REDOT FINE ART GALLERY in collaboration with Buku-Larrnggay Mulka Arts (Yirrkala) presents
Trial Bay: Gurka’wuy – A Solo Show by Wukun Wanambi A Collection of Fine Buku-Larrnggay Mulka Barks and Larrakitj
6 th January - 31 st January 2016
For a high resolution, downloadable, PDF version of the this catalogue, with pricing, please send us an email to info@redotgallery.com Thank you.
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Landscape of Yirrkala Source: Š Photo Courtesy of Buku-Larrnggay Mulka Arts (Yirrkala) & Peter Eve
Trial Bay: Gurka’wuy The ReDot Fine Art Gallery is extremely honoured to welcome back one of Australia’s most exciting Indigenous community art centres and one of the countries most renowned living artists. To kick 2016 off with a huge bang, and to coincide with Art Week, we will be presenting a collection of over 30 works in differing mediums to commemorate the work of renowned mega-star, Wukun Wanambi, from BukuLarrnggay Mulka Art Centre in the first major solo show by this artist in over 6 years. Buku-Larrnggay Mulka Art Centre or Yirrkala, as it is better known, is acknowledged as one of the top three community-owned art centres in Australia and has won numerous prizes in the last twenty years at all major Australian art awards and participating in Biennales around the world, including Venice, Moscow and Sydney.
SOUTH AUSTRALIA
It is a small Aboriginal community on the north-eastern tip of the top end of the Northern Territory, approximately 700km east of Darwin but it carries an enormous punch in the modern contemporary art movement. This is not only Wukun’s first solo show in over six years, but his first solo international commercial show, and comes on the heels of two major museum shows of his larrakitj (memorial poles) at the British Museum in London (2015) and National Museum of Australia (NMA), Canberra (2015). Several never before exhibited poles, along with a suite of other masterfully crafted gems, will adorn our new space at the Old Hill Street Police Station, including barks, foils and a video installation to engage the Singaporean audience into the world of Indigenous art and the world of saltwater country. ‘Trial Bay: Gurka’wuy’, is a collection of over 30 masterpieces produced over the last 24 months by one of the Australian Contemporary art scenes’ most collectable and sought after Indigenous artists. The masterpieces lay open the stunning country for which Wukun holds custodial responsibility A senior lawman of the Marrakulu and Dhunili clans, he is a boisterous and infectiously happy man, whose intimate knowledge of the saltwater country in the far north eastern parts of Australia has been sought after by not only Institutional collections but also the law-makers. For example when land-right disputes arose and they required elder Indigenous input to assert title over some of the most impressive terrain of the Australian peninsula. The exhibition begins on Wednesday 6th January and running until Sunday 31st January 2016 and will be opened by Wukun Wanambi in person on the Thursday 21st January, together with Mr. Richard England, Chairman of the Australian Indigenous Art Code and art-centre coordinator Kade McDonald. This is a must-see show for anyone interested in following the on-going developments in Indigenous Art and an opportunity to better understand the work being produced by one of Australia’s finest community based Indigenous art projects.
Giorgio Pilla Director ReDot Fine Art Gallery
Buku-Larranggay Mula Art Centre Introduction
Wukun Wanambi is a true creator, an advocate for his people and his ancestral beliefs. He is a contemporary artist with a progressive vision in methods and narrative to deliver his message. As an artist his ability to visualise new work is extraordinary, whether it be from the trunk of a tree in the forest or repatriated footage from museum archives. His contemporary mind is fuelled by inspiration from his culture and his desire to share the visual landscape of his people. A teacher, lecturer and prophet are some of his other credentials but it’s his generous and sophisticated vision of art and art installation that sets him apart. His grand approach to exposing the elements of how a Larrakitj (Hollow log) is produced and his intricate alluring pattern that seems to shift and change as you look at it, are the make-up of an exciting contemporary artist fit for a global stage. This exhibition is carefully curated from a body of work coveted from the past four years and Wukun’s career and brush are at their best in this solo show. My personal journey with Wukun has exposed me to a great mind of progress and tradition, a true creative who captures the depth of his people’s culture in a unique interpretation of abstraction, pattern and form. Wukun is one of the most important Yolngu artists of his time and will path an adventurous approach to art for his communities’ future generations.
