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Warraburnburn

In Burarra and Gun-nartpa languages the figure represented in this artwork is generally known as a wangarra ‘ghost spirit’. For the Warrawarra clan ghost spirits have their own particular characteristics and their own name – Warraburnburn.

The Warraburnburn and the closely related Galabarrbarr spirit (owned by the Balkarranga clan) are also manikay song topics.  The spirits are related to each other as maternal grandparent and grandchild, just as the people of Warrawarra and Balkarranga are. The dancing of the two ghost spirit figures forms the finale performance for funerals, and is the final goodbye to a deceased family member.

In many ways the Warraburnburn and Galabarrbarr ghost spirits are like people. They emerge from the patches of jungle on Warrawarra and Balkarranga country in the late afternoon and go hunting in family groups of men, women and children. They stay in contact with each other by calling out as the men hunt for fish and the women walk with their dillybags looking for vegetable food. 

The ghost spirits are associated closely with white ochre and artists commonly paint the bodies of carved figures in white. Different types of ghost spirit wear different patterns. Warraburnburn is decorated with uniform white dots while others are painted white all over. Some ghost spirits are shown with a design painted on their chest infilled with rarrk ‘cross-hatching’, the same designs that are painted onto japi an-guyinda ‘male initiations’. 

They also have supernatural characteristics including superhuman size (jarra anbaykarda ‘super tall’). They know the country intimately – some are malevolent towards humans and will lead people astray, taking them to unfamiliar and dangerous places. These malevolent spirits are likened to an-muburda ‘sorcerers’ and can conduct dangerous rituals that cause harm to people. Others are benign and will lead humans back to familiar paths and their own camps.

 

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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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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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Freshwater crocodiles with barramundi family

This painting depicts two long nosed crocodiles swimming in the billabong with young barramundi and their mother barramundi. The rarrk represents the Yirritja moiety. This is my songline. Paintings created by Djilpin artists showcase the traditional ‘rarrk’, cross-hatching pattern from Arnhem Land. This style is highly distinctive and often uses colors such as red and yellow oxide, titanium white and carbon black. The figurative depictions and patterns are deeply symbolic, representing stories and skin groups as well as cultural and spiritual beliefs passed down from ancestors. The use of brushes like the Jarlk brush, crafted from local billabong reeds, adds an extra layer of authenticity to the work, connecting the artists with the land and their heritage.

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Man-djarduk (Red Bush Apples)

Deborah Wurrkidj is a Kuninjku artist from the Kurulk clan whose country lies around the outstation of Mumeka in central Arnhem Land.

In this design she has depicted man-djarduk (red bush apples) – a sweet, crisp bush food that is a favourite to collect.

Man-djarduk fruits in kurrung and kunumeleng seasons, the build-up and first rains seasons.

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Dabuno (Brolga Eggs)

Emily’s first design depicting Dabuno (Brolga Eggs). Emily is the younger sister of renowned Maningrida artists, Jennifer Wurrkidj and Deborah Wurrkidj.

This fun design is an all over repeat or spot design that can be used for fashion or soft furnishing projects.

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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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Mungili Claypan

“When I was young, [I would] walk around, play around, slide around on the mud. [At Mungili, there’s a] Big one [claypan] and little ones on the side. And the white gums, [where] we would get witchetty grubs”

– Marlene Anderson

In this work Marlene depicts a claypan located in Mungili, the small outstation community situated just off the Eagle Highway in Western Australia. Mungili lies approximately 430 kilometres northeast of Wiluna and 250 kilometres north of Warburton. Marlene grew up in Mungili, and as such it forms a significant part of her ‘ngurra’ (home Country, camp). Typically Marlene depicts this site with a central large circular form that represents the main claypan, surrounded by smaller circular forms symbolising satellite water bodies.

During the pujiman (traditional, desert dwelling) period, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known through real life experience and the recounting of Jukurrpa (Dreaming) narratives by name, location, quality and seasonal availability. This encyclopedic knowledge extends even to the nature and movement of arterial waterways, and sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant.

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Mungili Waterholes

“No one goes there and sees that landscape. Only two, Mr and Mrs [refers to footsteps in painting]. They was walking to see if the water was in there. Walking on the creek sand, they see the colours and walk down to the water hole and dig where the waters been left. Dig the creek sand where there is still water. Little huts where they sit; move when it dries out. Leave remembrance behind. When the water fills up again; come back.

When the creek sand is still moist you can see the colours. You can see many colours – lovely colours come out. I do that in my mind [when painting], go and think about the rock colours there.

Different plants, water runs, and different plants are growing, different seeds. When it rains, all year round, when its overflowing. It’s all connected. The orange sand connects to one waterhole full of water, then flowing through the creek sand. This side down [pointing to one rock hole]; and it’s a bit up [pointing to another rock hole].

I was swimming there. Yeah, we go visit them a long time [ago]. We drink it, rainwater from the rain. Big waterhole. It’s a fresh water, when the rain comes, fills it up. One for swimming and another rock hole for drinking. 3 rock holes; another is special.”

– Marlene Anderson

In this work Marlene depicts a waterhole and rock hole located in Mungili, the small outstation community located just off the Eagle Highway in Western Australia, approximately 430 kilometres northeast of Wiluna and 250 kilometres north of Warburton. Marlene grew up in Mungili, and as such it forms a significant part of her ‘ngurra’ (home Country, camp). Typically Marlene depicts this site with a central large circular form that represents the main waterhole, surrounded by smaller circular forms representing satellite water bodies.

During the pujiman (traditional, desert dwelling) period, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known through real life experience and the recounting of Jukurrpa (Dreaming) narratives by name, location, quality and seasonal availability. This encyclopedic knowledge extends even to the nature and movement of arterial waterways, and sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant.

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My Grandfather’s Country

This painting depicts Sharon’s Grandfather’s Country, located within Witjira National Park near the border of the Northern Territory and South Australia, just south of Finke. The area is rich with waterholes, trees, and salt lakes — a beautiful place full of life.

Sharon first saw her Grandfather’s Country from above during a small plane flight over Aputula in 2008. From that moment, she began painting the landscape from memory, experimenting with the forms and patterns she observed from the air. Her paintings map the surface of Aputula, tracing the movement of rivers, salt pans, and desert features with intricate topographical detail. Through this process, Sharon expresses a deep emotional and cultural connection to her family’s land.