style jewellery – beaded necklaces and earrings. Everything is made on Moa Island and the proceeds of our sales go back directly to our artists and developing creative programs to support the community.
Waŋupini
Waŋupini (clouds) is the same story as my father taught me about the sunset. The sun is going down. The sunset on the clouds is like the red sails of the Makassan's ships leaving at the end of the season. We cry because the Makassans are leaving. The mokuy (spirit) is dancing and leaving - the body is dead and the sprit is going to Balambala.
This is Yirritja bäpurru (ceremony), the same as my Grandfather, Yaŋgarriny - this is his manikay (song): The sun will rise again. The Makassans will come back. And the spirit will return. My father, who passed away, taught me this story. He taught me how to paint the story of Waŋupini.
DETAILS
- Paper: Hahnemuhle
- Framed by Don Whyte
- 75cm x 57.5cm (framed)
- Cat No. 9175-22-20/50
ARTIST
Bulthirrirri (b. 1981) is an emerging artist and the daughter (by Yolngu law) of great painter and sculpter Nawurapu Wunuŋmurra (dec). Under the guidance of her father (recently deceased) Bulthirrirri is following and maintaining her families rich artistic heritage through her own hand.
Bulthirrirri is also the granddaughter of Yaŋgarriny, great Dhaḻwaŋu clan artist and leader who was a painter of the Yirrkala Church Panels and winner of the best bark prize in the Telstra National Aboriginal and Torres Strait islander art awards in 1997. Balthirrirri has assisted other artists at the Dhaḻwaŋu homeland of Gåṉgaṉ and began making artworks on her own in late 2007. Since then she has explored numerous innovative styles of her own devise. In 2008-9 she was elected to the management committee of the art centre. Following the death of her father Nawurapu she assumed responsibility for the creation of art in his themes.
ART CENTRE
Buku-Larrŋgay Mulka Centre is the Indigenous community controlled art centre of Northeast Arnhem Land. Located in Yirrkala, a small Aboriginal community on the northeastern tip of the Top End of the Northern Territory, approximately 700km east of Darwin. The primarily Yolŋu (Aboriginal) staff of around twenty services Yirrkala and the approximately twenty-five homeland centres in the radius of 200km.
Today Buku-Larrŋgay Mulka Centre now consists of two divisions; the Yirrkala Art Centre which represents Yolŋu artists exhibiting and selling contemporary art and The Mulka Project which acts as a digital production studio and archiving centre incorporating the museum.
Wet Season
DETAILS
- Acrylic on Canvas, stretched
- Dimensions: 100cm x 100cm
- Cat No. 342-24
ARTIST
Andrew Robertson is an artist with Ngukurr Arts
ART CENTRE
Ngukurr Art Centre sits a stone’s throw from the banks of the Roper River in Ngukurr, South East Arnhem Land. The Art Centre, like the town of Ngukurr, is unique – bringing together people of many different clans and language groups including Ngalakgan, Alawa, Mangarrayi, Ngandi, Marra, Warndarrang, Nunggubuyu, Ritharrngu-Wägilak and Rembarrnga. Together these clans are known as Yugul Mangi.
Namarrkon is the Lightning Man. In the wet season he is angry and creates flashes of lightning, loud thunder and then torrential rain from the storm clouds where he lives.
From late October Namarrkon’s thunder signals bush tucker is ready to harvest... In January and February he strikes trees and splits them with lightening.
MARRAWUDDI ARTS & CULTURE
Namarrkon (Lightning Man)
Namarrkon is the Lightning Man, the source of the fierce tropical storms in Western Arnhem Land during the big wet.
In the wet season Namarrkon lives among the storm clouds, sitting down and watching the people below. This is the time he is angry and creates flashes of lightning, loud thunder and then torrential rain.
From late October Namarrkon’s thunder signals bush tucker is ready to harvest. This is the start of the ‘build-up’ season before the proper rains come. Namarrkon’s presence gets stronger through the wet season. In January and February Namarrkon strikes trees and splits them with lightening. Namarrkon’s presence and hence the monsoon season subsides in early March.
