Djilpin Arts Aboriginal Corporation

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Basket With Handle

Gapu is a series of limited edition fine prints created in a long standing a collaboration between Basil Hall Editions and Beswick artists. Gapu Series XI uses, for  the first time, the Collograph technique and features 23 prints by 14 senior and emerging artists from Beswick.  Gapu (Water) features life and cultural practice around the water ways of both Beswick and the ancestral homelands of the artists, from hairy yams to woven string bags, sitting ducks on the billabong to fish hiding in the lily roots, ceremonial dilly bags to the mythical Mimis that share country.

Editions are limited to 30 prints, printed on Hahnemuhle paper.

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Basket With Handle

Gapu is a series of limited edition fine prints created in a long standing a collaboration between Basil Hall Editions and Beswick artists. Gapu Series XI uses, for  the first time, the Collograph technique and features 23 prints by 14 senior and emerging artists from Beswick.  Gapu (Water) features life and cultural practice around the water ways of both Beswick and the ancestral homelands of the artists, from hairy yams to woven string bags, sitting ducks on the billabong to fish hiding in the lily roots, ceremonial dilly bags to the mythical Mimis that share country.

Editions are limited to 30 prints, printed on Hahnemuhle paper.

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Basket With Handle

Gapu is a series of limited edition fine prints created in a long standing a collaboration between Basil Hall Editions and Beswick artists. Gapu Series XI uses, for  the first time, the Collograph technique and features 23 prints by 14 senior and emerging artists from Beswick.  Gapu (Water) features life and cultural practice around the water ways of both Beswick and the ancestral homelands of the artists, from hairy yams to woven string bags, sitting ducks on the billabong to fish hiding in the lily roots, ceremonial dilly bags to the mythical Mimis that share country.

Editions are limited to 30 prints, printed on Hahnemuhle paper.

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Basket With Handle

Gapu is a series of limited edition fine prints created in a long standing a collaboration between Basil Hall Editions and Beswick artists. Gapu Series XI uses, for  the first time, the Collograph technique and features 23 prints by 14 senior and emerging artists from Beswick.  Gapu (Water) features life and cultural practice around the water ways of both Beswick and the ancestral homelands of the artists, from hairy yams to woven string bags, sitting ducks on the billabong to fish hiding in the lily roots, ceremonial dilly bags to the mythical Mimis that share country.

Editions are limited to 30 prints, printed on Hahnemuhle paper.

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Goannas

Gapu is a series of limited edition fine prints created in a long standing a collaboration between Basil Hall Editions and Beswick artists. Gapu Series XI uses, for  the first time, the Collograph technique and features 23 prints by 14 senior and emerging artists from Beswick.  Gapu (Water) features life and cultural practice around the water ways of both Beswick and the ancestral homelands of the artists, from hairy yams to woven string bags, sitting ducks on the billabong to fish hiding in the lily roots, ceremonial dilly bags to the mythical Mimis that share country.

Editions are limited to 30 prints, printed on Hahnemuhle paper.

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Clapsticks

Wood carving has always been part of Aboriginal culture. Men carved wood for many purposes – tools for hunting or gathering food, axes and knives for building shelters, spears and clubs for protection of their lives and territory, objects for ceremony and to mark sacred sites.

Artists source the timber on country, walking from tree to tree to find the right piece for the desired functional outcome. Once found, it is cut and then brought back to camp to be worked, shaped, sanded and finally finished.

Clapsticks are used in traditional ceremony and dance as a percussion instrument to accompany Mago (didjeridu). Denser woods such as Ironwood or Kerosene wood are preferred due to their crisper clap sound. Clapsticks can be left raw or painted and decorated. Straight timber from younger trees is preferred as it requires less work to make functional.

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Clapsticks

Wood carving has always been part of Aboriginal culture. Men carved wood for many purposes – tools for hunting or gathering food, axes and knives for building shelters, spears and clubs for protection of their lives and territory, objects for ceremony and to mark sacred sites.

Artists source the timber on country, walking from tree to tree to find the right piece for the desired functional outcome. Once found, it is cut and then brought back to camp to be worked, shaped, sanded and finally finished.

Clapsticks are used in traditional ceremony and dance as a percussion instrument to accompany Mago (didjeridu). Denser woods such as Ironwood or Kerosene wood are preferred due to their crisper clap sound. Clapsticks can be left raw or painted and decorated. Straight timber from younger trees is preferred as it requires less work to make functional.

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Clapsticks

Wood carving has always been part of Aboriginal culture. Men carved wood for many purposes – tools for hunting or gathering food, axes and knives for building shelters, spears and clubs for protection of their lives and territory, objects for ceremony and to mark sacred sites.

Artists source the timber on country, walking from tree to tree to find the right piece for the desired functional outcome. Once found, it is cut and then brought back to camp to be worked, shaped, sanded and finally finished.

Clapsticks are used in traditional ceremony and dance as a percussion instrument to accompany Mago (didjeridu). Denser woods such as Ironwood or Kerosene wood are preferred due to their crisper clap sound. Clapsticks can be left raw or painted and decorated. Straight timber from younger trees is preferred as it requires less work to make functional.

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Clapsticks

Wood carving has always been part of Aboriginal culture. Men carved wood for many purposes – tools for hunting or gathering food, axes and knives for building shelters, spears and clubs for protection of their lives and territory, objects for ceremony and to mark sacred sites.

Artists source the timber on country, walking from tree to tree to find the right piece for the desired functional outcome. Once found, it is cut and then brought back to camp to be worked, shaped, sanded and finally finished.

Clapsticks are used in traditional ceremony and dance as a percussion instrument to accompany Mago (didjeridu). Denser woods such as Ironwood or Kerosene wood are preferred due to their crisper clap sound. Clapsticks can be left raw or painted and decorated. Straight timber from younger trees is preferred as it requires less work to make functional.

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Water Buffalo Skull

This commissioned Water Buffalo piece features two Wagilak clan stories along with a young man initiation ceremony body paint style. 

As a central piece on the water buffalo forehead are some gum leaves and gumnuts. This is an important sugarbag story that show when is the right time to harvest GuGu, or native bee honey. When the gumnuts are flowering, the hives are ripe for harvest.

Surrounding the sugarbag story are multiple Laar’da, or stone blades. Stones are harvested on country, and then skilfully shaped and used for hunting purposes. Young men need to learn this skill before they are allowed to hunt on their own.

Yellow and white dots around the eye sockets, as well as the black and red dots around the jaw are similar to the body paint dots placed on young men when they go through initiation ceremony.

Raark or fine line work has been completed using a handmade grass reed brush called Jarlk. Raark is in Yirritja style and consists of mutliple lines before alternating colour.

Modern acrylic paint has been used. Skull was sanded smooth before painting so the Jarlk brush could flow easily.