{"title":"4LS: All","description":"\u003cp\u003eAll artworks at 4LS including \u003cem\u003eFIBRE\u003c\/em\u003e, and \u003cem\u003eShared Space.\u003c\/em\u003e\u003c\/p\u003e","products":[{"product_id":"cecille-baker-burlupurr-dillybag-244-23","title":"Cecille Baker | Burlupurr, dillybag 244-23","description":"","brand":"Cecille Baker","offers":[{"title":"Default Title","offer_id":44692304167210,"sku":"","price":380.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/products\/244-23_fbf1d9fd-f580-4bce-8787-98b019f759dd.jpg?v=1681803037"},{"product_id":"cecille-baker-burlupurr-dillybag-245-23","title":"Cecille Baker | Burlupurr, dillybag 245-23","description":"","brand":"Cecille Baker","offers":[{"title":"Default Title","offer_id":44692317372714,"sku":"","price":360.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/products\/245-23_1732e8c2-2b58-410c-ac2e-c512d67d81e0.jpg?v=1681803065"},{"product_id":"michelle-baker-gularbanga-burlupurr-dillybag-25-23","title":"Michelle Baker Gularbanga | Burlupurr, dillybag 25-23","description":"","brand":"Michelle Baker Gularbanga","offers":[{"title":"Default Title","offer_id":44692847558954,"sku":"","price":360.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/products\/25-23_f3b02d08-4bcb-4547-9478-90c7f7df700a.jpg?v=1681977647"},{"product_id":"freda-ali-wayartja-burlupurr-dillybag-1401-22","title":"Freda Ali Wayartja | Burlupurr, dillybag 1401-22","description":"","brand":"Freda Ali Wayartja","offers":[{"title":"Default Title","offer_id":44694731161898,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/products\/1401-22.jpg?v=1681803292"},{"product_id":"freda-ali-wayartja-burlupurr-dillybag-2076-22","title":"Freda Ali Wayartja | Burlupurr, dillybag 2076-22","description":"","brand":"Freda Ali Wayartja","offers":[{"title":"Default Title","offer_id":44694814851370,"sku":"","price":660.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/products\/2076-22_ac852053-5c08-4190-815e-c8df9e6e744b.jpg?v=1681803136"},{"product_id":"freda-ali-wayartja-burlupurr-dillybag-2079-22","title":"Freda Ali Wayartja | Burlupurr, dillybag 2079-22","description":"","brand":"Freda Ali Wayartja","offers":[{"title":"Default Title","offer_id":44694825664810,"sku":"","price":390.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/products\/2079-22.jpg?v=1681803155"},{"product_id":"doreen-jinggarrabarra-olsen-burlupurr-dillybag-1838-22","title":"Doreen Jinggarrabarra Olsen | Burlupurr, dillybag 1838-22","description":"","brand":"Doreen Jinggarrabarra Olsen","offers":[{"title":"Default Title","offer_id":44695096099114,"sku":"","price":750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/products\/1838-22.jpg?v=1681803601"},{"product_id":"doreen-jinggarrabarra-olsen-burlupurr-dillybag-2364-22","title":"Doreen Jinggarrabarra Olsen | Burlupurr, dillybag 2364-22","description":"","brand":"Doreen Jinggarrabarra Olsen","offers":[{"title":"Default Title","offer_id":44695190339882,"sku":"","price":390.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/products\/2364-22_6a89d299-9a24-443a-95aa-8e08959266ec.jpg?v=1681803194"},{"product_id":"bonnie-burarngarra-burlupurr-dillybag-401-23","title":"Bonnie Burarngarra | Burlupurr, dillybag 401-23","description":"","brand":"Bonnie Burarngarra","offers":[{"title":"Default Title","offer_id":44695261708586,"sku":"","price":360.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/products\/401-23.jpg?v=1681803863"},{"product_id":"megan-yunupingu-worrwurr-ngerrk-23-206","title":"Megan Yunupingu | Worrwurr\/Ŋerrk 23-206","description":"\u003cdiv title=\"Page 7\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003e‘The \u003c\/span\u003e\u003cspan\u003eŊ\u003c\/span\u003e\u003cspan\u003eerrk comes from the Yirritja Moiety and is sung of by my Grandmother’s clan and mine from the Gumatj clan, and several other Yirritja clan groups that has links with this totem. We also dance and imitate the \u003c\/span\u003e\u003cspan\u003eŊ\u003c\/span\u003e\u003cspan\u003eerrk on how it caws and cries, flies and lands during its travels.