CompNet Systems

114182370958

Women collecting bush foods

The Anangu people travelled vast desert landscapes, following the seasons for food and shelter, deeply attuned to the rhythms of the land. This resilience and wisdom embedded in traditional bush foods that sustained them across generations.

Maku (Witchety Grubs), with their creamy, nutty flavour, represent survival and the resourcefulness to draw nourishment from deep within tree roots. Kampurarrpa (Desert Raisins), small and tangy, add brightness and essential nutrients to desert diets, thriving under intense sun.

Ipalu (Bush Banana), a climbing vine with crisp, slender fruits, offers fibre and hydration—a refreshing staple in arid climates. Ili (Bush Figs), with their mild sweetness, grow from rugged trees, offering a delicate treat in the harsh terrain.

Through vibrant colours and intricate designs, these bush foods embody the spirit of Ngaanyatjarra culture, each a testament to the land’s gifts and the knowledge passed through generations.

By CompNet Systems, ago

114182370957

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.

By CompNet Systems, ago

377810582370943

Woodblock Sari by Bábbarra X Tharangini 2025

Woodblock print on handwoven silk, extract print with organic dyes, 100% Silk

Co-created by Bábbarra Women’s Centre, Maningrida and Tharangini Studio, India

Printed by artisans at Tharangini Studio 

Design brief by Bábbarra Women’s Centre Artists

Woodblock carving by Shri C.H. Sreeram and Shri S.K. Rajak

This fabric may feature the following woodblock designs. 

  • Kunred (Country) byJanet Kalidjan Marawarr 
  • Kundalk (Grasses) by Deborah Wurrkidj
  • Ngaldjorlhbo (Mother of Everything) by Janet Kalidjan Marawarr 
  • Yawyyawk (young woman spirit) by Deborah Wurrkidj
  • MANDJABU (FISHTRAP) byJanet Kalidjan Marawarr 
  • MAREBU (PANDANUS MAT) byJanet Kalidjan Marawarr 
  • KUNRED MANKORLOD (MANKORLOD COUNTRY) byJanet Kalidjan Marawarr 
  • ROLK (MAGGOT) KUNWARDDE(ROCKS) by Janet Kalidjan Marawarr 
  • NGALDJORLHBO (MOTHER OF EVERYTHING) by Janet Kalidjan Marawarr 
  • KUNRONJ (FRESH WATER) by Janet Kalidjan Marawarr 
  • NGALYOD (RAINBOW SERPENT) by Janet Kalidjan Marawarr 
  • MANDJABU (FISH TRAP) by Raylene Bonson
  • STINGRAY by Jocelyn Bangardijan Koyole
  • RARRK (CROSS HATCH) by Susan Belinj Marawarr
  • WAK WAK (BLACK CROW DREAMING) A Susan Belinj Marawarr
  • WAK WAK (BLACK CROW DREAMING) B Susan Belinj Marawarr

“I’m excited to see my Lino design made into a woodblock. We are going to spend Saturday printing with Tharangini Studio. We are going to learn woodblock printing. I’ve been working Bábbarra Women’s Centre for 37 years since it started. I’ve been printing Lino on fabric.” Janet Marawarr 2023

“Tomorrow we do printing Yawkyawk (mermaid spirit) and Ngalyod (rainbow serpent). My design is together with my sister. Together, we started working at the Women’s Centre and Maningrida Arts and Culture, taught by our mother and grandmother. My sister is a sick one, and she passed on her story to me – Ngalyod (rainbow serpent). I help my sister, I help carry the knowledge for her. That’s why we both have designs being made into woodblock.” Deborah Wurrkidj 2024

BACKGROUND

Bábbarra Women’s Centre is located in the Djelk area of Arnhem Land, in a town known as Maningrida and was established in 1987. We represent over 50 women artists from 12 languages and operate under the First Nations-owned Bawinanga Homelands Aboriginal Corporation. The artists at Bábbarra Women’s Centre design screen printed and lino print textiles that illustrate the djang or rich cultural narratives, histories and powerful creation stories of West Arnhem Land. The tradition of lino printing began in the mid-1990s as a way for women to become economically empowered.

