November 2025

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Wubbunj (Paperbark Canoe)

“Wubbunj is our traditional canoe. This design is the old history story of how people came to live in this place we call Maningrida. Two old people were staying on the other side of the saltwater, in Narlarrambarr area. The old people slept in a paper bark shelter and hunted on the water using their canoe.

A long time ago our people carved these canoes from the big paperbark trees. They had paddles with one person at the front, one at back, and other kids and passengers in the middle. Kunkot (paper bark) was used to make the sails which they would stand up and catch the wind.

One day these old people saw a new boat in their waters, which belonged to the Makassans (Indonesians). Those two old men saw the big Makassan boat coming in, and decided to paddle their canoe from Narlarrambarr to the other side (modern day Maningrida). We were scared of the Makassans, they gave us tobacco and tea, but they took many of our women.

When those two old people tasted that water at Maningrida from the Djomi spring, it was sweet freshwater and they decided to stay here. People here had no clothes in those time, we were just wearing string morkoi (loin cloths). Seven tribes were here then, but now in Maningrida there are lots more languages.” – Raylene Bonson

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115682404564

Woven Stingray

Yolŋu weavers of Arnhem Land craft both utilitarian and ceremonial objects using naturally sourced materials, with more recent works also including decorative pieces, such as this woven stingray.

The primary material used in this piece is the young, green leaves of the Pandanus spiralis tree, that were harvested using a long wooden hook. The leaves are stripped of their prickles, with the smaller fibres being dried to produce a strong, resilient material. These fibres are then twisted, coiled, or combined using various techniques to create this motif of a stingray, an important totem for Yolŋu people of Central Arnhem Land.

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.

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115682404406

Gumang (Magpie Geese)

The Yolngu people of Arnhem Land originate from a spiritual source, fixed in a particular place in their land or the sea. These ‘Spiritual Reservoirs’ are often in the form of special waterholes made by Wangarr (Creative Beings) long ago close to the beginning of time.

The creator beings moved across the country side, shaping the land and implanting in each tract of country, the spiritual life force for the people who were to own it. These Creative Spirits took many forms. When they gave the land to each group they also gave songs, dances, ceremony, the associated laws and language. The Creation story for Ganalbingu people took place near the middle section of the Glyde River where it becomes the Goyder River. Their land, Ngaliyindi, sits astride the Arafura Swamp in Central Arnhem Land.

In this painting, the artist has depicted Gumang (magpie geese), which are sacred to the Ganalbingu people. To the east of the Arafura Swamp is a freshwater billabong which is said to have been made by the Goose Spirit and is in the shape of a goose nest. As a result, geese, their eggs and their nests are sacred.

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221382404400

Mukuy Spirit Figures

These finely crafted woven figures represent Mukuy Spirit creatures. The Mukuy belong in Yirritja country called Galanbirni. At night you might hear them playing the Didjeridu. The Mukuy travel around a lot and are often found in sacred places. They are mysterious, sometimes playful and sometimes cheeky characters, often referred to as Devil Devil. Mukuy figures tell the stories of country, culture and spiritual beliefs.

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221382404397

Mukuy Spirit Figures

These finely crafted woven figures represent Mukuy Spirit creatures. The Mukuy belong in Yirritja country called Galanbirni. At night you might hear them playing the Didjeridu. The Mukuy travel around a lot and are often found in sacred places. They are mysterious, sometimes playful and sometimes cheeky characters, often referred to as Devil Devil. Mukuy figures tell the stories of country, culture and spiritual beliefs.

By , ago

115682404396

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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222082405009

Unseen Country 10/50

This artwork created in collaboration with Kaiela Arts, Vivien Anderson Gallery, and Spacecraft Studio, represents a powerful meeting of practice, place, and community. Working on Yorta Yorta Country, I wanted to honour the connections between river systems, cultural materials, and the stories that continue to flow through this landscape and its people. These limited-edition prints are more than artworks — they are visual conversations about belonging, memory, and cultural continuity. Throughout my career, I have worked to reclaim and revitalise southeast Aboriginal art forms that were interrupted by colonisation. My practice often involves researching historical collections, reviving cultural materials, and bringing these ancestral techniques into contemporary contexts. Working with Kaiela Arts and the local community offered a meaningful opportunity to extend this approach on Yorta Yorta Country, where the river — the Goulburn, or Kaiela — holds both spiritual and cultural significance. It’s a place where stories, trade routes, and cultural practices have always intertwined. The collaboration with Spacecraft Studio allowed the making process to become another form of dialogue. Their printmaking expertise and respect for material experimentation aligned beautifully with my focus on process and texture — on transforming natural materials and microscopic imagery into works that speak of Country and connection. The printing process itself became ceremonial, with each layer, pigment, and impression reflecting the rhythm of our rivers and the knowledge embedded within them. Kaiela Arts has long been a place where cultural and creative knowledge is nurtured. To create these editions alongside emerging Yorta Yorta artists and community members was to be part of something collective and grounded. Each print carries that spirit — a sense of shared purpose and intergenerational knowledge exchange. This limited-edition of 52 prints, 12 on glass and 40 on paper stands as a celebration of collaboration, cultural resilience, and ongoing connection to Country. It acknowledges the importance of creative partnerships that respect both contemporary artistic practice and deep cultural heritage. Through this project, I hope to highlight the strength of our communities, the importance of working together across generations and disciplines, and the enduring vitality of southeast Aboriginal art. These works are a tribute to the land, the people, and the knowledge that continues to sustain us all.

