IVAN NAMIRRKKI

“We have been all around the world to exhibitions. I am the voice of this artists group and a strong man; a proud traditional owner who is happy to inform my peoples of our future in telling stories around the world. We are thinking about our history, always thinking as we are creating and learning, and my family put their stories on some bark and some rocks here in this country. For my kids and grandkids to learn and teach their kids and grandkids, I think this is really wonderful. This is really important to me and the people of this community, so that this story can keep me strong story, one that is passed on for future generations.”

Ivan Namirrkki

Kuninjku artist Ivan Namirrkki was born in 1961 and was taught to paint by his father Peter Marralwanga (1917-1987) – one of Maningrida’s most senior founding artists and a renowned bark painter and political proponent of the maintenance of ‘Country’. Namirrki’s first works were in a figurative manner and focussed on stories like Kalawan and Namorrorddo for his Kardbam clan lands near Mankorlod. He helped his father work on two exhibitions in Perth in 1981 and 1983 and travelled to Perth as part of the project. To distinguish his own figurative works Namirrkki often used black paint as the background to the figures although, like his father, he also became adept at varying the pattern of infill from rarrk to dotting to sections of full colour to create dynamic visual effects.

In the late 1990s Namirrkki moved to paint geometric work in the Mardayin style – strongly symmetrical with evenly spaced bands of rarrk arrayed in concentric diamond forms. Thes diamond arrangement became his signature style, featuring in the background of works that show the complex interconnections between waterholes in his country. He also contrasted this patterning with dotting and other variations of rarrk to indicate the power of the sites. Common themes in his work include the ngalyod (rainbow serpent), birmlu and djarlahdjarlah (barramundi), kalawan (goanna), komorlo (little egret), komrdawh (freshwater turtle), nadjinem (black wallarroo), nakidikidi (a harmful and nasty spirit), namorrorddo (a profane spirit), nayuhyungki bininj (ancient people), ngaldjalarrk (snake), ngurrurdu (emu), and yawkyawk (a female water spirit). He is also known for painting leech djang located at Yibalaydjyigod and maggot djang located at Yirolk.

Anthropologist Luke Taylor cites the work of both Namirrkki and his father as transferring this djang (or dreaming), as a political act, invoking a tangible Aboriginal ontology in relation to land, life and the spiritual. “The point of painting such work for the market is to expose viewers directly to the power of the Ancestral realm,’ says Namirrkki. He has spoken of his love for country particularly the soothing qualities of living adjacent to its important waters. There is also a confidence and peace derived from living in one’s heartland that flows to all activities conducted there. Luke Taylor noted that “an understanding of the importance of country provides the context for more developed understanding of Kuninjku concepts of personhood, sociality, power, and health, as well as local constructions of other frameworks of human experience such as aesthetic experience.”

Namirrkki began exhibiting in the early 1980s. Since, his work has been presented in numerous group and solo shows in Australia and internationally. In 2006 he was a finalist in the National Gallery of Victoria’s Clemenger Contemporary Art Prize. Namirrkki’s art can be found in many

Namumuyak was a man who came from the sea and traveled inland. As he went he put children in their land and gave them their languages and their clan. He also put plants on the land and told bininj which ones they should eat and which ones they should not. So this man Namumuyak went on to Kardbam Clan country, there he put his own image and became a dreaming on the Kardbam country where he remains today.

The mimih spirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience.

The mimih sits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists, or apprentices, employ the mimih as an important exercise for the practice of the rarrk technique, as it could be achieved on a smaller surface area before, being attempted in larger scale.

The initial mimih manifestation was a large form that almost mirrored the anatomy of a human. Contemporaneously, mimih are depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that mimih spirits are notable for in their interaction with bininj (humans).

The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design.

Now a familiar and broadly depicted figure, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture.

Variation in the creation of mimih reflects the individualism of each artist and their stylistic markers.

The mimih spirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience.

The mimih sits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists, or apprentices, employ the mimih as an important exercise for the practice of the rarrk technique, as it could be achieved on a smaller surface area before, being attempted in larger scale.

The initial mimih manifestation was a large form that almost mirrored the anatomy of a human. Contemporaneously, mimih are depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that mimih spirits are notable for in their interaction with bininj (humans).

The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design.

Now a familiar and broadly depicted figure, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture.

Variation in the creation of mimih reflects the individualism of each artist and their stylistic markers.

The mimih spirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience.