DETAILS
- Ochre and Acrylic on Arches Paper
- Dimensions: 21 x 9cm (unframed)
- Cat No. 2232-23
ARTIST
Ray Mudjandi, from Mirarr and Western Arrernte clans is an aspiring young artist living in Djibbiyak in the heart of Kakadu National Park.
Mudjandi was born in Darwin and grew up between Djibbiyak and Katherine. As a young child he experienced and overcame several serious health conditions, experiences that have influenced his creative practice. The young Mudjandi was very imaginative and spent much of his time drawing. Like most young people he enjoyed video games, Marvel comics, and watching cartoons and superhero movies, but also loved watching family members and senior artists painting. When he was in Katherine, he spent a lot of time with western Arnhem Land artist John Lemibanda.
Today Mudjandi continues to create artworks at Marrawuddi Art & Culture in Jabiru. He is constantly creating new superhero characters with intricate narratives, often in response to his surroundings, and issues that may affect him and his community. Mudjandi’s work is a perfect balance between contemporary and traditional art, he works with his elders who teach him old traditional ways, whilst putting his urban spin on traditional styles. The contrast and synergy between contemporary Pop culture and Bininj culture is at the heart of Mudjandi’s work. The same contrasts are at play between the naive and profound.
"My grandpa taught me how to do my artwork, we did painting with Manyilk. I like to paint and draw, mostly superheroes, Spiderman is my favourite" - Ray Mudjandi 2018
ART CENTRE
Marrawuddi Arts and Culture is a beautiful Community Arts Centre located in the repurposed Jabiru Bakery in the heart of the World Heritage Listed Kakadu National Park. The stunningly renovated building, which welcomes dozens of visitors daily, features a vibrant working space for artists use as well as a beautiful exhibition area and delicious coffee. Tourists are encouraged to spend time with artists and learn about the beautiful artworks available for purchase.
The quality of artworks for sale at Marrawuddi is exceptional and all stock is created by artists living in or around the Kakadu and wider West Arnhem region. The strength of the ancient, evolving and continuing Kakadu and West Arnhem culture is clear at Marrawuddi. Staff support artists through regular bush trips collecting traditional materials as well as through workshops for new skill development such as screen-printing.
Marrawuddi is seen by many as a flagship signalling Jabiru’s positive future as the town undergoes its Mirarr-led transition from mining town to regional service hub and tourism centre. Marrawuddi is owned and governed by Mirarr Traditional Owners through their organisation Gundjeihmi Aboriginal Corporation and all proceeds from Marrawuddi are used in Gundjeihmi’s community work.
Namarrkon (Lightning Man)
Namarrkon is the Lightning Man, the source of the fierce tropical storms in Western Arnhem Land during the big wet. Namarrkon’s body is shaped like a praying-mantis. He makes lightning flashes with lightning rods that go around his body from his ears to his genitals.
In this painting Namarrkon’s power to light up the sky is expressed by the wild illuminated face of the figure, energetic hatching, arched elbow and flexed hands. He is often depicted with stone axes attached to his knees and elbows.
Namarrkon is honoured in song and dance during ceremonies, so that he remains content and does not alter the balance of the seasons.
DETAILS
- Dimensions: 80cm x 36cm
- Cat No. 844-24
ARTIST
Timothy was born in Mudginbardi (Mudginberri) Outstation, growing up between Mudginbardi and Jabiru attending school. Tim grew up learning to paint from his brother in law, Joshua Bangarr and now passes his knowledge on to his son Amos Djandjomerr.
