GURRWILINY YOLNGU: People of the Arafura Wetlands by Everywhen Artspace |McCulloch & McCulloch

GURRWILINY YOLNGU

GURRWILINY YOLNGU

People of the Arafura Wetlands

Everywhen

June 9-27, 2023

Front: Dorothy Djampalil, Raypiny Dhawu (Fresh Water Story), 2022, acrylic on canvas, 61 x 87 cm (detail)

Left: Kathleen Malpamba, Woven Mat, 2023, Gunga (pandanus) and natural dyes, 80 x 80 cm (detail)

Over page: Joy Burruna painting

Text © Susan McCulloch & Bula’bula Arts

Design ©Lisa Reidy

Images © The artists

partnership with Bula’bula Arts

Published by Everywhen Artspace Artspace

39 Cook Street, Flinders, Vic 3929

EXHIBITINGARTISTS

Painters

Andrew Wanamilil

Angela Malibirr Banyawarra

Mr B Black Durbuma

Dorothy Djampalil

EVONNE Gayuwirri

Evonne Rraraypum

JB Fisher

Joy Borruwa

Joy Burruna

Peter Gambung

Selena Munguluma

Weavers

Jenny Malibirr

Julie Djulibing Malibirr

Karen Durrurrnga

Kathleen Malpamba

Margaret Djarrbalal

Mary Dhalapany

Mary Matjandatja Malibirr

“All Aboriginal people originate from a spiritual source, fixed in a particular place in their land or the sea. These ‘spiritual reservoirs’ are often in the form of special waterholes made by Wangarr (creative spirits) that were created long ago close to the beginning of time. These creator beings moved across the countryside, shaping the land and implanting in each tract of country, the spiritual life force for the people who were to own it. These creative spirits took many forms and when they gave the land to each group, they also gave songs, dances, ceremony, the associated laws and language.”

In this exhibition, 18 talented painters and weavers celebrate their traditional area of the Arafura Wetlands.

Made famous by the film The Ten Canoes (as in the still top right, from the film of Ramingining resident and actor Jamie Gulpilil), the Aboriginal Memorial of 200 ceremonial poles in the National Gallery of Australia and more recently, the YouTube series Black As and the young Tik Tok sensations Taris & Taris, the art of Ramingining in Central Arnhem Land has had a long and illustrious history. The artists of Ramingining

Their paintings feature birds, animals, water life and creation stories while intricately woven natural fibre mats and bags have both practical and ceremonial usage.

Four hundred and fifty kilometres east of Darwin the Arafura Wetlands is a near pristine 700-1300 square kilometre freshwater floodplain and likely the largest of its kind in Australia. It is hugely rich in plant species, water life, birds, marsupials, and other wildlife. Its traditional owners – the Yolngu – are based largely in the community of Ramingining, bordering the edge of the Wetlands.

Art from Ramingining has attracted international acclaim since the 1930s and 40s with the detailed bark paintings by artists such as David Malangi, George Milpurrurru and others. Its community art centre Bula’bula Arts currently supports the work of 150 artist members who work in fibre art, painting and print making. In the early 1990s, the artists introduced painting on canvas, choosing to restrict their colour palette to those of the country in greys, greens, browns, yellows, black and white.

The work of 11 painters, and 7 weavers is represented in this exhibition. Many paintings, such as those by current Bula’bula chair Andrew Wanamilil, senior artists Dorothy Djampalil, Evonne Gayuwrri, Joy Burruna and Peter Gambung, and young generation artist Selena Munguluma are multi layered and fluid in their design in subject matters reflective of their people’s rich cultural history and richness of their freshwater country’s plants and wildlife.

Other artists such as the late Mr B Black Durbuma, Evonne Rraraypum and Joy Borruwa use fine lines and more spare imagery to depict the scales and movement of barramundi through the water, or the creation story of the flying fox and dogs with which the fox interacted.