The mimih sits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists employ the mimih as an important exercise for the practice of the rarrk technique, as it could be achieved on a smaller surface area before, being attempted in larger scale.

The initial mimih manifestation was a large form that almost mirrored the anatomy of a human. Contemporaneously, mimih are depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that mimih spirits are notable for in their interaction with bininj (humans).

The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design.

Now a familiar and broadly depicted figure, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture.

Variation in the creation of mimih reflects the individualism of each artist and their stylistic markers.

The mimih spirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience.

The mimih sits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists employ the mimih as an important exercise for the practice of the rarrk technique, as it could be achieved on a smaller surface area before, being attempted in larger scale.

The initial mimih manifestation was a large form that almost mirrored the anatomy of a human. Contemporaneously, mimih are depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that mimih spirits are notable for in their interaction with bininj (humans).

The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design.

Now a familiar and broadly depicted figure, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture.

Variation in the creation of mimih reflects the individualism of each artist and their stylistic markers.

The rainbow serpent is a powerful mythological figure for all Aboriginal people throughout Australia. Characteristics of the rainbow serpent vary greatly from group to group and also depending on the site. Often viewed as a female generative figure, the rainbow serpent can sometimes also be male. She has both powers of creation and destruction and is most strongly associated with rain, monsoon seasons and of course the colour seen in rainbows which arc across the sky like a giant serpent.

Known as Ngalyod in the Kuninjku language of western central Arnhem Land, the rainbow serpent is mostly associated with bodies of water such as billabongs, creeks, rivers and waterfalls where she resides. Therefore, she is responsible for the production of most water plants such as water lilies, water vines, algae and palms, which grow near water. The roar of waterfalls in the escarpment country is said to be her voice. Large holes in stony banks of rivers and cliff faces are said to be her tracks.

She is held in awe because of her apparent ability to renew her life by shedding her skin and emerging anew. By painting this figure on bark today, Aboriginal people are carrying on the longest uninterrupted mythological tradition in the world, which has been the subject of art and ceremony for possibly thousands of years.

The mimih spirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience.

The mimih sits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists employ the mimih as an important exercise for the practice of the rarrk technique, as it could be achieved on a smaller surface area before, being attempted in larger scale.

The initial mimih manifestation was a large form that almost mirrored the anatomy of a human. Contemporaneously, mimih are depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that mimih spirits are notable for in their interaction with bininj (humans).

The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design.

Now a familiar and broadly depicted figure, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture.

Variation in the creation of mimih reflects the individualism of each artist and their stylistic markers.

“This Kangaroo belongs to Yirridjdja moiety, you can see him on that kunwardde bim (rock painting). He’s big and red” – Ivan Namirrkki. Kandakidj is a lead creator celebrated in the Wubarr, Mardayin and Lorrkkon ceremonies. In these ceremonies, initiates are introduced to sacred artefacts that are considered parts of the body of Kandakidj. Artists often pay attention to represent these powerful items inside the body of their figures by decorating them in special ways.

Hunting kangaroos is a vital part of Kuninjku life and intimate knowledge of animal anatomy is formed through hunting and preparing food. However, in the ceremonial context, initiates learn that the Ancestral beings were also hunted and their body parts transformed into sacred objects and features of the landscape. These transformations retain a measure of the power of the original Djang. Initiates may be brought to visit these important sites and are shown the objects used in dances in the ceremony. Artists, such as Namirrkki, use their bark paintings as a means of revealing connections between these different realms of understanding and help to create coherence between different layers of Kuninjku knowledge.

It is well known that Aboriginal art often depicts images of sacred totems or dreamings of Aboriginal culture. However, the world of the non-sacred also provides a rich source of subject matter for Aboriginal art.

Much of the rock art of western Arnhem Land for example features secular topics such as common food animals and plants, depicted because of their economic importance but also merely because of their existence in the environment.

Ivan Namirrkki has painted a plains turkey or kori bustard (ardeotis kori), which they call ‘benok’ in Kuninjku. He painted this bird with several eggs of which one is cracked open. The dry season reaching from May till October is hunting season for these and many other birds. They are much liked as food source by Aboriginal people and are very common on Namirrki’s country.

The rainbow serpent is a powerful mythological figure for all Aboriginal people throughout Australia. Characteristics of the rainbow serpent vary greatly from group to group and also depending on the site. Often viewed as a female generative figure, the rainbow serpent can sometimes also be male. She has both powers of creation and destruction and is most strongly associated with rain, monsoon seasons and of course the colour seen in rainbows which arc across the sky like a giant serpent.

