Dreams a funny looking just like this print, it looks weird but really good at the same time and you can see figures but you cant figure it out. Overall its a Dream of Chaos.
Art Centre notes:
Image size: 18 x 15cm. Paper size: 39 x 57cm
The artwork is a collagraph, printed on BFK Rives paper 100% cotton rag with strong archival properties. The textures in the work are drawn from a range of natural fibres, plants and other surfaces.
Your sunny disposition has a way of rubbing off on those around you.
Art Centre notes:
Image size: 18 x 15cm. Paper size: 39 x 57cm
The artwork is a collagraph, or monoprint, printed on BFK Rives paper 100% cotton rag with strong archival properties. The textures in the work are drawn from a range of natural fibres, plants and other surfaces.
This print contains of old materials such as dead brown leaves, fibre-glass mesh and glue that I reused.
Art Centre notes:
Image size: 18 x 15cm. Paper size: 39 x 57cm
The artwork is a collagraph, or monoprint, printed on BFK Rives paper 100% cotton rag with strong archival properties. The textures in the work are drawn from a range of natural fibres, plants and other surfaces.
The Deep Blue represents the sea and sky touching after a big storm where there’s no clouds, winds or waves. I would take a walk down to the beach to sit and stare mesmerising my favourite colour – Deep Blue.
Art Centre notes:
Image size: 18 x 15cm. Paper size: 39 x 57cm
The artwork is a collagraph, or monoprint, printed on BFK Rives paper 100% cotton rag with strong archival properties. The textures in the work are drawn from a range of natural fibres, plants and other surfaces.
Shallow reminds me of a time I went reef walking with my cousins: half way through fishing I somehow cut my arm and the blood was dripping onto the coral.
Art Centre notes:
Image size: 18 x 15cm. Paper size: 39 x 57cm
The artwork is a collagraph, or monoprint, printed on BFK Rives paper 100% cotton rag with strong archival properties. The textures in the work are drawn from a range of natural fibres, plants and other surfaces.
JB 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.
JB’s paintings often feature totemic animals of the fresh waters of north east Arnhem Land.
Fish traps are placed into the river to face the oncoming fish. The woven tunnel traps the fish and prevents their escape. The traps are tapered so when they are submerged in the water, the water pressure wedges them into place. Traditionally, the fish traps are operated at night time.
Hand made at Babbarra Designs circa 2016
‘My designs, they are all alive living up in my head’- Janet Marawarr
Janet Marawarr has depicted kunkurra, the spiralling wind associated with several sites in the Kardbam clan. On one level, this design can be interpreted as a depiction of the kinds of mini-cyclones common during the wet season in Arnhem Land, where the artist lives. Kunkurra also relates specifically to a site called Bilwoyinj, near Mankorlod, on the artist’s clan estate.
At this site, two of the most important Kuninjku creation beings, a father and son known as na-korrkko, are believed to have hunted and eaten a goanna. They left some of the goanna fat behind at the site, which turned into the rock that still stands there today.
Bilwoyinj site is also a ceremonial ground for a ceremony called Yabbaduruwa, a major ceremony owned by the Yirridja patrimoiety. The Yabbaduruwa ceremony is primarily concerned with initiation, land ownership and promoting the cyclical regeneration of the human and natural worlds.
Made circa 2018
Created during April School Holiday program. Raku with coloured and clear glaze.