Kade McDonald Buku-Larrnggay Mulka Arts January 2016
Right Page: Wukun Wanambi’s Encountered and Unsettled Solo Show at the National Museum of Australia, 2015 Source: © Photo Courtesy of Richard England
A Collector’s Perspective
Harriett and I first encountered the work of Wukun Wanambi at Chan Contemporary Art Space in Darwin NT in August 2012. We were immediately captivated by the intricacy of the design and the natural form of the larrakitj ’s themselves. We found out later that these astonishing works were part of the Kerry Stokes collection, one of Australia’s foremost collections of contemporary art. The depiction of Saltwater imagery, for which Wukun has become renowned is not only beautiful but speaks of Wukun’s deep connection to his people, their history and culture. We were keen to include a larrakitj by Wukun in our collection. Alas, the work is in high demand and continuously in short supply, because it is so incredibly intricate and time consuming to create. In June 2013, we went to Yirrkala to visit the art centre. The highlight of our visit was a bush trip with Wukun to select a tree to be cut down and made into a larrakitj. As we entered the forest the vehicle slowed, Wukun’s eyes were everywhere. After a time, Wukun spotted a tree with the form and characteristics he was seeking. He gave the order to stop. Two young men from the art centre accompanied us and Wukun directed their work in cutting down the tree and carrying it to the “troupie“, for transport back to Yirrkala. We waited several months before hearing that our log had split whilst in preparation and therefore was no longer suitable to make a larrakitj. We would have to wait. Recently, we were thrilled to acquire a Wukun larrakitj for our collection, the wait has certainly been worthwhile. Last month, we attended the openings of the Encounters and Unsettled exhibitions at The National Museum
of Australia, in Canberra. Part of the exhibition is a collection of larrakitj made and decorated by Wukun. I was moved by some words of Wukun from that exhibition:
“My history is alive today. My history keeps on Building up. My identity is stronger. It is not dying. The more I share, The stronger I get. The more power I get.“
For me, these words are evocative of a man who is a true leader to his people and who has a deep commitment to the practice of his art and the preservation of his culture. Wukun’s art is an integral part of who he is. To me, this is why his work is so powerful. As you will see when you look at these wonderful objects, Wukun paints using the variations, natural imperfections and form of the tree to enhance the representation of his Saltwater imagery. I was delighted to be invited by ReDot Fine Art Gallery to participate in the opening of this exhibition. It is an honour and a privilege to do so.
Richard England Chairman Indigenous Australian Art Commercial Code of Conduct
Top: Landscape from the Miwatj Region of North East Arnhem Land Left Page: Collecting Material for larrakitj, Miwatj Region of North East Arnhem Land Source: © Photo Courtesy of Buku-Larrnggay Mulka Arts (Yirrkala) & Peter Eve
Landscape from the Miwatj Region of North East Arnhem Land
Source: Š Photo Courtesy of Buku-Larrnggay Mulka Arts (Yirrkala) & Peter Eve
Trial Bay - Gurka’wuy Source: © Photo Courtesy of Buku-Larrnggay Mulka Arts (Yirrkala) & Peter Eve
Wukun WANAMBI
Birth Date Language Place of Birth Skin/Clan
18 May 1962 Yolngu Matha Gurka’wuy Marrakulu, Dhurili Clan
Wukun Wanambi is the eldest son of Mithili Wanambi, clan leader and renowned painter who passed away in 1981. Wukun’s father passed away before Wukun was able to learn from him to any great degree. Wukun began painting in 1997 as a result of the Saltwater project in which he participated. His arm of the Marrakulu clan is responsible for saltwater imagery which had not been painted intensively since his father’s death in 1981. His caretakers, or Djunggayi, principally the late Yanggarriny Wunungmurra (1932-2003), transferred their knowledge of these designs to Wukun so that the title to saltwater could be asserted. Some of these designs were outside even his father’s public painting repertoire. Wukun’s sisters Boliny and Ralwurrandji were active artists for a long time before this but not painting oceanic water of