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 canoes are filled with gumang (magpie geese) eggs.
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Bathi (Pandanus Basket)
Yolŋu weavers of Arnhem Land create utilitarian, ceremonial, and decorative pieces using naturally sourced materials. This Bathi (Pandanus Basket) 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 various techniques to produce both functional and decorative baskets.
Typically, Bathi are made using a coiling technique which was adapted from techniques used by Indigenous women throughout Southeast Australia. Introduced to Arnhem Land weavers in the 1930’s as Missionaries began commissioning pieces in this style.
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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Djerrk (Bush String Bag)
Djerrk (Bush String Bag) is a flexible, open weave bag made from the bark of Balgurr (red-flowered Kurrajong) but can also be made using Banyan Tree or the Cocky Apple Tree.
The bark is harvested by cutting sections of the tree from the trunk. Depending on the size of the tree, this can involve removing small sections or the whole trunk. The inner bark is then softened by being beaten or chewed, then dyed.
Bula’bula weavers exclusively use natural dyes, derived from locally sourced roots, leaves and grasses. These pigments are extracted and infused into dried balgurr fibres by boiling over an open fire, producing the rich, vibrant colours characteristic of contemporary Yolŋu weavings.
Once dyed, the fibre is separated into fine strips the rolled on the thigh to create a rope, otherwise known as bush string. The bush string is woven and knotted to create the Djerrk (String Bag). This bag was used for every day utilitarian purposes, particularly collecting bush foods.
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Baru Dhawu (Crocodile Story)
Baru (the crocodile man), was from the Gumatj clan. People usually call him Gurdu Gurdu or Baru which means crocodile. He lived his life at a place called Yirrkala. Living near him were other people, and when Baru didn’t have enough to eat he began to kill and eat these other people. After a while others noticed that some people were missing. When Baru went to the toilet, the people could smell this strong smell, so they knew that he ate the other people. Some men went to get help and they took message sticks to the other tribes. Some were sending smoke signals. When they came to Baru’s camp they started to spear him in the left side of his ribs. He dropped into the fire and burnt his left hand and maybe his right hand. He then ran into the bush and yelled to his countrymen – the animals, birds and fish that live on the land and in the sea. He stopped and he named the tribes and clans and also the places until he came to a place called Gamarru/Guyurru. There he took a rest and said to himself “This is where I stop and call this place Gamarru/Guyurru”. Baru, still in pain from the fire, then jumped into the water and turned himself into a crocodile. The fire left scars on his back. Baru paintings belong to Gumatj and Warrawarra and also the Marpi clan. This painting is used at death ceremonies or initiations and it normally is painted on the belly, which means the person the design is painted on is part of Gurdu Gurdu (the crocodile people).
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Woven Buliya (Catfish)
Yolŋu weavers of Arnhem Land craft both utilitarian and ceremonial objects using naturally sourced materials, with more recent works also including decorative pieces. The choice of fibre depends on the intended function of each piece.
One of the primary materials is the young, green leaves of the Pandanus spiralis tree, harvested with a long hook. The leaves are stripped of their prickles, and the smaller fibres are dried to produce a strong, resilient material. These fibres can be twisted, coiled, or combined using various techniques to create baskets (Bathi), dillybags (Mindirr), and mats—both in the modern flat style and the traditional conical style (Nganiyal).
For more flexible, open-weave designs, weavers use the bark of the kurrajong tree. This material is particularly suited for dillybags (Mindirr) and ceremonial objects, such as Matjka (body adornments) and Malka (headwear).
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.
Buliya (catfish) are a favourite fish for Yolngu, They are often depicted amongst the waterlilies, leeches and natural debris such as leaves and reeds.
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Djerrk (Bush String Bag)
Djerrk (Bush String Bag) is a flexible, open weave bag made from the bark of Balgurr (red-flowered Kurrajong) but can also be made using Banyan Tree or the Cocky Apple Tree.
The bark is harvested by cutting sections of the tree from the trunk. Depending on the size of the tree, this can involve removing small sections or the whole trunk. The inner bark is then softened by being beaten or chewed, then dyed.
Bula’bula weavers exclusively use natural dyes, derived from locally sourced roots, leaves and grasses. These pigments are extracted and infused into dried balgurr fibres by boiling over an open fire, producing the rich, vibrant colours characteristic of contemporary Yolŋu weavings.
Once dyed, the fibre is separated into fine strips the rolled on the thigh to create a rope, otherwise known as bush string. The bush string is woven and knotted to create the Djerrk (String Bag). This bag was used for every day utilitarian purposes, particularly collecting bush foods.
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Tide Going Out
When the tide goes out it drags back the water and leaves behind patterns in the sand. This painting represents the water and the sand. I like to paint my country from a bird’s eye view, looking down. I love the different textures and shapes of the landscape. They inspire my artworks.
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Minyma Kutjarra – (Two Sisters)
‘Minyma Kutjara’ (Two Ladies), is a popularly depicted story by women from the Ngaanyatjarra Lands. The painting has different chapters depending on where the artist is from and the inherited story of their ancestors. we see the ladies sitting together at their camp situated among the sand hills. They are surrounded by an abundance of desert flowers and fruits. The painting is a reflection on the lush nature of the land that was so many years ago. When there is rain coming to the lands it makes everyone so pleased as it indicates good foraging and hunting.
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Kungkarrangkalpa (Seven Sisters)
‘Kungkarrangkalpa’ (The Seven Sisters or Pleaides) is significant Tjukurrpa (dreamtime). Its origins you may be familiar with in astronomy and its connection to ‘Wati Nyiru’ (Magic Man or Orion). The roots of this dreaming stems across indigenous groups around the world. The Australian Aboriginal songline is one part to the whole dreaming which can be traced all around the world. The ladies of the Ngaanyatjarra Lands depict their significant chapter and understanding of the journey of the sisters. The different versions of this story depend on where you live and the significance’s of local Tjukurrpa places.
Nyiru fell in love with the sisters but he was of the wrong skin group to marry, but he still pursued them on their journey. The sisters travel across the land to escape Nyiru’s unwanted attentions, but he is persistent and always finds them. There are significant land forms which can be sited today that evidence this dreaming. As Nyiru is chasing the sisters he tries to catch them by using magic to turn into the most tempting kampurarrpa (bush tomato) and the most beautiful Yirli (wild fig tree), for them to eat and camp under. However, the sisters are knowledgeable of his magic and too clever for Nyiru who they outwit again and again. They go hungry and run through the night rather than be caught by him. As the journey continues, Nyiru gets so frustrated at the wit of the sisters that he uses his magic to make the oldest sister sick to try and get closer to her. The other sisters rescue the big sister and nurse her back to health. It is said he also captures the youngest sister, but with the help of the oldest sister, she escapes back to her sisters who are waiting for her. Eventually, the sisters fly into the sky to escape Nyiru, forming the constellation. Nyiru felt lonely, longing for the sisters who were so far away. Nyiru used his magic to go to the sky, forever in pursuit.