It’s all about love without strings attached. It’s love that is offered freely to those around you.
Art Centre notes:
The artwork is a ‘pochoir’ print, or monoprint, printed on BFK Rives paper
(100% cotton rag with strong archival properties).
(The print covers the paper from edge to edge.)
Artist: Fiona Mosby
Printer: Dian Darmansjah
Printed: Northsite Cairns, October 2023.
This fabric was created using the linocut printing technique. The lino tile has been carved by the artist in Maningrida, and has been printed by hand using a variety of colours and layers. The linocut technique ensures each textile piece is a one-off, limited edition piece. Bábbarra Women’s Centre supports the economic independence of Indigenous women in the Arnhem Land community of Maningrida, Northern Territory, Australia. Designs created by the women at Bábbarra reflect strong cultural knowledge, which is passed down to younger generations through their textile design practice.
‘Sometimes yawkyawk sit inside the rock. Sometimes they go out to find the food manme and the mankung (sugarbag). Also they can sing inside the rock cave. Sometimes yawkyawk will see the big rain. When the big rain comes they start looking and when the rain comes they go inside and hide themselves. Some yawkyawk stay on the dry land in a special place inland from Bardijolhwang.’ Janet Marawarr
Mythical creatures of a malevolent nature, namorrorddo are shooting star spirits. They have long claws and trails of white light coming from their heads. They also carry a long club called miyarrurl which they use to beat victims.Yiman kabenerohrok nakidjkidj ya nakka wanjh kabenerohrok namorrorddo. Namorrorddo kabirlikan, bidngalnjkuyeng yoh.
Namorrorddo is similar to the spirit called ‘Nakidjkidj’, the same as Nakidjkidj. Namorrorddo however carries light (ie. the shooting star) and has really long claws, yes.
Source: https://www.njamed.com/
This design depicts the cheeky yam, which is found on the artist’s country, near the outstation of Mumeka in central Arnhem Land. Yams are an important bush food that are collected during the wet season.
Unlike other yams that can be eaten roasted, the cheeky yam can be poisonous if not properly prepared. The preparation process of the yam traditionally takes two days. Firstly, the yams are dug up with a digging stick and boiled over a fire. They are then peeled and sliced into thin strips, which are placed in a special dillybag woven by women from pandanus leaves. The yam-laden dillybag is then strung from an overhanging branch into a river, so the bag just touches the flowing fresh water. The cheeky yams are left like this overnight to allow the running water to remove the toxins. The next morning, people return and collect the dillybag, and leave the yam pieces in full sunlight to dry out. Finally, when the yam pieces have dried in the sun for a day, they are ready to eat.
This is a new circular design by Jacinta Lamilami depicting waterlily’s growing in Freshwater water billabongs.
This fabric was created using the linocut printing technique. The lino tile has been carved by the artist in Maningrida, and has been printed by hand using a variety of colours and layers. The linocut technique ensures each textile piece is a one-off, limited edition piece. Bábbarra Women’s Centre supports the economic independence of Indigenous women in the Arnhem Land community of Maningrida, Northern Territory, Australia. Designs created by the women at Bábbarra reflect strong cultural knowledge, which is passed down to younger generations through their textile design practice.
This fabric was created using the linocut printing technique. The lino tile has been carved by the artist in Maningrida, and has been printed by hand using a variety of colours and layers. The linocut technique ensures each textile piece is a one-off, limited edition piece. Bábbarra Women’s Centre supports the economic independence of Indigenous women in the Arnhem Land community of Maningrida, Northern Territory, Australia. Designs created by the women at Bábbarra reflect strong cultural knowledge, which is passed down to younger generations through their textile design practice.