Marrakulu. Ralwurrandji was an employee at BukuLarrnggay through the 1980’s. Wukun sought education through Dhupuma College and Nhulunbuy High School and mainstream employment as a Sport and Rec Officer, Probation and Parole Officer and at the local mine. He has five children with his wife Warraynga who is also an artist and is now a grandfather. It was not until 2007 that their younger brother Yalanba began to paint. Wukun’s first bark for this Saltwater project won the 1998 NATSIAA Best Bark award. Wukun has gone on to establish a high profile career. In 2003 NATSIAA awards, a sculptured larrakitj by Wukun was Highly Commended in 3D category. Since then he has been included in many prestigious collections. He had his first solo show at Raft Artspace in Darwin in 2004 followed by solo shows at Niagara Galleries, Melbourne in 2005 and 2008. Wukun has been involved heavily in all the major communal projects of this decade including the Sydney Opera House commission, the opening of the National Museum
of Australia, the Wukidi ceremony in the Darwin Supreme Court and the films: Lonely Boy Richard, The Pilot’s Funeral and Dhakiyarr versus The King. Wukun is an active community member in recreation and health projects and supports a large family. In 2008, he was commissioned to provide a design for installation on a seven-storey glass façade in the Darwin Waterfront Development. In 2007, he became Director of Buku-Larrnggay’s media centre, The Mulka Project. In this role he facilitates media projects such as the Nhama DVD and mentors young Yolngu in accessing training and employment in the media centre. In the same year, he was commissioned to provide a design for installation on a seven-story glass facade in the Darwin waterfront Development.
Collections Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Australian National Maritime Museum (ANMM), Sydney, NSW, Australia. Sydney Opera House, Sydney, NSW, Australia. Harland Collection Kerry Stokes Collection, Perth, WA, Australia. Northern Territory Supreme Court, Darwin, NT, Australia. Art Gallery of South Australia, Adelaide, SA, Australia. National Gallery of Australia (NGA), Canberra, ACT, Australia. Art Gallery of New South Wales (AGNSW), Sydney, NSW, Australia. Holmes à Court Collection, Perth, WA, Australia. Artbank, Sydney, NSW, Australia. Manly Regional Gallery, Sydney, NSW, Australia. Musée de Lyon, France. The Laverty Collection, Sydney, NSW, Australia. Museum of Contemporary Art (MCA), Sydney, NSW, Australia. Art Gallery of Ballarat, Ballarat, VIC, Australia. The Agapitos/Wilson Collection, Sydney, NSW, Australia. The Arthur Roe Collection, Melbourne, VIC, Australia. W. & V. McGeoch Collection, Melbourne, VIC, Australia. Peter & Agnes Cooke Collection, Brisbane, QLD, Australia. British Museum, London, United Kingdom. Harriett & Richard England Collection, Sydney, NSW, Australia.
Awards 2013 Finalist - Western Australian Indigenous Art Awards, Art Gallery of Western Australia, Perth, WA, Australia. 2010 Winner – 3D Category - 27th National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. 2007 Winner – People’s Choice - TogArt Contemporary Art Award, Darwin, NT, Australia. 2003 Highly Commended – 3D Category - 20th National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. 1998 Winner – Best Bark Award - 15th National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia.
Selected Solo Exhibitions 2016 Trial Bay: Gurka’wuy - ReDot Fine Art Gallery, Singapore. 2015 Larrakitj – Aboriginal memorial poles by Wukun Wanambi - The British Museum, London, United Kingdom. 2008 Wukun Wanambi - Niagara Galleries, Melbourne, VIC, Australia. 2005 Wukun Wanambi - Niagara Galleries, Melbourne, VIC, Australia. 2004 Wukun Wanambi - Raft Artspace, Alice Springs, NT, Australia.
Selected Group Exhibitions 2015 Unsettled - National Museum of Australia (NMA), Canberra, ACT, Australia. Yirrkala Mob, Bangarra Boards - Raft Artspace, Alice Springs, NT, Australia. Revolution - Nomad Art, Darwin, NT, Australia. Gapan Gallery - Garma Festival, Northeast Arnhem Land, NT, Australia. Enduring Civilisations - British Museum, London, United Kingdom. 32nd National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. 2014 Blue Chip XVI: The Collectors’ Exhibition - Niagara Galleries, Melbourne, VIC, Australia.