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv title=\"Page 6\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003e‘The owl totem belongs to the Yirritja Moiety. It also belongs to other clans such as, Wangurri, Dhalwangu etc. \u0026amp; the Golpa clan who sing about owls. The owls’ eyes depict the traditional bush food, called Dingu which comes from the Cycad plant, the nuts are pounded, strained, and made into a dough then wrapped in Paper Bark and baked in a ground oven. Owls are smart and wise, they bring telepathic messages, telling us that something is going to happen, something good or bad in relation to our family. They also tell us if a death has occurred amongst our family.’ \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eHand cut from soft milkwood and painted with natural ochres sourced locally, Megan Yunupingu's carved sculptures depict the birds of Elcho Island, NT, most notably the Worrwurr (Owl) and Ŋjerrk (Cockatoo).\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eThe traditional knowledge passed down over generations combined with the immense talent and skill involved in all stages of making result in an incredibly unique and powerful collection of new carvings from Megan Yunupingu.\u003c\/p\u003e\n\u003cdiv title=\"Page 4\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eBorn in Nhulunbuy, Megan moved to Galiwin'ku in 1998 to live with her Aunty Judy Manany Gurruwiwi. Judy taught her how to paint and passed on important cultural stories. This included how to make Yidaki (didgeridoo) and carve sculptures. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMegan is well recognised Australia wide for her carved timber owl (Worrwurr) sculptures and has now taken on a new art medium where she is now emerging as a natural fibre weaver where she has produced high end mats and earrings. Megan has had the opportunity of having wonderful weavers such as the accomplished weavers Judy Manany Gurruwiwi and Ms. M Ganambarr teaching and inspiring her in the beautiful art of natural fibre weaving. Megan has taken on this knowledge to produce her free experimentation with construction methods, colour and patterns to produce these innovative forms of artwork. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA very exciting emerging artist from Elcho Island Arts, Megan is involved in the cultural tradition of learning how to paint her mother’s totems. Married with three children and four grandchildren, Megan has a very busy life balancing her full-time work commitments as Arts Worker at Elcho Island Arts, while also finding time to concentrate on her professional artistic career. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Elcho Island Arts","offers":[{"title":"Default Title","offer_id":46761572041002,"sku":null,"price":2500.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/WORRWURR_NGERRK23-206MEGANYUNUPINGU_dd42384e-0ceb-4dc2-a6f3-947d909c273d.jpg?v=1734491959"},{"product_id":"megan-ganambarr-gunga-bowl-22-099","title":"Megan Ganambarr | Gunga Bowl 22-099","description":"","brand":"Elcho Island Arts","offers":[{"title":"Default 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Gudaltji | Gunga Basket  22-374","description":"","brand":"Elcho Island Arts","offers":[{"title":"Default Title","offer_id":46762876502314,"sku":null,"price":550.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/22-374-2.jpg?v=1732235296"},{"product_id":"nancy-gudaltji-gunga-basket-22-375","title":"Nancy Gudaltji | Gunga Basket  22-375","description":"","brand":"Elcho Island Arts","offers":[{"title":"Default Title","offer_id":46762929488170,"sku":null,"price":500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/22-375.jpg?v=1732235563"},{"product_id":"nancy-gudaltji-gunga-basket-23-106","title":"Nancy Gudaltji | Gunga Basket  23-110","description":"","brand":"Elcho Island Arts","offers":[{"title":"Default Title","offer_id":46762938401066,"sku":null,"price":400.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/23-110.jpg?v=1732260199"},{"product_id":"nancy-gudaltji-gunga-basket-23-170","title":"Nancy Gudaltji | Gunga Basket  23-170","description":"","brand":"Elcho Island Arts","offers":[{"title":"Default Title","offer_id":46762954391850,"sku":null,"price":400.