The strikingly fine fibre bags and mats are meticulously woven from pandanus and coloured with natural dyes by weavers Jenny Malibirr, Julie Djulibing Malibirr, Karen Durrurrnga, Kathleen Malpamba, Margaret Djarrbalal, Mary Dhalapany, Mary Matjandatja Malibirr. Traditionally, the intricately woven conical mats called Nganiyal were erected in tent-like fashion and served as both an insect screen and protection from the sun, and as a sitting mat when folded. They are also used in Ceremonies. Today, artists weave many different shapes including flat, round and oblong.

All these works emanate from the artists’ traditional lands, centering around the life-filled, spectacularly beautiful Arafura Wetlands.

Susan McCulloch May 2023

Andrew Wanamilil

Andrew is an early career artist who has progressed rapidly in a shor time with his painting techniques and unique composition style. He is the son of renowned artist Bobby Bununggurr and continues to paint storylines and songlines connected to their Ganalbingu clan. Andrew is the current Chairperson of Bula’Bula Arts.

Language: Ganbalbingu

The creation story for Ganalbingu people took place near the middle section of the Glyde River where it becomes the Goyder River. Their land, Ngaliyindi, sits astride the Arafura Swamp in Central Arnhem Land. Many Ganalbingu artists paint totemic species significant to their clan. These can include baru (crocodile), banda (long necked turtle), buliya (catfish), yalman (waterlilies), gumang (magpie geese), dakawa (fresh water yabby), ratjuk (barramundi), warrnyu (flying fox) and more.

Andrew Wanamilil, Raypiny Dhawu (Fresh Water Story), 2022, acrylic on canvas, 61 x 87 cm | MM6904 | $3400

Andrew Wanamilil, Raypiny Dhawu (Fresh Water Story), 2022, acrylic on canvas, 61 x 87 cm | MM6910 | $2800

Angela Malibirr Banyawarra

Born in Ramingining, Angela is the daughter of acclaimed artist Bobby Bununggurr. Her father spent time with her teaching her how to paint and teaching her significant storylines and songlines connected to their Ganalbingu clan. Angela is Bula’bula Arts current Vice Chair.

Language: Ganbalbingu

The long-necked turtle is a dreaming totem for the freshwater people, the Ganalbingu, whose country includes the World Heritage listed Arafura Wetlands in Central Arnhem Land, Northern Territory.

The Yolngu (people) of Arnhem Land originate from a spiritual source, fixed in a particular place in their land or the sea. These ‘Spiritual Reservoirs’ are often in the form of special waterholes made by Wangga (Creator Beings), long ago close to the beginning of time. These creator beings moved across the country side, shaping the land and implanting in each tract of country the spiritual life force for the people who were to own it.

Angela Malibirr Banyawarra, Banda (Long Necked Turtle), 2022, acrylic on canvas, 60 x 50 cm | MM6909 | $1650

Mr B Black Durbuma

Mr Black is known for his depiction of the Murrungun Morning Star story and the illustration of animal totems such as: the Black-headed Python, Longneck Tortoise, Butterflies and Sawfish. Born in 1954 in Central Arnhem Land, Black was taught the art of painting by his father.

Particularly known for his sculptures of the forest mokuy, a devil like creature, Black’s sculptures received an Honourable Mention in the Australian Heritage Commission Art Award in 1993, held at Old Parliament House, Canberra.

Black created four Dupan (Hollow Logs) for the renowned 1988 Aboriginal Memorial, an installation commemorating the deaths of all indigenous people since white occupation. The installation was exhibited at the Biennial of Sydney Beneath the Southern Cross, before moving to the National Gallery of Australia as a permanent display.

Black appeared in the 1967 film Across the Top a documentary by Malcolm Douglas recording the traditional life in Arnhem Land, the Gulf of Carpentaria and Cape York. In 2005 Black made his screen debut in De Heer’s award winning film The Ten Canoes playing one of the lead canoeists. The film was a great success and aided in educating the world about the Yolngu culture in Ramingining, Central Arnhem Land.

