• Mandjabu (Fish Trap)
  • Mandjabu (Fish Trap)

Ngarridjdjan Raylene Bonson

Mandjabu (Fish Trap)


Edition:
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  • Water-based woodblock print
  • Image size: 45.4cm x 30.35cm
  • Paper size: 59.5cm x 43.25cm
  • Cat No 1420-22

Ngarridjdjan Raylene Bonson is a talented textile artist, specialising in linocut technique. She has been working with Bábbarra Designs since 2012 and now has a permanent role as an arts worker. Raylene was mentored by her late mother, Nancy Gununwanga, a senior textile artist at Bábbarra Designs and a founding member of Bábbarra Women’s Centre.

Raylene is well known for her designs depicting ancestral stories and ceremonial objects, in particular lorrkon (hollow log for burial ceremony), kunmadj (dillybag) and mandjabu (conical fishtrap).

Bábbarra Women’s Centre works with women who from more than 12 language groups in the Maningrida region who come together to share knowledge and ideas. The group's main social enterprise, Bábbarra Designs, has been going strong since 1989, designing and hand-printed exquisite textiles that are sold around the world. Each length of fabric is unique and tells the ancestral stories of Arnhem Land country and cultures.

"People tell us our designs are bold and elegant, but for us they are more than designs: these designs tell the stories of our lives. They bring a lot of joy to everyone – to us, our families and our customers alike. Working creatively with Bábbarra Designs is a way for us to achieve financial independence, for our community and the next generations."

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.

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