Bush Medicine Leaves (jammi)
These are the leaves we use for bush medicine we call Jammi. It smells like vicks or eucalyptus and is good for cuts and sores or if you are sick you can make it in into a drink.
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Colleen Ngwarraye Morton – Women’s Ceremony and Bush Medicine
The layers of Colleen’s paintings are as detailed and complex as the stories she paints.
Colleen’s painting represents a ceremony that is performed by the women in the community. It involves dance, singing and painting the body in ochre, to celebrate their country and their understanding of bush medicine.
The use of the bush medicine and the edible seeds that come in an assortment of colours, are depicted in many of Colleen’s paintings.
This painting is about singing to country, singing the bush medicine in to existence, maintaining it and where to find it.
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Woven Mat
Yolŋu weavers of Arnhem Land create utilitarian, ceremonial, and decorative pieces using naturally sourced materials. This mat is made from young Pandanus spiralis leaves, harvested with a wooden hook, stripped of prickles, and dried to create strong, resilient fibres. These fibres are then twisted, coiled, or woven using traditional techniques to produce both functional and decorative mats.
Bula’bula weavers exclusively use natural dyes, derived from locally sourced roots, leaves and grasses. These pigments are extracted and infused into pandanus fibres by boiling over an open fire, producing the rich, vibrant colours characteristic of contemporary Yolŋu weavings.
Traditionally, Nganiyal (conical mats) functioned as insect screens when erected and as seating mats when folded, playing an important role in both daily life and ceremonial practices. Today, Yolŋu artists create a variety of shapes, including flat, round, and oblong mats. These non-traditional styles and the use of bright colours became more common after Missionaries began commissioning pieces in this style.
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Naku (canoe)
This painting depicts naku (canoes) that were made traditionally from the bark of a particular tree and used for hunting. In this painting, the Yolngu men hunting for gumang (magpie geese) eggs.
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Dilly Bags
The 2025 Gapu series is the 12th workshop series in Djilpin’s long collaboration with Basil Hall Editions. Djilpin Artists worked, for the first time, with Printmaker Antonia Aitken. Collograph plates were developed by 15 artists over a week in April at Djilpin Arts Centre in Wugularr (Beswick). For Series XII, artists have depicted traditional string and dilly bags, bathi, exploring the place of these artefacts in culture, ceremony and mythology. Evangeline Wilson’s print for Gapu XII was selected for Walyalup Fremantle Arts Centre Print Award (August) with the complete Series launching at Honey Bones Galley, Melbourne (October 2025).
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Dilly Bags
The 2025 Gapu series is the 12th workshop series in Djilpin’s long collaboration with Basil Hall Editions. Djilpin Artists worked, for the first time, with Printmaker Antonia Aitken. Collograph plates were developed by 15 artists over a week in April at Djilpin Arts Centre in Wugularr (Beswick). For Series XII, artists have depicted traditional string and dilly bags, bathi, exploring the place of these artefacts in culture, ceremony and mythology. Evangeline Wilson’s print for Gapu XII was selected for Walyalup Fremantle Arts Centre Print Award (August) with the complete Series launching at Honey Bones Galley, Melbourne (October 2025).
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Dilly Bags
The 2025 Gapu series is the 12th workshop series in Djilpin’s long collaboration with Basil Hall Editions. Djilpin Artists worked, for the first time, with Printmaker Antonia Aitken. Collograph plates were developed by 15 artists over a week in April at Djilpin Arts Centre in Wugularr (Beswick). For Series XII, artists have depicted traditional string and dilly bags, bathi, exploring the place of these artefacts in culture, ceremony and mythology. Evangeline Wilson’s print for Gapu XII was selected for Walyalup Fremantle Arts Centre Print Award (August) with the complete Series launching at Honey Bones Galley, Melbourne (October 2025).
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Dilly Bags
The 2025 Gapu series is the 12th workshop series in Djilpin’s long collaboration with Basil Hall Editions. Djilpin Artists worked, for the first time, with Printmaker Antonia Aitken. Collograph plates were developed by 15 artists over a week in April at Djilpin Arts Centre in Wugularr (Beswick). For Series XII, artists have depicted traditional string and dilly bags, bathi, exploring the place of these artefacts in culture, ceremony and mythology. Evangeline Wilson’s print for Gapu XII was selected for Walyalup Fremantle Arts Centre Print Award (August) with the complete Series launching at Honey Bones Galley, Melbourne (October 2025).
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Dilly Bags
The 2025 Gapu series is the 12th workshop series in Djilpin’s long collaboration with Basil Hall Editions. Djilpin Artists worked, for the first time, with Printmaker Antonia Aitken. Collograph plates were developed by 15 artists over a week in April at Djilpin Arts Centre in Wugularr (Beswick). For Series XII, artists have depicted traditional string and dilly bags, bathi, exploring the place of these artefacts in culture, ceremony and mythology. Evangeline Wilson’s print for Gapu XII was selected for Walyalup Fremantle Arts Centre Print Award (August) with the complete Series launching at Honey Bones Galley, Melbourne (October 2025).
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Dilly Bags
The 2025 Gapu series is the 12th workshop series in Djilpin’s long collaboration with Basil Hall Editions. Djilpin Artists worked, for the first time, with Printmaker Antonia Aitken. Collograph plates were developed by 15 artists over a week in April at Djilpin Arts Centre in Wugularr (Beswick). For Series XII, artists have depicted traditional string and dilly bags, bathi, exploring the place of these artefacts in culture, ceremony and mythology. Evangeline Wilson’s print for Gapu XII was selected for Walyalup Fremantle Arts Centre Print Award (August) with the complete Series launching at Honey Bones Galley, Melbourne (October 2025).