2014 Gapan Gallery - Garma Festival, Northeast Arnhem Land, NT, Australia. 2013 Found - Annandale Galleries, Sydney, NSW, Australia. Blue Chip XV: The Collectors’ Exhibition - Niagara Galleries, Melbourne, VIC, Australia. Prized - Nomad Art, Darwin, NT, Australia Gapan Gallery - Garma Festival, Northeast Arnhem Land, NT, Australia. 2012 Three - Chan Contemporary Art Space, Darwin, NT, Australia. 2011 28th National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. One Clan Three Hands - Niagara Galleries, Melbourne, VIC, Australia. Where There Is Water - Lake Macquarie City Art Gallery, Booragul, NSW, Australia. Gapan Gallery - Garma Festival, Northeast Arnhem Land, NT, Australia. 2010 Returning to Djakapurra – A Collection of Yirrikala Poles and Barks 2010 - ReDot Fine Art Gallery, Singapore. 17th Biennale of Sydney, Larrakitj – The Kerry Stokes Collection, Museum of Contemporary Art (MCA), Sydney, NSW, Australia. The White Show - Short St Gallery, Broome, WA, Australia. Art Shanghai, Shanghai ArtMart, China. 2009 Almanac: Australian Art from the Gift of Ann Lewis AO - Museum of Contemporary Art (MCA), Sydney, NSW, Australia. After Berndt – Etchings from the Drawings - Indigenart, Perth, WA, Australia. Larrakitj – Kerry Stokes Collection - Art Gallery of Western Australia, Perth, WA, Australia. Auckland Art Fair, Auckland, New Zealand. 2008 Outside Inside – Bark and Hollow Logs from Yirrkala - Bett Gallery, Hobart, TAS, Australia. Yarpany – Honey – Bark Paintings and Hollow Logs of the Marrakulu Clan Framed Gallery, Darwin, NT, Australia. Gapan Gallery – Bendt Prints - Garma Festival, Gulkula, NT, Australia. Galuku Gallery (Nomad Art Productions) – Berndt Prints - Darwin Festival, Darwin, NT, Australia. 2007 Galuku Gallery - Darwin Festival, Darwin, NT, Australia. Bukulungthunmi – Coming Together, One Place - Raft Artspace, Darwin, NT, Australia. 2006 TogArt Contemporary Art Award, Darwin, NT, Australia. 3rd National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Walking together to aid Aboriginal Health - University of New South Wales,
2006 Sydney, NSW, Australia. Bulayi- Small Gems - Suzanne O’Connell Gallery, Brisbane, QLD, Australia. Arnhem Land Ochres - Mina Mina Art Gallery, Brunswick Heads, NSW, Australia. rtbank: Celebrating 25 Years of Australian Art (Touring Exhibition) - Artbank, 9 regional galleries from Cairns to Bathurst, Australia. 2005 Yakumirri - Raft Artspace, Darwin, NT & Holmes a Court Gallery, Perth, WA, Australia. 22nd National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. 2003 Brighton International Art Festival, Brighton, United Kingdom. Larrakitj - Rebecca Hossack Gallery, London, United Kingdom. 20th National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. 2002 19th National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. 2001 18th National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. New from Old - Annandale Galleries, Sydney, NSW, Australia. 1998 Saltwater: Yirrkala Bark Paintings of Sea Country - The Drill Hall Gallery, Canberra, ACT; John Curtin Gallery, Perth, WA; Australian National Maritime Museum, Sydney, NSW; Heide Museum of Modern Art, Melbourne, VIC; The Araluen Centre, Adelaide, SA, Australia. 15th National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia.