Known as Ngalyod in the Kuninjku language of western central Arnhem Land, the rainbow serpent is mostly associated with bodies of water such as billabongs, creeks, rivers and waterfalls where she resides. Therefore she is responsible for the production of most water plants such as water lilies, water vines, algae and palms, which grow near water.

The roar of waterfalls in the escarpment country is said to be her voice. Large holes in stony banks of rivers and cliff faces are said to be her tracks. She is held in awe because of her apparent ability to renew her life by shedding her skin and emerging anew. By painting this figure on bark today, Aboriginal people are carrying on the longest uninterrupted mythological tradition in the world, which has been the subject of art and ceremony for possibly thousands of years.

This is a painting of kinga, also known as namanjwarre, the saltwater crocodile (crocodylus porosus). These animals are totems for people of Yirridjdja moiety, one of the two patrimoieties of Arnhem Land aboriginal cultures.

Crocodiles are rarely killed for food but their eggs are keenly sought after during the wet season when the females are nesting. A major crocodile sacred site exists near the outstation of Kurrindin, in the Liverpool River district.

“This Kangaroo belongs to Yirridjdja moiety, you can see him on that kunwardde bim (rock painting). He’s big and red” – Ivan Namirrkki

Kandakidj is a lead creator celebrated in the Wubarr, Mardayin and Lorrkkon ceremonies. In these ceremonies, initiates are introduced to sacred artefacts that are considered parts of the body of Kandakidj. Artists often pay attention to represent these powerful items inside the body of their figures by decorating them in special ways.

Hunting kangaroos is a vital part of Kuninjku life and intimate knowledge of animal anatomy is formed through hunting and preparing food. However, in the ceremonial context, initiates learn that the Ancestral beings were also hunted, and their body parts transformed into sacred objects and features of the landscape. These transformations retain a measure of the power of the original Djang. Initiates may be brought to visit these important sites and are shown the objects used in dances in the ceremony.

Artists, such as Namirrkki, use their bark paintings as a means of revealing connections between these different realms of understanding and help to create coherence between different layers of Kuninjku knowledge.

The rainbow serpent is a powerful mythological figure for all Aboriginal people throughout Australia. Characteristics of the rainbow serpent vary greatly from group to group and also depending on the site. Often viewed as a female generative figure, the rainbow serpent can sometimes also be male. She has both powers of creation and destruction and is most strongly associated with rain, monsoon seasons and of course the colour seen in rainbows which arc across the sky like a giant serpent.

Known as Ngalyod in the Kuninjku language of western central Arnhem Land, the rainbow serpent is mostly associated with bodies of water such as billabongs, creeks, rivers and waterfalls where she resides. Therefore she is responsible for the production of most water plants such as water lilies, water vines, algae and palms, which grow near water.

The roar of waterfalls in the escarpment country is said to be her voice. Large holes in stony banks of rivers and cliff faces are said to be her tracks. She is held in awe because of her apparent ability to renew her life by shedding her skin and emerging anew. By painting this figure on bark today, Aboriginal people are carrying on the longest uninterrupted mythological tradition in the world, which has been the subject of art and ceremony for possibly thousands of years.

A profane/malevolent spirit.

A profane/malevolent spirit.

The mimih spirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience.

The mimih sits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists employ the mimih as an important exercise for the practice of the rarrk technique, as it could be achieved on a smaller surface area before, being attempted in larger scale.

The initial mimih manifestation was a large form that almost mirrored the anatomy of a human. Contemporaneously, mimih are depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that mimih spirits are notable for in their interaction with bininj (humans).

The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design.

Now a familiar and broadly depicted figure, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture.

Variation in the creation of mimih reflects the individualism of each artist and their stylistic markers.

The mimih spirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience.

The mimih sits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists employ the mimih as an important exercise for the practice of the rarrk technique, as it could be achieved on a smaller surface area before, being attempted in larger scale.

The initial mimih manifestation was a large form that almost mirrored the anatomy of a human. Contemporaneously, mimih are depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that mimih spirits are notable for in their interaction with bininj (humans).

The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design.

Now a familiar and broadly depicted figure, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture.

Variation in the creation of mimih reflects the individualism of each artist and their stylistic markers.