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/23-170.jpg?v=1732259793"},{"product_id":"nancy-gudaltji-gunga-basket-23-172","title":"Nancy Gudaltji | Gunga Basket  23-179","description":"","brand":"Elcho Island Arts","offers":[{"title":"Default Title","offer_id":46762960093482,"sku":null,"price":400.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/23-179_0efbc303-a67b-447f-9b5b-d175ad17413e.jpg?v=1732260092"},{"product_id":"nancy-gudaltji-gunga-basket-23-107","title":"Nancy Gudaltji | Gunga Basket  23-106","description":"","brand":"Elcho Island Arts","offers":[{"title":"Default Title","offer_id":46763269128490,"sku":null,"price":375.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/23-106.jpg?v=1732258941"},{"product_id":"judy-manany-worrwurr-23-248","title":"Judy Manany Gurruwiwi | Wäk (Crow) 23-248","description":"\u003cdiv class=\"page\" title=\"Page 5\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eThe sculpture depicts the Wäk, or Crow.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e'These wooden sculptures are made from wood which is usually collected in the dry season. We prefer Milkwood and Cottonwood. Firstly, we go to the bush and cut the wood and carry it back to the vehicle. It is often a long walk, through prickly vines and scrub. The bark is taken off and then the wood is left to dry for a short period. It is then shaped by a knife and chisels. It is then sanded smooth and then an ochre paint is selected to go down as the first coat.' \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003eHand cut from soft milkwood and painted with natural ochres sourced locally, Judy Manany's carved sculptures depict the birds and animals of Elcho Island, NT. The knowledge of where and, importantly when, to collect and slow dry timber before carving, where to source the best natural ochres for painting, and the time meticulously hand carving and painting, then re-carving pattern work is extraordinary.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eThe traditional knowledge passed down over generations combined with the immense talent and skill involved in all stages of making result in an incredibly unique and powerful collection of new carvings.\u003c\/p\u003e\n\u003cp\u003eJudy Manany is an accomplished artist working from Elcho Island Arts, whose work practice includes painting, carving, and weaving. She is the daughter of Mithinarri Gurruwiwi, a very well-known bark painter who she was very close to. Manany would watch and learn from him as they visited country and he painted.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e‘My name is Judy Manany Gurruwiwi. My clan is Galpu and my Moiety is Dhuwa. I learnt to make art from my father who I assisted from when I was 10 years old. I collected materials for him. We made hollow logs, yidaki, bark paintings and carving. I learnt how to make my own art with my own ideas when my father passed\u003cbr\u003eaway. I was born in Yirrkala in 1962 and moved to Elcho Island in 1981. I make string bags, weaving, spears, hollow logs, painting, carving, yidaki and womera. All types of art. I paint my totems which are python, file snake (freshwater snake), water lilies and bidum (a type of fish). The dots in my work are Dhuwa patterns which represent the rainbow and file snake. The crosshatch patterns represent fresh water.'\u003c\/p\u003e\n\u003cp\u003e'[I use] \u003cspan data-mce-fragment=\"1\"\u003eMilkwood and cottonwood, because they are the best ones to carve with. We have special trees to choose from for carvings, not just any tree that you see in the bush somewhere. I use ochre because that’s the traditional way. We collect each colour from the world around us and that’s the best colour in my life. We don’t go to the shop and buy it, we have to do hard work to collect it.'\u003c\/span\u003e\u003c\/p\u003e","brand":"Elcho Island Arts","offers":[{"title":"Default Title","offer_id":47524572004650,"sku":null,"price":800.