Tharangini Studio was established in 1977 in Bangalore by artist and textile enthusiast Lakshmi Srivathsa. Today, it is managed by Srivathsa’s daughter, Padmini Govind, whose global corporate career in technology and defence has led to ingenious eco-friendly printing practices within the lush tropical locale. Under Padmini’s leadership, Tharangini is the only artisan studio with a NEST Ethical Seal of Compliance (fair trade). As the last surviving heritage block print studio in Bangalore, Tharangini is home to one of the largest private archives of vintage woodblocks in India

“Karri-djarrk-durrkmirri means “We work together” in the Kuninjku language of West Arnhem Land and its more than cultural exchange with India, its is two way learning.

Tharangini’s skilled artisans worked closely with Babbarra in 2023-2025 to hand-carve some of Babbarra’s old linocut designs into woodblocks. This initiative was supported by the Centre for Australia-India Relations, Kinaway Chamber of Commerce, Victoria and Bawinanga Aboriginal Corporation.

The creative relationship not only serves art but it also informs a practical and critical archival outcome for Babbarra Women’s Centre. The walls of Tharangini Studio were neatly lined with boxes of durable woodblocks and many over 200 years old and still being printed. At Bábbarra, we house cupboards and shelves of historic and vulnerable lino tiles, some 30 years old but no longer able to be printed.Tharangini Studio specialises in woodblocks carved out of teak by master artisans, creating a solid medium for textile printing. For Bábbarra Women’s Centre artists, this had the added benefit of preserving the original lino designs. Many lino sheets are crumbling and decaying, a process hastened by the kudjewk (wet season) and humid kurrung (build up).

Combining the cultural authority to share djang and print-making practices at Bábbarra Women’s Centre with the tradition of woodblock printing in India, the project exchanges many thousands of years of knowledge across the globe. The Bábbarra artists, as custodians of these designs, must receive permission from their djungkays (ritual manager through the maternal line) to share their stories.

This connection will undoubtedly sustain a lasting and significant impact on the legacy and longevity of Bábbarra Women’s Centre. The story doesn’t end here in honour of the generosity shown by Tharangini Studio, Padmini Govind will join Babbarra Women’s Centre artists in Maningrida for a workshop in June 2025.” 

Extract taken from karri-djarrk–durrkmirri catalogue essay, Jessica Stalenberg 2025

By CompNet Systems, ago

377810582370942

Woodblock Sari by Bábbarra X Tharangini 2025

Woodblock print on handwoven silk, extract print with organic dyes, 100% Silk

Co-created by Bábbarra Women’s Centre, Maningrida and Tharangini Studio, India

Printed by artisans at Tharangini Studio 

Design brief by Bábbarra Women’s Centre Artists

Woodblock carving by Shri C.H. Sreeram and Shri S.K. Rajak

This fabric may feature the following woodblock designs. 

  • Kunred (Country) byJanet Kalidjan Marawarr 
  • Kundalk (Grasses) by Deborah Wurrkidj
  • Ngaldjorlhbo (Mother of Everything) by Janet Kalidjan Marawarr 
  • Yawyyawk (young woman spirit) by Deborah Wurrkidj
  • MANDJABU (FISHTRAP) byJanet Kalidjan Marawarr 
  • MAREBU (PANDANUS MAT) byJanet Kalidjan Marawarr 
  • KUNRED MANKORLOD (MANKORLOD COUNTRY) byJanet Kalidjan Marawarr 
  • ROLK (MAGGOT) KUNWARDDE(ROCKS) by Janet Kalidjan Marawarr 
  • NGALDJORLHBO (MOTHER OF EVERYTHING) by Janet Kalidjan Marawarr 
  • KUNRONJ (FRESH WATER) by Janet Kalidjan Marawarr 
  • NGALYOD (RAINBOW SERPENT) by Janet Kalidjan Marawarr 
  • MANDJABU (FISH TRAP) by Raylene Bonson
  • STINGRAY by Jocelyn Bangardijan Koyole
  • RARRK (CROSS HATCH) by Susan Belinj Marawarr
  • WAK WAK (BLACK CROW DREAMING) A Susan Belinj Marawarr
  • WAK WAK (BLACK CROW DREAMING) B Susan Belinj Marawarr