Black was also mentioned in the 2005 Sixth Annual Smart Art Survey, as featured in Australian Art Collector (Issue 33, p.117). Noted art critic Patrick Hutchings, nominated Mr B Black for inclusion in this national survey of highly recommended artists.

Language: Ganbalbingu

“This is a Dhuwa Story. In my back country in the other side we have lots of Barramundi. This is our mother’s totem. These barramundi are a little bit salt and a little bit fresh water. The Rarrk is depicting the water, and the shape of the tail and mouth indicate that they are Barramundi. The Rarrk is the fish and the water.” – Mr B Black

This beautiful depiction of Ratjuk (Barramundi) in the animated and calligraphic style becoming synonymous with Black’s work is painted on a background of the traditional crosshatching (Rarrk) technique of North east Arnhem land. The Rarrk represents the water, abundant with fish which could be salt water or freshwater. Freshwater Barramundi with yellow/ orange eyes has a sweeter flesh than the red eyed ocean dwelling Barramundi with firmer flesh. Barramundi has always been a staple food source for Yolngu and often 40 to 50 fish are caught in a few hours, cooked in silver paper on a fire to feed the hunters. The rest are strung on vine ropes and shared with family.

Mr B Black Durbuma, Barramundi (Ratjuk), 2022, acrylic on canvas, 61 x 87 cm

| MM6903

$3700

Dorothy Djampalil

Named after her mother, Dorothy is the daughter of one of the first recognised female painters in Ramingining. Dorothy only started painting at Bula’bula Arts in 2021, however she watched and practiced with her ngandi (mother) since she was a young child. She enjoys painting alongside her yapas (sisters), story lines and song lines connected to her mother’s Ganalbingu clan.

Language: Ganbalbingu

Dorothy Djampalil, Raypiny Dhawu (Fresh Water Story), 2022, acrylic on canvas, 61 x 87 cm | MM6911 | $2200

Evonne Gayuwrri

Evonne is Joy Burruna’s daughter and granddaughter of famous pioneer Ramingining artist Dorothy Djukulil. Joy Burruna was taught to paint by her mother at a young age. Burruna believed it was important to pass down her knowledge to Evonne so also taught her to paint at a young age. Evonne enjoys painting her Mari (mothers mother) dreamings of Buliya (Catfish) and Banda (long-necked turtle).

Language: Dabi

Evonne Gayuwrri, Raypiny Dhawu (Fresh Water Story), 2022, acrylic on canvas, 87 x 61 cm | MM6907 | $2400

Evonne Gayuwrri, Raypiny Dhawu (Fresh Water Story), 2022, acrylic on canvas, 50 x 60 cm | MM6901 | $1400

Evonne Rraraypum

Back in the Creation time, Warrnyu (Flying Foxes) once lived, like men, in caves. One day Djanyarr (The Dog), an ancestral being in the form of a man, came along, looking around for a place to live and heard a Flying Fox screaming. He went into the cave and into the sacred hole, frightening all the Flying Fox away. The Dog made three streams and the water went inside the cave. Two of these streams are good drinking water. In the middle is sacred water. No-one drinks from the middle of the stream. Children, men, women, young boys or girls are not allowed to drink from the middle of the stream, for if they drink from there, they will go grey too early.

Evonne is one of eight children from one of the first recognised female painters in Ramingining, D. Djukulul. She has only recently started to come and paint at the art centre, however she watched and practiced with her Mum since she was a young child, carrying on family tradition through painting song lines and story lines.

Language: Djambarrpuyngu

The Flying Fox made himself into a young man... that’s what Aboriginal people do today. They have ceremonies and dances to make the young boys into men. Dhapi (initiation ceremony) happen today because the Warrnyu (Flying Fox) people performed them a long time ago before the Yolgnu people.

The Dog travelled west across the Arafura Swamp. From there he travelled north to near Ramingining. There he met a female Dog. They both headed north, then west and onto the plains where they smelled an enticing aroma of cooking, way up in the north at Wessel Islands and decided to go there.

Lungurrma (the north-east wind) was carrying the smell.