Details of Wukun Wanambi’s larrakitjs (memorial poles) Source: © Photo Courtesy of ReDot Fine Art Gallery
Dreamtime to Wukun Wanambi’s Works
Trial Bay is located between Caledon bay to the north and above the larger Blue Mud Bay on the western side of the Gulf of Carpentaria. Deep inside Trial Bay, the Marrakulu clan claims ownership to land and sea through the actions and events of Ancestor Beings as they travelled into this country imbuing both land and sea. The mark of ownership is sung, danced and painted in Marrakulu ritual through the Stringybark woodlands and stony country, through the freshwaters running into the Gurka’wuy River into trial Bay. Mixing with the saltwaters through sacred mangroves and froth and bubble and out deeper into the Bay with the outgoing tide, past boulders and rocky islets, the power and knowledge associated with Marrakulu Rom (law) washes back to shore. This country is associated with the Wawalak Sisters, sacred goannas, Wuyal the Sugerbag Man and the original inhabitants of Gurka’wuy since these times, the Djuwany people. The Djuwany were the first people of this country who practiced the ritual according to the Creators on the beaches, who hunted the stony country and waters of both the River and Trial Bay. This painting refers to Bamurrungu, a sacred and solitary rock in Trial Bay. It is a white dome in the Bay - a round lump of granite with its top coloured white by roosting birds, in the painting the molmulpa or white sea foam is associated with turbulent and agitating waters created by particular tide and wind. The fish swim up to Bamurrungu and referred to as Marparrarr or milk fish, somewhat like a large mullet. According to the artist, these were once people of the stone country behind where the Marrakulu have now settled close the mouth of the Gurka’wuy River. They turned to Marparrarr on reaching the shore and following the feathered string to Bamurrungu. The Beings of Marparrarr were the ‘same’ as the original inhabitants of Gurka’wuy, in this manifestation, populating Marrakulu sea country as land totems do in this area. Yolngu of this area speak of a hole submerged under the rock, from where bubbles are seen rising to the surface, sometimes bursting forth with a rush. The bubbles are seen as a life force and a direct Ancestral connection for the Marrakulu. The Marparrarr have knowledge of this special phenomenon as do the law men. The artist explained that here was a ‘statue’ for Mali Djuluwa Makaratjpi. When the Marrakulu perform ritual dance for the events depicted in this painting, participants move towards a held spear representing the steadfastness of the rock, splitting the dancers who then surround Bamurrungu, moving as does the sea to song and rhythm of Yidaki and Bilma.
Bamurrungu is seen as part of a set of three rocks which stand in the mouth of Trial Bay submerged either completely or partially within its waters. The waters of Gurka’wuy River flow out through Trial Bay past these rocks conflicting and clashing in a turbulent unity with the incoming tidal waters from the deep ocean. Their names rarely spoken are Dundiwuy, Bamurrungu and Yilpirr. In sacred song, Bamurrungu, a sacred and monolithic rock in the mouth of Trial Bay lies submerged within its waters surrounded by these fish: Buku-Dunggulmirri or Wawurritjpal, Sea Mullet. As the Marrakulu dance, they are the schools of fish. When their soul’s progress is momentarily barred by the obstacle of the rock (mortality), they act as these fish do and leave the dimension they know and leap into the air before returning to the familiar dimension of water. This mirrors the cyclical nature of Yolngu spiritual progress. Bamurrungu is a spiritual focus for an alliance of clans who share identity connected with the felling of the Stringybark tree. Wuyal the Ancestral Sugarbag Man while in Marrakulu clan country cut the sacred Wanambi (hollowed Stringybark tree) looking for native honey. Its falling path gouged the course for the Gurka’wuy River that has flowed ever since into Trial Bay. The hollow log’s movements in and out with the tides and currents completing the kinship connections of the various waters are the subject of ritual song and dance of this country. The Marrakulu sing these events (with other clans) during ceremony associated with the Wawalak myth. In other clan’s lands, these actions were repeated. These groups dance songs of honey flowing like rivers of freshwater from fonts deep in the saltwater under the rock. The rivers belonging to these clans: the Marrakulu, Golumala, Marrangu and Wawilak, flow (spiritually) towards this rock. This work depicts the water clashing as it plays and mingles with that of the Djapu and Dhapuyngu clans. This Balamumu oceanic salt water rushing into the bay creates eddies, currents and patterns that delineate the relationship between the Djapu and Marrakulu clans. This relationship is referred to as Mari-Gutharra - the maternal grandmother clan and its granddaughter. These waters are in this relationship as well. This is known as the ‘backbone’. One of the key relationships in a complex kinship system whose reciprocal duties are most powerful. These clans are both Dhuwa and share responsibilities for circumcising and burying each other’s clan members. A matriarchal analysis of the world that governs the behaviour of both sexes equally.