“I’m excited to see my Lino design made into a woodblock. We are going to spend Saturday printing with Tharangini Studio. We are going to learn woodblock printing. I’ve been working Bábbarra Women’s Centre for 37 years since it started. I’ve been printing Lino on fabric.” Janet Marawarr 2023

“Tomorrow we do printing Yawkyawk (mermaid spirit) and Ngalyod (rainbow serpent). My design is together with my sister. Together, we started working at the Women’s Centre and Maningrida Arts and Culture, taught by our mother and grandmother. My sister is a sick one, and she passed on her story to me – Ngalyod (rainbow serpent). I help my sister, I help carry the knowledge for her. That’s why we both have designs being made into woodblock.” Deborah Wurrkidj 2024

BACKGROUND

Bábbarra Women’s Centre is located in the Djelk area of Arnhem Land, in a town known as Maningrida and was established in 1987. We represent over 50 women artists from 12 languages and operate under the First Nations-owned Bawinanga Homelands Aboriginal Corporation. The artists at Bábbarra Women’s Centre design screen printed and lino print textiles that illustrate the djang or rich cultural narratives, histories and powerful creation stories of West Arnhem Land. The tradition of lino printing began in the mid-1990s as a way for women to become economically empowered.

Tharangini Studio was established in 1977 in Bangalore by artist and textile enthusiast Lakshmi Srivathsa. Today, it is managed by Srivathsa’s daughter, Padmini Govind, whose global corporate career in technology and defence has led to ingenious eco-friendly printing practices within the lush tropical locale. Under Padmini’s leadership, Tharangini is the only artisan studio with a NEST Ethical Seal of Compliance (fair trade). As the last surviving heritage block print studio in Bangalore, Tharangini is home to one of the largest private archives of vintage woodblocks in India

“Karri-djarrk-durrkmirri means “We work together” in the Kuninjku language of West Arnhem Land and its more than cultural exchange with India, its is two way learning.

Tharangini’s skilled artisans worked closely with Babbarra in 2023-2025 to hand-carve some of Babbarra’s old linocut designs into woodblocks. This initiative was supported by the Centre for Australia-India Relations, Kinaway Chamber of Commerce, Victoria and Bawinanga Aboriginal Corporation.

The creative relationship not only serves art but it also informs a practical and critical archival outcome for Babbarra Women’s Centre. The walls of Tharangini Studio were neatly lined with boxes of durable woodblocks and many over 200 years old and still being printed. At Bábbarra, we house cupboards and shelves of historic and vulnerable lino tiles, some 30 years old but no longer able to be printed.Tharangini Studio specialises in woodblocks carved out of teak by master artisans, creating a solid medium for textile printing. For Bábbarra Women’s Centre artists, this had the added benefit of preserving the original lino designs. Many lino sheets are crumbling and decaying, a process hastened by the kudjewk (wet season) and humid kurrung (build up).

Combining the cultural authority to share djang and print-making practices at Bábbarra Women’s Centre with the tradition of woodblock printing in India, the project exchanges many thousands of years of knowledge across the globe. The Bábbarra artists, as custodians of these designs, must receive permission from their djungkays (ritual manager through the maternal line) to share their stories.

This connection will undoubtedly sustain a lasting and significant impact on the legacy and longevity of Bábbarra Women’s Centre. The story doesn’t end here in honour of the generosity shown by Tharangini Studio, Padmini Govind will join Babbarra Women’s Centre artists in Maningrida for a workshop in June 2025.” 