One Dog headed north again, but the other Dog decided not to go with him and went back the opposite way. The first Dog that went to Malwanatharra (Sandy Point) went into the sea following its nose to wherever the smell was coming from. It is believed that this Dog still lives in the sea.

Evonne Rraraypum, Warrnyu Dhawu (Flying Fox Story), 2022, acrylic on canvas, 61 x 87 cm | MM6905 | $1800

JB Fisher

JB started painting for Bula’Bula Arts in around 1994. He spends his time between Ramingining and Maningrida, painting for both art centres and has also worked as a conservator for both art centres.

JB is committed to painting in natural bush ochres. He specialises in bark paintings and hollow logs which mainly depict stories about honey (colloquially known as sugarbag) and bush tucker.

Language: Marrangu

JB Fisher paints stories from his Dhuwa homeland in northeast Arnhem Land. Stories are passed on either paternally or maternally, and JB would have learnt these stories from his ancestors. The cross-hatching style is a traditional painting style of this area and can represent elements such as water, air and wind. His paintings often feature totemic animals of the fresh waters of north east Arnhem Land.

| $ 2400

Fisher, Narrgi’narrgi (Possum – Sugar Glider), 2023, acrylic on canvas, 61 x

MM6915

JoyBorruwa

Joy is one of eight children from one of the first recognised female painters in Ramingining. She has recently started to come and paint at the art centre, however she watched and practiced with her Mum since she was a young child.

Language: Djambarrpuyungu

Joy Borruwa, Warrnyu Dhawu (Flying Fox Story), 2023, acrylic on canvas, 87 x 61 cm | MM6916 | $2400

JoyBurruna

Burruna’s late mother was a renowned artist who was one of the first Yolngu women to ever paint. She paved the way for Yolngu women to not be seen as only weavers but painters too. Burruna learnt to paint by watching her mother and she now paints alongside her sisters, daughters and granddaughters with a family lineage of strong women painters.

Joy loves to paint stories about Morning Star, the very special and spiritual ceremony that is particular to her father’s side of the family and other clans in this region. She also paints the king brown snake and blue tongue lizard creation story for her country of Djarraya.

Sometimes Burruna will also paint the flying fox creation story for her mother’s country of Ngalyindi, and fresh water stories about long neck turtles and crocodiles. These stories are part of her family knowledge.

As well as being an artist for Bula’bula Arts, Joy is one of the directors.

Language: Djambarrpuyungu

Baru (the crocodile man) was from the Gumatj clan. People usually call him Gurdu Gurdu or Baru, which means crocodile. He lived his life at a place called Yirrkala. Living near him were other people, and when Baru didn’t have enough to eat he began to kill and eat these other people. After a while others noticed that some people were missing. When Baru went to the toilet, the people could smell this strong smell, so they knew that he had eaten the other people. Some men went to get help, taking message sticks to other tribes and sending smoke signals. When they came to Baru’s camp they started to spear him in the left side of his ribs. He dropped into the fire and burnt his left hand and maybe his right hand. He then ran into the bush and yelled to his countrymen – the animals, birds and fish that live on the land and in the sea. He stopped and he named the tribes, clans and places until he came to a place called Gamarru/Guyurru. There he took a rest and said to himself “This is where I stop and call this place Gamarru/Guyurru”. Baru, still in pain from the fire, then jumped into the water and turned himself into a crocodile. The fire left scars on his back.

Baru paintings belong to Gumatj and Warrawarra and the Marpi clan. This painting is used at death ceremonies or initiations and it normally is painted on the belly, which means the person the design is painted on is part of Gurdu Gurdu (the crocodile people).

Joy Burruna, Baru Dhawu (Crocodile Story), 2022, acrylic on canvas, 61 x 87 cm | MM6902

| $3700

The long-necked turtle is a dreaming totem for the freshwater people, the Ganalbingu, whose country includes the World Heritage listed Arafura Wetlands in Central Arnhem Land, Northern Territory.

