Bawinanga Aboriginal Corporation

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Kunkih (Mud Ripples)

This design depicts the patterns of the freshwater mud ripples, which emerge after strong monsoonal wet seasons on the Djinkarr and Nangak flood plains.

These ripples form on the earth’s surface in delicate repetitive and shifting patterns. The mud ripples move, crack, disappear and re-emerge in response to the changing wind, rains and new sun.

The mud ripples depicted in this design are on Elizabeth’s homeland, the Djinkarr and Nangak floodplains south of Maningrida in Arnhem Land.

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Kunkih (Mud Ripples)

This design depicts the patterns of the freshwater mud ripples, which emerge after strong monsoonal wet seasons on the Djinkarr and Nangak flood plains.

These ripples form on the earth’s surface in delicate repetitive and shifting patterns. The mud ripples move, crack, disappear and re-emerge in response to the changing wind, rains and new sun.

The mud ripples depicted in this design are on Elizabeth’s homeland, the Djinkarr and Nangak floodplains south of Maningrida in Arnhem Land.

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Kunkih (Mud Ripples)

This design depicts the patterns of the freshwater mud ripples, which emerge after strong monsoonal wet seasons on the Djinkarr and Nangak flood plains.

These ripples form on the earth’s surface in delicate repetitive and shifting patterns. The mud ripples move, crack, disappear and re-emerge in response to the changing wind, rains and new sun.

The mud ripples depicted in this design are on Elizabeth’s homeland, the Djinkarr and Nangak floodplains south of Maningrida in Arnhem Land.

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Kunkurra (Spiral Wind)

‘My designs, they are all alive living up in my head’- Janet Marawarr

Janet Marawarr has depicted kunkurra, the spiralling wind associated with several sites in the Kardbam clan. On one level, this design can be interpreted as a depiction of the kinds of mini-cyclones common during the wet season in Arnhem Land, where the artist lives. Kunkurra also relates specifically to a site called Bilwoyinj, near Mankorlod, on the artist’s clan estate.

At this site, two of the most important Kuninjku creation beings, a father and son known as na-korrkko, are believed to have hunted and eaten a goanna. They left some of the goanna fat behind at the site, which turned into the rock that still stands there today.

Bilwoyinj site is also a ceremonial ground for a ceremony called Yabbaduruwa, a major ceremony owned by the Yirridja patrimoiety. The Yabbaduruwa ceremony is primarily concerned with initiation, land ownership and promoting the cyclical regeneration of the human and natural worlds.

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Kunkurra (Spiral Wind)

‘My designs, they are all alive living up in my head’- Janet Marawarr

Janet Marawarr has depicted kunkurra, the spiralling wind associated with several sites in the Kardbam clan. On one level, this design can be interpreted as a depiction of the kinds of mini-cyclones common during the wet season in Arnhem Land, where the artist lives. Kunkurra also relates specifically to a site called Bilwoyinj, near Mankorlod, on the artist’s clan estate.

At this site, two of the most important Kuninjku creation beings, a father and son known as na-korrkko, are believed to have hunted and eaten a goanna. They left some of the goanna fat behind at the site, which turned into the rock that still stands there today.

Bilwoyinj site is also a ceremonial ground for a ceremony called Yabbaduruwa, a major ceremony owned by the Yirridja patrimoiety. The Yabbaduruwa ceremony is primarily concerned with initiation, land ownership and promoting the cyclical regeneration of the human and natural worlds.

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Barnkabarra (Mud Crabs)

This design tells the story of Elizabeth’s homeland – a dreaming place, a good dreaming place with plenty of Barnkabarra (Mud Crabs). Elizabeth’s homeland lies east of Maningrida, at the mouth of Blyth river. This country is known for a large spiritual mud crab, which lives in the area.

Many families go and collect crabs to eat there with long sticks, or collect directly from the shores. Mud crabs hide in the muddy bottoms of estuaries and mangrove forests in areas surrounding Maningrida. After a king tide, a large cyclical tide which bring the crabs out from the mangroves, it is a good time to find crabs.

