CompNet Systems

115682376759

Dhawurr or Batjbarra (Fish Trap)

Dhawurr, or Batjbarra, is a traditional fishing method used by Indigenous people in the Arafura Swamp and surrounding wetlands of Arnhem Land. Yolŋu now prefer the modern fishing methods of reels and bait, however, weavers continue to make Batjbarra for cultural conservation and to be sold as decorative pieces.

When used for practical purposes, the Batjbarra was placed into the river with the opening facing oncoming fish. The woven tunnel trapped the fish with the weave tight enough to prevent escape but loose enough to allow water to freely flow through. The traps tapered so that when they were submerged, the water pressure wedged them into place.

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 the fish trap.

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.

By CompNet Systems, ago

115682377564

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.

By CompNet Systems, ago

115682377534

Dhawurr or Batjbarra (Fish Trap)

Dhawurr, or Batjbarra, is a traditional fishing method used by Indigenous people in the Arafura Swamp and surrounding wetlands of Arnhem Land. Yolŋu now prefer the modern fishing methods of reels and bait, however, weavers continue to make Batjbarra for cultural conservation and to be sold as decorative pieces.

When used for practical purposes, the Batjbarra was placed into the river with the opening facing oncoming fish. The woven tunnel trapped the fish with the weave tight enough to prevent escape but loose enough to allow water to freely flow through. The traps tapered so that when they were submerged, the water pressure wedged them into place.

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 the fish trap.

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.

By CompNet Systems, ago

111582377606

Emu Tracks to Puntawarri

“Emu go to the springs to have a drink of water and then move on to the next one.”

– Judith Anya Samson

Puntawarri is an important cultural area, as well as the site of a now abandoned community, a waterhole, creek and lake. Puntawarri is located on the middle stretches of the Canning Stock Route and east of the Jigalong Aboriginal Community, where Judith grew up with her grandmother and senior Martumili Artist Dadda Samson (dec.). Anya continues to live between Jigalong and Newman today.

Puntawarri lies within Judith’s ngurra (home Country, camp) through her mother’s family, and as a young girl she frequently travelled and hunted with her family in this area, learning the stories for this Country. Depicted in this work are the tracks of a group of emus on their way to Puntawarri waterhole, searching for kapi (water). 

Karlaya (emu) were traditionally hunted during the pujiman (traditional, desert dwelling) era, and they continue to be a favoured bush tucker for Martu today. During the pujiman period, Martu would traverse very large distances annually in small family groups, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. Jina (tracks, footprints) are used by Martu people when tracking bush tucker. In the absence of an actual animal sighting, tracks act as an identifier that an animal was present, which can then be followed to the animal’s present location. Besides providing information on location, Martu are able to interpret from tracks the passage of time since the tracks were imprinted, as well as the corresponding animal species and its size.

The softer and more extensive the ground surface, the easier it is to locate and follow tracks, thus certain conditions are favoured for tracking. Tuulparra (spring) and yalijarra (hot time) are preferred over wantajarra (winter), when south easterly tradewinds blow strongly to obscure tracks. Tracks and burrows are also more readily visible in early growth lands, such as nyurnma (freshly burnt Country) and waru-waru (growth of new shoots and young plants). For this reason, fire burning is an important tool in animal tracking. Small burns are lit to clear vegetation, expose burrows, and to allow for access to walk and track readily in exposed sands, while simultaneously providing diverse regenerating habitats.

By CompNet Systems, ago

22514008350

Status: Stock

Tote Bag – ‘Kunjuri (Rainforest Shield)’ by Gregory Salt – TBGS01

Traditional shields were carved from a single piece of timber cut from side of the buttress root of a rainforest fig-tree. The kidney shaped shields are unique to the rainforest Bama of Far North Queensland. They were decorated with clan, totem or moiety designs using natural ochres and a water, fat or blood binder.

Shields were primarily used for deflecting spears in tribal fighting in conjunction with large rainforest swords.