These creator spirits took many forms. When they gave the land to each group they also gave songs, dances, ceremony, the associated laws and language. The Creation story for Ganalbingu people took place near the middle section of the Glyde River where it becomes the Goyder River. Their land, Ngaliyindi, sits astride the Arafura Swamp in Central Arnhem Land. Some of their major Creative Beings include Banda (freshwater long neck turtle) and Yalman (water lilies).

Joy Burruna, Banda (Long Neck Turtle), 2022, acrylic on canvas, 87 x 61 cm | MM6906 | $3700

The Morning Star Ceremony is from the Dhuwa moiety. I have painted the ceremony here. It’s got leaves from the banyan tree that makes figs for people to eat – they are part of our bush tucker.

The Morning Star is from my great grandfather, my grandfather and my father. I paint it for my family to show my sisters and brothers. My grandfather and my father have both passed away, so I teach the bunggul (dancing) to my children.

We make a little Morning Star (you can see a man holding that on the right side of the painting), so the big Morning Star can came out. It is a long ceremonial pole that we dance around. You can also see the little Morning Star in this painting. There are men with yidaki (didjeridoo) and bilma (clap sticks) singing the Morning Star song cycle part for my people. The women have banyan tree leaves that they are dancing with.

We make a big Morning Star pole as part of the ceremony. You can see that in the middle of this painting. Banumbirr – Morning Star – is an exchange ceremony with other clans in the Bapurru (clan group). The Morning Star is the first star you see in the sky in the mornings.

Joy Burruna, Banumbirr – Morning Star Ceremony (Dhuwa Moiety), 2022, acrylic on canvas, 60 x 50 cm | MM6912 | $ 2600

This painting depicts Dhulumburrk (Nymphaea violacea), a fresh waterlily. The flowers and lily pads of fresh waterlilies can be seen far and wide across the Arafura wetlands, providing coverage for many animal species including Banda (long-necked turtle) and Baru (crocodile). The flowers come in many beautiful colours, in particular a vibrant purple.

Joy Burruna, Dhulumburrk (Waterlily), 2023, acrylic on canvas, 87 x 61 cm | MM6914 | $3700

Peter Gambung

Peter is on Bula’Bula Arts board of directors and is a strong advocate for the equitable treatment of Yolngu people. He continues to paint stories to help teach younger generations. His paintings consist of his Gupapuyngu clan’s story lines and song lines.

Language: Gupapuyngu

This painting depicts diving ducks, both realistically and symbolically. A particular clan group uses the object in the painting during a hollow log ceremony (traditional funeral ceremony). The rrark (cross hatching) is the water. One group will perform the catfish dance whilst another performs as diving ducks. The object is whirled above the head to make a noise that emulates the ducks “roar”. The dance crescendos into the catfish coming closer to the diving ducks allowing them to eat the catfish in a frenzy.

Peter Gambung, Burala (Diving Ducks), 2022, acrylic on canvas, 87 x 61 cm | MM6900 | $2500

Selena Munguluma

Selena is an early career artist and is the daughter of senior artist Bobby Bununggurr and Joy Borruwa. She started painting at 12 years old and was taught by her bapa (father) and (mari) who was a renowned artist and one of the first ever Yolngu women to start painting.

Language: Ganalbingu

Selena Munguluma, Raypiny Dhawu (Fresh Water Story), 2022, acrylic on canvas, 61 x 87 cm

| MM6908 | $2400

Jenny Malibirr

Jenny is a proud Ganalbingu woman and master fibre artist. She enjoys spending time with her daughter Karen, collecting fibres and bush dyes from the Ramingining surrounds, and creating beautiful fibre art pieces.

Language: Ganalbingu

Traditionally, Nganiyal (conical mats) were used as an insect screen when erected in a tent-like shape, and as a sitting mat when folded. They are used in Ceremony as well as a functional item.

Nowadays, artists weave many different shapes including flat, round and oblong.