Barnkabarra (mud crabs) in Kuninjku language, or Rrugurrgurda (mud crabs) in the Burarra language, are good baladji (bush food in Burarra) and can be caught all year round. They are put on the fire to cook and they are ready when they turn a bright orange colour.

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Kunwardde dja Kunronj (Rocks and Billabong)

Abigail has depicted the waterholes or Kunwardde dja Kunronj (Sacred Rocks and Billabong) that lie on the plains near Mankorlod, the country for which she is a traditional owner.

The waterholes remain wet throughout the year, even during dry season. This site is connected to the artist’s djang (dreaming), the ngalng (freshwater yabbie) and stone country. Mankorlod homeland is a three-hour drive from Maningrida in the kunwardde (stone country).

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Au-gujechiya (fishtrap) Screen Print

TITLE                          Au-gujechiya

YEAR                          2022

MEDIUM                     Screen print

DETAILS                    2 screen

Au-gujechiya  means  fishtrap in the Burrarra language which is one of the traditional  languages spoken in the Maningrida region. Elizabeth’s homeland is Gupanga, Arnhem Land which located on a saltwater estuary, a great place for catching fish.

Elizabeth obtained permission from her djunkay to create a screen print design about a historic object traditionally used to trap fish in rivers, creeks, and estuaries. 

In the early wet season, fish swim upstream for breeding in creeks and billabongs, then downstream to spend the dry season in larger rivers. The traps would be set to face the oncoming fish, with woven fencing either side. Within the mouth of the trap is a woven funnel that guides the fish in and prevents their escape. The clever design ensures that only adult fish are caught as smaller fish can escape through the weaving or even through the funnel. The fish that are caught can survive in the trap for up to two months. Once the trap is removed, the end is untied to remove the fish. This sustainable design means the trap can be used again and again. 

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Au-gujechiya (fishtrap) Screen Print – discounted (small oil stain)

TITLE                          Au-gujechiya

YEAR                          2022

MEDIUM                     Screen print

DETAILS                    2 screen

Au-gujechiya  means  fishtrap in the Burrarra language which is one of the traditional  languages spoken in the Maningrida region. Elizabeth’s homeland is Gupanga, Arnhem Land which located on a saltwater estuary, a great place for catching fish.

Elizabeth obtained permission from her djunkay to create a screen print design about a historic object traditionally used to trap fish in rivers, creeks, and estuaries. 

In the early wet season, fish swim upstream for breeding in creeks and billabongs, then downstream to spend the dry season in larger rivers. The traps would be set to face the oncoming fish, with woven fencing either side. Within the mouth of the trap is a woven funnel that guides the fish in and prevents their escape. The clever design ensures that only adult fish are caught as smaller fish can escape through the weaving or even through the funnel. The fish that are caught can survive in the trap for up to two months. Once the trap is removed, the end is untied to remove the fish. This sustainable design means the trap can be used again and again. 

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Au-gujechiya (fishtrap) Screen Print

TITLE                          Au-gujechiya

YEAR                          2022

MEDIUM                     Screen print

DETAILS                    2 screen

Au-gujechiya  means  fishtrap in the Burrarra language which is one of the traditional  languages spoken in the Maningrida region. Elizabeth’s homeland is Gupanga, Arnhem Land which located on a saltwater estuary, a great place for catching fish.

Elizabeth obtained permission from her djunkay to create a screen print design about a historic object traditionally used to trap fish in rivers, creeks, and estuaries. 

In the early wet season, fish swim upstream for breeding in creeks and billabongs, then downstream to spend the dry season in larger rivers. The traps would be set to face the oncoming fish, with woven fencing either side. Within the mouth of the trap is a woven funnel that guides the fish in and prevents their escape. The clever design ensures that only adult fish are caught as smaller fish can escape through the weaving or even through the funnel. The fish that are caught can survive in the trap for up to two months. Once the trap is removed, the end is untied to remove the fish. This sustainable design means the trap can be used again and again.