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222082404937

Unseen Country 50/50

This artwork created in collaboration with Kaiela Arts, Vivien Anderson Gallery, and Spacecraft Studio, represents a powerful meeting of practice, place, and community. Working on Yorta Yorta Country, I wanted to honour the connections between river systems, cultural materials, and the stories that continue to flow through this landscape and its people. These limited-edition prints are more than artworks — they are visual conversations about belonging, memory, and cultural continuity. Throughout my career, I have worked to reclaim and revitalise southeast Aboriginal art forms that were interrupted by colonisation. My practice often involves researching historical collections, reviving cultural materials, and bringing these ancestral techniques into contemporary contexts. Working with Kaiela Arts and the local community offered a meaningful opportunity to extend this approach on Yorta Yorta Country, where the river — the Goulburn, or Kaiela — holds both spiritual and cultural significance. It’s a place where stories, trade routes, and cultural practices have always intertwined. The collaboration with Spacecraft Studio allowed the making process to become another form of dialogue. Their printmaking expertise and respect for material experimentation aligned beautifully with my focus on process and texture — on transforming natural materials and microscopic imagery into works that speak of Country and connection. The printing process itself became ceremonial, with each layer, pigment, and impression reflecting the rhythm of our rivers and the knowledge embedded within them. Kaiela Arts has long been a place where cultural and creative knowledge is nurtured. To create these editions alongside emerging Yorta Yorta artists and community members was to be part of something collective and grounded. Each print carries that spirit — a sense of shared purpose and intergenerational knowledge exchange. This limited-edition of 52 prints, 12 on glass and 40 on paper stands as a celebration of collaboration, cultural resilience, and ongoing connection to Country. It acknowledges the importance of creative partnerships that respect both contemporary artistic practice and deep cultural heritage. Through this project, I hope to highlight the strength of our communities, the importance of working together across generations and disciplines, and the enduring vitality of southeast Aboriginal art. These works are a tribute to the land, the people, and the knowledge that continues to sustain us all.

By , ago

222082404935

Unseen Country 49/50

This artwork created in collaboration with Kaiela Arts, Vivien Anderson Gallery, and Spacecraft Studio, represents a powerful meeting of practice, place, and community. Working on Yorta Yorta Country, I wanted to honour the connections between river systems, cultural materials, and the stories that continue to flow through this landscape and its people. These limited-edition prints are more than artworks — they are visual conversations about belonging, memory, and cultural continuity. Throughout my career, I have worked to reclaim and revitalise southeast Aboriginal art forms that were interrupted by colonisation. My practice often involves researching historical collections, reviving cultural materials, and bringing these ancestral techniques into contemporary contexts. Working with Kaiela Arts and the local community offered a meaningful opportunity to extend this approach on Yorta Yorta Country, where the river — the Goulburn, or Kaiela — holds both spiritual and cultural significance. It’s a place where stories, trade routes, and cultural practices have always intertwined. The collaboration with Spacecraft Studio allowed the making process to become another form of dialogue. Their printmaking expertise and respect for material experimentation aligned beautifully with my focus on process and texture — on transforming natural materials and microscopic imagery into works that speak of Country and connection. The printing process itself became ceremonial, with each layer, pigment, and impression reflecting the rhythm of our rivers and the knowledge embedded within them. Kaiela Arts has long been a place where cultural and creative knowledge is nurtured. To create these editions alongside emerging Yorta Yorta artists and community members was to be part of something collective and grounded. Each print carries that spirit — a sense of shared purpose and intergenerational knowledge exchange. This limited-edition of 52 prints, 12 on glass and 40 on paper stands as a celebration of collaboration, cultural resilience, and ongoing connection to Country. It acknowledges the importance of creative partnerships that respect both contemporary artistic practice and deep cultural heritage. Through this project, I hope to highlight the strength of our communities, the importance of working together across generations and disciplines, and the enduring vitality of southeast Aboriginal art. These works are a tribute to the land, the people, and the knowledge that continues to sustain us all.

By , ago

222082404934

Unseen Country 48/50

This artwork created in collaboration with Kaiela Arts, Vivien Anderson Gallery, and Spacecraft Studio, represents a powerful meeting of practice, place, and community. Working on Yorta Yorta Country, I wanted to honour the connections between river systems, cultural materials, and the stories that continue to flow through this landscape and its people. These limited-edition prints are more than artworks — they are visual conversations about belonging, memory, and cultural continuity. Throughout my career, I have worked to reclaim and revitalise southeast Aboriginal art forms that were interrupted by colonisation. My practice often involves researching historical collections, reviving cultural materials, and bringing these ancestral techniques into contemporary contexts. Working with Kaiela Arts and the local community offered a meaningful opportunity to extend this approach on Yorta Yorta Country, where the river — the Goulburn, or Kaiela — holds both spiritual and cultural significance. It’s a place where stories, trade routes, and cultural practices have always intertwined. The collaboration with Spacecraft Studio allowed the making process to become another form of dialogue. Their printmaking expertise and respect for material experimentation aligned beautifully with my focus on process and texture — on transforming natural materials and microscopic imagery into works that speak of Country and connection. The printing process itself became ceremonial, with each layer, pigment, and impression reflecting the rhythm of our rivers and the knowledge embedded within them. Kaiela Arts has long been a place where cultural and creative knowledge is nurtured. To create these editions alongside emerging Yorta Yorta artists and community members was to be part of something collective and grounded. Each print carries that spirit — a sense of shared purpose and intergenerational knowledge exchange. This limited-edition of 52 prints, 12 on glass and 40 on paper stands as a celebration of collaboration, cultural resilience, and ongoing connection to Country. It acknowledges the importance of creative partnerships that respect both contemporary artistic practice and deep cultural heritage. Through this project, I hope to highlight the strength of our communities, the importance of working together across generations and disciplines, and the enduring vitality of southeast Aboriginal art. These works are a tribute to the land, the people, and the knowledge that continues to sustain us all.

By , ago