Shields were usually made and painted by senior men and were a significant personal possession of adult males.

 

 

Fabrication: 12oz Cotton Canvas

By CompNet Systems, ago

22514008349

Status: Stock

Tote Bag – Kurranji (Cassowary) by Karen Shuan – TBKS04 SAND

The cassowary is one of the major totems (Ancestral Spirit Beings) for our Kuku Yalanji people. He is a big, dangerous bird that rules the rainforest. The cassowary can attack people, but at the same time he helps growing many of the plants we used to collect for food, medicine and tool making.

I inherited the Cassowary Totem and all the cultural stories relating to it from my mother’s side. When I was four years old, my mum taught me how to dance the story of the female cassowary, who is protecting the chicks and the eggs from the carpet snake and goanna.

As a young woman, I took on the role of my mum and began teaching our cultural dances to the younger generation at the Mossman Gorge community as well as children that live in Mossman town. I still do this today.

 

Fabrication: 12oz Cotton Canvas

By CompNet Systems, ago

11154008348

Status: Stock

Westn Desert design

Unisex hoodie.AS Colour Relax Hood, offering comfort with its relaxed fit and mid-weight 320 GSM fabric blend of 80% cotton and 20% recycled polyester fleece. Features include a pullover style, drop shoulder, kangaroo pocket, and ribbed sleeve cuffs, complemented by a self-fabric lined hood and tear-out label for a minimalist appeal.

Available in Black

Sizes S, M, L, XL, 2XL, 3XL, 4XL

This work portrays an area known to the artist, painted here from memory. During the pujiman (traditional, desert dwelling) era one’s survival depended on their intimate knowledge of the location of resources; thus physical elements of Country, such as sources of kapi (water), tali (sandhills), and different varieties of warta (trees, vegetation) were carefully observed and remembered. Today, this relationship with Country remains equally strong, despite the movement of Martu out of the desert and into remote Aboriginal communities, towns and cities.

Also visible may be traces of life cycles based around kalyu (rain, water) and waru (fire). A thousands of year old practice, fire burning continues to be carried out as both an aid for hunting and a means of land management today. As the Martu travelled and hunted they would burn tracts of land, ensuring plant and animal biodiversity and reducing the risk of unmanageable, spontaneous bush fires. The patchwork nature of regrowth is visible in many landscape works, with each of the five distinctive phases of fire burning visually described with respect to the cycle of burning and regrowth.  

Finally, metaphysical information relating to a location may also be recorded; Jukurrpa (Dreaming) narratives chronicle the creation of physical landmarks, and can be referenced through depictions of ceremonial sites, songlines, and markers left in the land. 

 

By CompNet Systems, ago

22514008346

Status: Stock

K. Shuan, Ngujay (Freshwater Turtle)

Screen printed by hand in Sydney by Publisher Textile. Sold by the metre.

Care Instructions: Gentle machine or hand wash only in cool water, using mild detergent.

Do Not Soak, Bleach, Rub, Wring, Tumble. Line Dry Only in Shade. 

Warm Iron on Reverse. Do Not Dry Clean

By CompNet Systems, ago

22514008343

Status: Stock

Tea Towel ‘Birmba (White Cockatoo)’ by Lorna Shuan – TTLS03

Birmba (White Cockatoo) is my family totem. It has been passed down from generation to generation. They always remind me of my grandfather, my sister and other family members who have passed on. White Cockatoos are like protective spirits for me and my family. They will give you signs. Good signs and signs of danger. They will let you know when to move on.
When I’m out with my grandchildren and there is a white cockatoo, I might say, “that is your grandmother, my sister who is watching us”.

At other times, the spirits of other family members visit us in form of white cockatoos. The White Cockatoo keeps our living and past family connected to each other and to our country. When I’m alone, I know they are around. I speak to their spirit and they give me strength.

By CompNet Systems, ago