LARRAKITJS (POLES)
Left Page: Annual Burnout to Rejuvenate Yolngu Land Source: Š Photo Courtesy of Buku-Larrnggay Mulka Arts (Yirrkala) & Peter Eve
Wukun WANAMBI
Trial Bay Earth Pigments on Hollow Log - Larrakitj 217cm 4849C
Wukun WANAMBI
Trial Bay Earth Pigments on Hollow Log - Larrakitj 226cm 4873T
Wukun WANAMBI
Trial Bay Earth Pigments on Hollow Log - Larrakitj 220cm 4791A
Wukun WANAMBI
Trial Bay Earth Pigments on Hollow Log - Larrakitj 200cm 4860R
Wukun WANAMBI
Trial Bay Earth Pigments on Hollow Log - Larrakitj 202cm 4869B
Wukun WANAMBI
Trial Bay Earth Pigments on Hollow Log - Larrakitj 170cm 4755W
Wukun WANAMBI
Trial Bay Earth Pigments on Hollow Log - Larrakitj 220cm 4826D
Wukun WANAMBI
Trial Bay Earth Pigments on Hollow Log - Larrakitj 172cm 4896S
Wukun WANAMBI
Trial Bay Earth Pigments on Hollow Log - Larrakitj 168cm 4885G
Landscape from the Miwatj Region of North East Arnhem Land Source: Š Photo Courtesy of Buku-Larrnggay Mulka Arts (Yirrkala) & Peter Eve
BOARDS
Wukun WANAMBI
Bamurrungu Natural Earth Pigments on Board 240 x 120cm 4677V
Wukun WANAMBI
Bamurrungu Natural Earth Pigments on Board 122 x 128cm 4753P
Stringy Bark Post Harvesting for Preparation Source: Š Photo Courtesy of Buku-Larrnggay Mulka Arts (Yirrkala) & Peter Eve
NUWAYAKS (BARKS)
Wukun WANAMBI
The Rock in Trial Bay Natural Earth Pigments on Bark - Nuwayak 189 x 65cm 4401T
Wukun WANAMBI
Trial Bay Natural Earth Pigments on Bark - Nuwayak 169 x 59cm 4638W
Wukun WANAMBI
Trial Bay Natural Earth Pigments on Bark - Nuwayak 125 x 49cm 4438G
Wukun WANAMBI
Trial Bay Natural Earth Pigments on Bark - Nuwayak 110 x 50cm 4581S
Wukun WANAMBI
Trial Bay Natural Earth Pigments on Bark - Nuwayak 104 x 49cm 4576S
Wukun WANAMBI
Trial Bay Natural Earth Pigments on Bark - Nuwayak 115 x 37cm 4617D
Wukun WANAMBI
Trial Bay Natural Earth Pigments on Bark - Nuwayak 125 x 30cm 4617M
Wukun WANAMBI
Trial Bay Natural Earth Pigments on Bark - Nuwayak 122 x 24cm 4615A
Wukun WANAMBI
Trial Bay Natural Earth Pigments on Bark - Nuwayak 100 x 28cm 4730C
Wukun WANAMBI
Trial Bay Natural Earth Pigments on Bark - Nuwayak 89 x 28cm 4712U
Mother Nature’s Waste Source: Š Photo Courtesy of Buku-Larrnggay Mulka Arts (Yirrkala)
REFLECTIVE FOILS
Wukun WANAMBI
Reflector - Trial Bay Natural Earth Pigments on Reective Foil 100 x 39cm 4630A
Wukun WANAMBI
Reflector - Trial Bay Natural Earth Pigments on Reective Foil 103 x 49cm 4631L
Wukun WANAMBI
Reflector - Trial Bay Natural Earth Pigments on Reective Foil 73 x 34cm 4631J
Bark Cutting & Preparation
Source: Š Photo Courtesy of Buku-Larrnggay Mulka Arts (Yirrkala) & Peter Eve
Wukun Wanambi & his Museum Appearances
Source: Š Photo Courtesy of Buku-Larrnggay Mulka Arts (Yirrkala)
In collaboration with In conjunction with
And the wonderfully talented Wukun
Wukun Wanambi working on his larrakitj Source: Š Photo Courtesy of Buku-Larrnggay Mulka Arts (Yirrkala)
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