Diyama
Diyama- sea shell
377810582333472
Lorrkkon – Marilyn James
Marilyn’s first screen print design depicts the story of lorrkkon (hollow funeral logs). This the story of her great, great grandfather and grandmother who were bark painters, as well as also sacred lorrkkon painters.
When designing this screen print, Marilyn was remembering her childhood living in a small house on Liverpool river Ngar-wunja (Thompson hole) with other families.
Through the painting process, Marilyn remembered and relived the times when people still lived permanently on remote homelands, living off the land before balanda (non-indigenous people) arrived.
Marilyn recalls “it makes me think back, we did lots of things, some people was hunting, some was weaving, some was painting barks and lorrkkon. As my great, great grandfather and grandmother was painters, I painted this my story for them.”
377810582333470
Lorrkkon – Marilyn James
Marilyn’s first screen print design depicts the story of lorrkkon (hollow funeral logs). This the story of her great, great grandfather and grandmother who were bark painters, as well as also sacred lorrkkon painters.
When designing this screen print, Marilyn was remembering her childhood living in a small house on Liverpool river Ngar-wunja (Thompson hole) with other families.
Through the painting process, Marilyn remembered and relived the times when people still lived permanently on remote homelands, living off the land before balanda (non-indigenous people) arrived.
Marilyn recalls “it makes me think back, we did lots of things, some people was hunting, some was weaving, some was painting barks and lorrkkon. As my great, great grandfather and grandmother was painters, I painted this my story for them.”
377810582333469
Lorrkkon – Marilyn James
Marilyn’s first screen print design depicts the story of lorrkkon (hollow funeral logs). This the story of her great, great grandfather and grandmother who were bark painters, as well as also sacred lorrkkon painters.
When designing this screen print, Marilyn was remembering her childhood living in a small house on Liverpool river Ngar-wunja (Thompson hole) with other families.
Through the painting process, Marilyn remembered and relived the times when people still lived permanently on remote homelands, living off the land before balanda (non-indigenous people) arrived.
Marilyn recalls “it makes me think back, we did lots of things, some people was hunting, some was weaving, some was painting barks and lorrkkon. As my great, great grandfather and grandmother was painters, I painted this my story for them.”
377810582333468
Lorrkkon – Marilyn James
Marilyn’s first screen print design depicts the story of lorrkkon (hollow funeral logs). This the story of her great, great grandfather and grandmother who were bark painters, as well as also sacred lorrkkon painters.
When designing this screen print, Marilyn was remembering her childhood living in a small house on Liverpool river Ngar-wunja (Thompson hole) with other families.
Through the painting process, Marilyn remembered and relived the times when people still lived permanently on remote homelands, living off the land before balanda (non-indigenous people) arrived.
Marilyn recalls “it makes me think back, we did lots of things, some people was hunting, some was weaving, some was painting barks and lorrkkon. As my great, great grandfather and grandmother was painters, I painted this my story for them.”
377810582333467
Marebu
Deborah Wurrkidj is a Kuninjku artist from the Kurulk clan whose country lies around the outstation of Mumeka in central Arnhem Land. She is an accomplished artist working across mediums including painting, sculpture, weaving and textile design. For this design, Deborah Wurrkidj has depicted Marebu (woven pandanus mats).
Works in fibre from the Maningrida region are widely recognised as some of the finest in Australia. Artists confidently push the boundaries of fibre craft and cultural expression, adapting traditional techniques and forms to produce strikingly inventive and aesthetically exquisite artworks.
Artists weave many different kinds of mats. Conical mats were traditionally used to shield babies from mosquitoes. Long flat mats were used for blocking creeks so that fish would be diverted into fish traps. A small triangular mat made of pandanus fibre used to be worn by women during ceremonial gatherings, tied around their back and covering them at the front. Mats are also used for wrapping and rinsing food in water.
Artists usually use kundayarr, pandanus spiralis, to weave decorative round or oblong mats, as well as the less common triangular and conical shapes. Weaving is physically hard work, now done only by women. They colour the pandanus using natural dyes made from the roots, leaves or flowers of plants within the weaver’s clan estate.
The radial woven patterns of the finest round mats appear to vibrate with colour, sometimes regarded as an aesthetic manifestation of deep cultural meaning, as there is a significant spiritual dimension to pandanus mats.
377810582333466
Marebu
Deborah Wurrkidj is a Kuninjku artist from the Kurulk clan whose country lies around the outstation of Mumeka in central Arnhem Land. She is an accomplished artist working across mediums including painting, sculpture, weaving and textile design. For this design, Deborah Wurrkidj has depicted Marebu (woven pandanus mats).