Jenny Malibirr, Woven Mat, 2023, Gunga (Pandanus) and natural dyes, 116 x 116 cm

| MM6918

$1500

Jenny Malibirr, Woven Mat, 2023, Gunga (Pandanus) and natural dyes, 127 x 127 cm | MM6923 | $1700

Jenny Malibirr, Woven Mat, 2023, Gunga (Pandanus) and natural dyes, 87 x 87 cm | MM6925 | $1300

Jenny Malibirr, Woven Mat, 2023, Gunga (Pandanus) and natural dyes, 120 x 120 cm | MM6929 | $1500

Julie Djulibing Malibirr

Mindirr (dilly bags) are made from gunga (Pandanus spiralis), balgurr (kurrajong) and natural bush dyes. The body of the mindirr is made from gunga, and the handles from balgurr. Once the gunga fronds and balgurr bark have been collected, they are stripped and prepared, then boiled with the dyes.

Mindirr were used traditionally for every day utilitarian purposes, particularly collecting bush foods such as bältji (yam). Traditionally, the balgurr handles were worn across the forehead while the body of the mindirr sat at the back, between the shoulder blades making it easily accessible when collecting ŋatha (food).

Djulibing was born of a Ganalbingu father and Liyagalawumirri mother at Murrwangi – “no town, just a bush camp, and went to Milingimbi as a baby; then they took me to Darwin because of the war (WWII). Really just outside at Kulpinya where I went to school.”

After the war she went back to Milingimbi with her parents by boat, the Arriwatha. Here she attended school for a short time –“I can’t remember who taught me, it wasn’t Miss Lowe; then I went to Galiwin’ku and worked in the gardens and cuttng lawns working with a Fijian called Binaya’ and

worked at weaving baskets and mats to Sheppy (Harold Shepherdson). Lamatha was a crew (sic) on a boat which brought us food like the barge. The captain was Willi and the boat was the Larrpan. I got married there to Lamatha at Galiwin’ku and had Matjarra and Dayn’kuli and Rrikili too. Many’tjurrpuy also and Rorrurruwuy and Marrawuma. These are all girls except for one boy. We came back to Milingimbi - Matjarra was at school; David McLay was there. I worked in the store, Lamatha in the outstation centre. I still did my weaving. Then we shifted to Langarra and then to here [Ramingining].”

Julie Djulibing Malibirr, Mindirr (Pandanus Bag), 2023, Gunga (Pandanus) and natural dyes, 30 x 25 cm | MM6919 | $800

Julie Djulibing Malibirr, Mindirr (Pandanus Bag), 2023, Gunga (Pandanus) and natural dyes, 28 x 22 cm | MM6920 | $800

Julie Djulibing Malibirr, Mindirr (Pandanus Bag), 2023, Gunga (Pandanus) and natural dyes, 30 x 28 cm | MM6921 | $800

Karen Durrurrnga

Karen learnt to weave at an early age from her ngändi (mother). In their spare time, Karen and her ngändi spend time collecting natural fibres and bush dyes and creating beautiful weavings.

Traditionally, Nganiyal (conical mats) were used as an insect screen when erected in a tent-like shape, and as a sitting mat when folded. They are used in Ceremony as well as a functional item.

Nowadays, artists weave many different shapes including flat, round and oblong.

Karen Durrurrnga, Woven Mat, 2023, Gunga (Pandanus) and natural dyes, 87 x 87 cm | MM6926 | $1200

Karen Durrurrnga, Woven Mat, 2023, Gunga (Pandanus) and natural dyes, 87 x 87 cm | MM6927 | $1200

Kathleen Malpamba, Woven Mat, 2023, Gunga (Pandanus) and natural dyes, 80 x 80 cm | MM6928 | $1300

| MM6931 | $1300

Karen Durrurrnga, Woven Mat, 2023, Gunga (Pandanus) and natural dyes, 122 x 122 cm

Kathleen Malpamba

Kathleen is waku (daughter) to the late, renowned fibre artist Robyn D. Malibirr. Her style is reminiscent of her ngandi’s (mothers), from whom she learnt to weave. Kathleen creates dynamic colour palettes with the dyes she makes from natural materials harvested from the jungle in her home in Gurrwiliny (Arafura Wetland) in Northeast Arnhem Land. She also makes a rare luminescent green from the inside of the pandanus tree which is something inherent in her family’s work.

