222082373915
The Dance
This artwork, like all my work, speaks to the ongoing ‘dance’ between the relational and the colonial. I’m constantly navigating what it means to exist in this world as a mixed-race Aboriginal queer woman living in so-called Australia. For me, and for many in my community, everything is deeply nuanced and ever shifting, no matter how much dominant voices try to define us in fixed, rigid terms.
222082373807
Yanha Dhuluwi – Go straight ahead
Yanha Dhuluwi – go straight ahead This is reflection of how I see and feel life, not just mine, but the way our people walk through the world. The lines at the top and bottom of the painting represent the passing of time. Time doesn’t stop, not for pain, not for joy. It moves like Country does, always breathing, always shifting. Life just keeps going, no matter what we go through. The grouping of dots in the centre shows the events in life that shape us. These are our moments of heartbreak, growth, loss, and strength. Sometimes when we’re deep in something, grief, hardship, or change, it feels like everything should stop. You feel frozen in that one point in time. But the world keeps moving around you. That’s what this painting is about. Yanha Dhuluwi – go straight ahead. It’s about pausing when you need to, holding space for what’s happened, then standing up and continuing your journey. It’s about resilience, about carrying our stories, our scars, and our strength with us, and walking forward proud. This is my story, but it’s also the story of our people. We’ve always kept going, through everything. And we always will
359709482373658
Garden in the sky
Fireworks are like the garden in the sky.
Art Centre notes:
Paper size: 57 x 38cm
The artwork is a ‘pochoir’ print, or monoprint printed on Hahnamule paper 100% cotton rag with strong archival properties, finishing touches with gouache paint.
Artist: Helen-Joy Tomsana
Printer: Dian Darmansjah
Printed: Moa Arts Studio, Jan 2025
377810582374001
Ngarndúma (palm tree)
Handmade in Melbourne by The Social Studio 2025
Ngarndúma 2022
This is a kind of tall palm tree with one straight trunk growing in Arnhem Land.
From Njamed.com:
Kentia palm. Gronophyllum ramsayi; Carpentaria acuminata. Gender: djíya; Moiety: Yírriddjanga. N A. Karlakkalóddjarra márdba ka-rénjdjeya. The new shoot is sweet. The growing tip of young palms eaten raw; large palms are not eaten. The fruits are toxic to people but eaten by fruit pigeons.
377810582374000
Ngarndúma (palm tree)
Handmade in Melbourne by The Social Studio 2025
Ngarndúma 2022
This is a kind of tall palm tree with one straight trunk growing in Arnhem Land.
From Njamed.com:
Kentia palm. Gronophyllum ramsayi; Carpentaria acuminata. Gender: djíya; Moiety: Yírriddjanga. N A. Karlakkalóddjarra márdba ka-rénjdjeya. The new shoot is sweet. The growing tip of young palms eaten raw; large palms are not eaten. The fruits are toxic to people but eaten by fruit pigeons.
115682373949
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.
115682373832
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.
115682373805
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.
220982373798
Elizabeth Ngwarraye Bonney – My Grandmothers Country
I still hunt my Grand Mothers country for goanna, bush medicine and yams.
I hunt all year round, hunting and walking through the country makes me happy. When I look at the distant hills I can feel my grandmother. Bush flowers are everywhere.
Painting and printing my grandmother’s country reminds about those times.