Works in fibre from the Maningrida region are widely recognised as some of the finest in Australia. Artists confidently push the boundaries of fibre craft and cultural expression, adapting traditional techniques and forms to produce strikingly inventive and aesthetically exquisite artworks.
Artists weave many different kinds of mats. Conical mats were traditionally used to shield babies from mosquitoes. Long flat mats were used for blocking creeks so that fish would be diverted into fish traps. A small triangular mat made of pandanus fibre used to be worn by women during ceremonial gatherings, tied around their back and covering them at the front. Mats are also used for wrapping and rinsing food in water.
Artists usually use kundayarr, pandanus spiralis, to weave decorative round or oblong mats, as well as the less common triangular and conical shapes. Weaving is physically hard work, now done only by women. They colour the pandanus using natural dyes made from the roots, leaves or flowers of plants within the weaver’s clan estate.
The radial woven patterns of the finest round mats appear to vibrate with colour, sometimes regarded as an aesthetic manifestation of deep cultural meaning, as there is a significant spiritual dimension to pandanus mats.
377810582333465
Marebu
Deborah Wurrkidj is a Kuninjku artist from the Kurulk clan whose country lies around the outstation of Mumeka in central Arnhem Land. She is an accomplished artist working across mediums including painting, sculpture, weaving and textile design. For this design, Deborah Wurrkidj has depicted Marebu (woven pandanus mats).
Works in fibre from the Maningrida region are widely recognised as some of the finest in Australia. Artists confidently push the boundaries of fibre craft and cultural expression, adapting traditional techniques and forms to produce strikingly inventive and aesthetically exquisite artworks.
Artists weave many different kinds of mats. Conical mats were traditionally used to shield babies from mosquitoes. Long flat mats were used for blocking creeks so that fish would be diverted into fish traps. A small triangular mat made of pandanus fibre used to be worn by women during ceremonial gatherings, tied around their back and covering them at the front. Mats are also used for wrapping and rinsing food in water.
Artists usually use kundayarr, pandanus spiralis, to weave decorative round or oblong mats, as well as the less common triangular and conical shapes. Weaving is physically hard work, now done only by women. They colour the pandanus using natural dyes made from the roots, leaves or flowers of plants within the weaver’s clan estate.
The radial woven patterns of the finest round mats appear to vibrate with colour, sometimes regarded as an aesthetic manifestation of deep cultural meaning, as there is a significant spiritual dimension to pandanus mats.
377810582333464
Gurrpurdu (Diving Bird)
A design by emerging textile designer, Charmaine Pascoe.
‘My Gurrpurdu (diving bird) was white. She flew from Gan Gan to Gapuwiyak and then to Yathalamarra. And then she flew to Gartji.
At Gartji two fresh water seaweed shoots, one long and one short were trying to keep diving bird down. They were saying, “Don’t go away you belong to this country”. Diving bird said “No! I’m going to travel around to other country”. She was flapping her wings and then those two seaweed shoots let her go.
Then diving bird flew to make water hole at Gamurra Gu-yurra. She tasted the water but it was salty not fresh water. Then she put her poo like white clay on the ground at Gamurra Gu-yurra. The while clay was used for painting, funerals and ceremonies.
Then she continued to fly to Ji-balbal where she put the white clay again and then from Ji-balbal she dived underwater to Gochan Jiny-jirra. When she got there she got out of the water and was flapping her wings. At the same time she was singing. She was using her wings to dry out so that she could fly to Nangak.’ Charmaine Pascoe 2020
377810582333462
Gurrpurdu (Diving Bird)
A design by emerging textile designer, Charmaine Pascoe.
‘My Gurrpurdu (diving bird) was white. She flew from Gan Gan to Gapuwiyak and then to Yathalamarra. And then she flew to Gartji.
At Gartji two fresh water seaweed shoots, one long and one short were trying to keep diving bird down. They were saying, “Don’t go away you belong to this country”. Diving bird said “No! I’m going to travel around to other country”. She was flapping her wings and then those two seaweed shoots let her go.
Then diving bird flew to make water hole at Gamurra Gu-yurra. She tasted the water but it was salty not fresh water. Then she put her poo like white clay on the ground at Gamurra Gu-yurra. The while clay was used for painting, funerals and ceremonies.
Then she continued to fly to Ji-balbal where she put the white clay again and then from Ji-balbal she dived underwater to Gochan Jiny-jirra. When she got there she got out of the water and was flapping her wings. At the same time she was singing. She was using her wings to dry out so that she could fly to Nangak.’ Charmaine Pascoe 2020