Extract taken from karri-djarrk–durrkmirri catalogue essay, Jessica Stalenberg 2025

By CompNet Systems, ago

359709482371177

Colourful Devastation

This piece represent the mass devastation of coral conflicted by nets/ghost nets. its colourful foundation ripped and torn apart whilst being trapped across the coral beds, i conveyed the living and deceased ends upon the red to imply how distractive ghost nets can truly be whilst drifting through the currents. Everyday and night, the destruction continues.

Art Centre notes:

Paper size: 57 x 76cm

The artwork is a painting, Materials  :  acrylic and paint pen on BFK Rives paper

(100% cotton rag with strong archival properties). 

Artist: Nathan Dowling 

By CompNet Systems, ago

359709482371176

Ancient Practices

A single canoe ventures the cluster of tropical fish. 3 brave and curious men stops rowing to gaze at the various types of aquatic life to provide for the village. This is an old tradition which is still practiced today. The ghostly figures depict the traditional ways of our people are still practiced even long after passed. 

Art Centre notes:

Paper size: 76 x 57cm

The artwork is a painting, Materials  :  acrylic and paint pen on BFK Rives paper

(100% cotton rag with strong archival properties). 

Artist: Nathan Dowling 

By CompNet Systems, ago

359709482371175

Shifting sea channels

Please pay attention to the sky shifting sea channels. They weave through coral reefs and ventures anywhere the current takes them. They can even take some or more coral reefs with them (mostly the dead and weak coral). The white spots on the coral arches are bleached and gone yet the coral still stands. Sometimes the channels bring the dead corals to the beaches to show the land whats going on. “what is going on”

Art Centre notes:

Paper size: 76 x 57cm

The artwork is a painting, Materials  :  acrylic and paint pen on BFK Rives paper

(100% cotton rag with strong archival properties). 

Artist: Nathan Dowling 

By CompNet Systems, ago

359709482371004

Maza (reef) 1,2 and 3

Hidden within the ocean between Thursday, Hammond and Moa Island lies 3 great Maza (reefs). When the tide bares its lowest, traversing the seas become incredibly difficult as now these great pillars of reef stand as large barriers for the boats to navigate through.

Art Centre notes:

Paper size: 100 x 70cm

The artwork is a painting, Materials:  acrylic, pastel and paint pen on Fabriano paper

(100% cotton rag with strong archival properties). 

Artist: Nathan Dowling 

By CompNet Systems, ago

359709482371003

Caught in the current

This piece is of the great Hammer head who surveys the waters of Torres Strait searching its next meal. But even the Hammer head has battles against turbulent currents. Luckily the great Hammer head is known to evaded the currents and continues on its hunt.

Art Centre notes:

Paper size: 100 x 70cm

The artwork is a painting, Materials:  acrylic, pastel and paint pen on Fabriano paper

(100% cotton rag with strong archival properties). 

Artist: Nathan Dowling 

 

By CompNet Systems, ago

115682371171

Banumbirr- Morning Star Ceremony by Burruna

Banumbirr – Morning Star Ceremony (Dhuwa moiety)

The Morning Star Ceremony is from the Dhuwa moiety. I have painted the ceremony here. It’s got leaves from the banyan tree (ficus virnens) that makes figs for people to eat – they are part of our bush tucker.

The Morning Star is from my great grandfather, my grandfather and my father. I paint it for my family to show my sisters and brothers. My grandfather and my father have both passed away, so I teach the bunggul (dancing) to my children.

We make a little Morning Star (you can see a man holding that on the right side of the painting), so the big Morning Star can came out. It is a long ceremonial pole that we dance around. You can also see the little Morning Star in this painting. There are men with yidaki (didjeridoo) and bilma (clap sticks) singing the Morning Star song cycle part for my people. The women have banyan tree leaves that they are dancing with.

We make a big Morning Star pole as part of the ceremony. You can see that in the middle of this painting.

Banumbirr – Morning Star – is an exchange ceremony with other clans in the Bapurru (clan group).

The Morning Star is the first star you see in the sky in the mornings.

By CompNet Systems, ago