Kathleen is an extraordinary weaver who also works hard on the community in the women’s safe house, and she is also highly skilled at hunting and fishing. She is a strong Yolngu Miyalk (woman).

Language: Djinba

Traditionally, Nganiyal (conical mats) were used as an insect screen when erected in a tent-like shape, and as a sitting mat when folded. They are used in Ceremony as well as a functional item.

Nowadays, artists weave many different shapes including flat, round and oblong.

Kathleen Malpamba, Woven Mat, 2023, Gunga (Pandanus) and natural dyes, 80 x 80 cm | MM6928 | $1300

Margaret Djarrbalabal

Djerrk are primarily made from the bark of Bal gurr (Red-flowered Kurrajong –Brachychiton megaphyllus) but sometimes Banyan tree (Ficus virens) and Cocky Apple tree (Planchonia careya). Sections of the tree are cut, and depending on the size, whole portions or part portions from the trunk. The inner bark is beaten or chewed to soften then dyed with natural bush dyes.

Margaret Djarrbalabal is a senior fibre artist at Bula’Bula Arts. She is an excellent weaver who is renowned for her Balgurr (Kurrajong) fibre creations, compared to Gunga (Pandanus) which is primarily used amongst Yolngu fibre artists. Margaret is undoubtedly one of the best natural bush string makers on the Lands. She is very adept in choosing the perfect leaves and bark to make her remarkable weavings.

Language: Ganalbingu

Once softened and dyed, parts of the fibre are separated into fine strips then rolled on the thigh to create a rope otherwise known as bush string. The bush string is then woven and knotted to create a djerrk (string bag). Djerrk were used for every day utilitarian purposes, particularly collecting bush foods such as bältji (yam).

Margaret Djarrbalabal, Djerrk (Bush String Bag), 2022, Balgurr (Kurrajong) and natural dyes, 35 x 33 cm | MM6917 | $800

Margaret Djarrbalabal, Mindirr (Pandanus Bag), 2023, Gunga (Pandanus) and natural dyes, 17 x 11 cm | MM6932 | $400 Margaret Djarrbalabal, Mindirr (Pandanus Bag), 2023, Gunga (Pandanus) and natural dyes, 17 x 11 cm | MM6933 | $400

Margaret Djarrbalabal, Mindirr (Pandanus Bag), 2023, Gunga (Pandanus) and natural dyes, 17 x 11 cm | MM6934 | $400 Margaret Djarrbalabal, Mindirr (Pandanus Bag), 2023, Gunga (Pandanus) and natural dyes, 17 x 11 cm | MM6935 | $400

Mary Dhapalany

Dhapalany is a very skilled weaver. She has been making fibre objects for utilitarian and ritual use since her early teenage years. Her work includes mindirr (dilly bags), pandanus mats, gay’wu (bush string bags) and fish traps.

Dhapalany’s intricate fibre art creations have been displayed across the world. She has been selected as a finalist on a number of occasions for her works.

Language: Mandhalpuy

Traditionally, Nganiyal (conical mats) were used as an insect screen when erected in a tent-like shape, and as a sitting mat when folded. They are used in Ceremony as well as a functional item.

Nowadays, artists weave many different shapes including flat, round and oblong.

Mary Dhapalany, Woven Mat, 2023, Gunga (Pandanus) and natural dyes,125 x 125 cm, | MM6924

$1700

Mary Matjandatja Malibirr, Woven Mat, 2023, Gunga (Pandanus) and natural dyes, 58 x 58 cm | MM6922 | $490

| $ 2400

Mary Dhapalany, Woven Mat, 2023, Gunga (Pandanus) and natural dyes, 68 x 210 cm

MM6930

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