ART CENTRE
Marrawuddi Arts and Culture is a beautiful Community Arts Centre located in the repurposed Jabiru Bakery in the heart of the World Heritage Listed Kakadu National Park. The stunningly renovated building, which welcomes dozens of visitors daily, features a vibrant working space for artists use as well as a beautiful exhibition area and delicious coffee. Tourists are encouraged to spend time with artists and learn about the beautiful artworks available for purchase. The quality of artworks for sale at Marrawuddi is exceptional and all stock is created by artists living in or around the Kakadu and wider West Arnhem region. The strength of the ancient, evolving and continuing Kakadu and West Arnhem culture is clear at Marrawuddi. Staff support artists through regular bush trips collecting traditional materials as well as through workshops for new skill development such as screen-printing. Marrawuddi is seen by many as a flagship signalling Jabiru’s positive future as the town undergoes its Mirarr-led transition from mining town to regional service hub and tourism centre. Marrawuddi is owned and governed by Mirarr Traditional Owners through their organisation Gundjeihmi Aboriginal Corporation and all proceeds from Marrawuddi are used in Gundjeihmi’s community work.
Namarrkon the Lightning Spirit
Namarden or Namarrkon are Eastern Kunwinjku are names for the Lightning Spirit. This entity, which is responsible for lightning and thunder, is painted on both stone and bark in a form described as ‘like a grasshopper’.
Namarrkon is said to have made Ngaldjurr (Leichardt’s or the spectacular grasshopper). The species emerges, mates and is most active and visible in the season known as Kunemeleng, between October and December when there are intense electrical storms. Ngaldjurr is then said to be ‘looking for’ Namarrkon.
Namarrkon makes lightning and thunder by striking out with kurlbburru (stone axes) which protrude from its joints. Today, the Kuninjku will not leave axes lying out in the open during an electrical storm as the axes act as an attraction to the destructive force of Namarrkon. The lines emanating from Namarrkon’s head are said to be mardno or lightning bolts of power.
DETAILS
- Stringybark (Eucalyptus Tetradonta) with Ochre Pigment and PVA Fixative
- Dimensions: 125 x 60cm
- Cat No. 566-24
ARTIST
Kuninjku artist Paul Nabulumo is a painter and sculptor. He is the son of acclaimed artist, Mick Kubarkku (1925 – 2008), who was known for his painting of dirdbim (moon, sun and stars) and the associated site on his Kulmarru clan estate. Nabulumo learned under his guidance, watching him paint on rock surfaces and bark paintings as a young man.
The artist continues to paint the iconic imagery handed down from his father, including Ngalyod (Rainbow Serpent), mimih (rock country spirit), yawkyawk (female water spirits), Kubumi (waterholes) and djulng (Ancestral bones). Nabulumo maintains strong connection to his heritage, living and working at Yikkarrakkal Outstation which sits adjacent to the dirdbim and kubumi djang (Ancestral) sites . However, he has developed his own distinct aesthetic, characterised by striking combinations of fine and elegant rarrk, figurative elements and bold negative space. Nabulumo began exhibiting in 2000, participating in his first group show at Aboriginal Art & Pacific (Sydney).
ART CENTRE
Maningrida Arts & Culture is a pre-eminent site of contemporary cultural expression and art-making, abundant with highly collectable art and emerging talent. Through their homelands resource organisation, Bawinanga Aboriginal Corporation, artists turned an art trade that began just over 50 years ago into a multi-million dollar arts and cultural enterprise.
Maningrida Arts & Culture supported hundreds of artists on their homelands, more than 20 artworkers, held 20 exhibitions annually, won prestigious awards, and enjoyed the international fame and success that the boom in the Aboriginal art market of the 1990s and 2000s enabled.
Acclaimed senior artists including John Mawurndjul, brothers Owen Yalandja and Crusoe Kurddal, Bob Burruwal, Lena Yarinkura and Laurie Marbaduk continue to expand their mediums and narratives. Artists such as Paul Nabulumo, Samson Bonson, Anniebelle Marrngamarrnga, Samuel Namundja, Kay Lindjuwanga and Fiona Jin-majinggal have emerged to become a formidable force in the national and international landscape. They sit alongside the leading proponents of a fibre sculpture movement. Frewa Bardaluna, Helen Stewart, Vera Cameron, Lorna Jin-gubarrangunyja, Freda Wayartja Ali, Bonnie Burarn.garra and Doreen Jinggarrabarra are a group of mostly female artists who reinterpret functional forms using natural fibres to create highly sought-after pieces across the fine art and interior design sectors.