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/JudyMananyGurruwiwi__Wak__Crow_23-248_Cottonwood_NaturalPigment_800-1.jpg?v=1707799494"},{"product_id":"mulyatingki-marney-ngurra-home-country-camp-23-879","title":"Mulyatingki Marney | Mulyatingki Marney Ngurra (Home Country, Camp) 23-879","description":"\u003cp class=\"p1\"\u003eMulya\u003cmeta charset=\"utf-8\"\u003etingki Marney is the sister of fellow ar\u003cmeta charset=\"utf-8\"\u003etists Donald Moko (dec.), May Wokka (Mayiwalku) Chapman and Nancy Nyanjilpayi Chapman. She was born at Nyinyari, near the Canning Stock Route. Her country encompasses the Punmu, Kunawarritji and Karlamilyi River regions. Mulya\u003cmeta charset=\"utf-8\"\u003etingki walked extensively through this area with her family as a young girl. Following the death of her parents, the sisters con\u003cmeta charset=\"utf-8\"\u003etinued to travel in the desert alone, though at \u003cmeta charset=\"utf-8\"\u003etimes they would meet and travel with other family groups.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhen her family saw white people for the first \u003cmeta charset=\"utf-8\"\u003etime, they hid from them in a cave un\u003cmeta charset=\"utf-8\"\u003etil nightfall. With the construc\u003cmeta charset=\"utf-8\"\u003etion of the Canning Stock Route in 1910, they increasingly came into contact with European and Martu drovers travelling along the Route. Finally, following an extreme and prolonged drought, Mulya\u003cmeta charset=\"utf-8\"\u003etingki’s family walked into Balfour Downs Sta\u003cmeta charset=\"utf-8\"\u003etion, where they were collected by mission staff and taken to Jigalong Mission. They were one of the last families to leave the desert. In 1982, after living for many years at Jigalong Mission, Mulya\u003cmeta charset=\"utf-8\"\u003etingki returned to her homelands with the Return to Country movement. Today, Mulyatingki con\u003cmeta charset=\"utf-8\"\u003etinues to live in Punmu Community with her sister Nyanjilpayi.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis painting depicts Mulyatingki’s ngurra (home Country, camp); the land she walked as a young child. Her Country, the Manyjilyjarra region, is located within the central Great Sandy Desert of northwest Western Australia. Features of the landscape are here portrayed aerially with geographical familiarity, including tali (sandhills), warta (vegeta\u003cmeta charset=\"utf-8\"\u003etion), and the many life sustaining water sources known in\u003cmeta charset=\"utf-8\"\u003etimately through both real life experience and the recoun\u003cmeta charset=\"utf-8\"\u003eting of jukurrpa (dream\u003cmeta charset=\"utf-8\"\u003etime) narra\u003cmeta charset=\"utf-8\"\u003etives.\u003c\/p\u003e","brand":"Spinifex Hill Studio","offers":[{"title":"Default Title","offer_id":49658707706154,"sku":null,"price":1650.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/23-879_f818aa22-1578-4a25-aaa7-b1fb819aa951.jpg?v=1734129814"},{"product_id":"aaron-pei-pie-kamela-24-601","title":"Aaron Pei Pie | Kamela 24-601","description":"\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"section\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"section\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp class=\"p1\"\u003eAaron’s work playfully melds the mystical with the everyday, creating a dreamlike quality that draws viewers into landscapes that are alive with his memory and capturing in big, bold colour the animals to be found around his home. These playful scenes are populated by camels, as well as desert wildlife such as wild brumbies, rabbits, papi (dogs), dingoes, birds and malu (kangaroos).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHis paintings weave together stories of camels looking for water, of nights soundtracked by the click-clacking of brumbies’ hooves on the bitumen, of birds singing in the trees and of horses being followed by dingoes while cheeky papa (dog) companions peer out from the scrub. All are part of Aaron’s life, captured in vivid colour.\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp class=\"p1\"\u003eAaron Pei Pie (b. 1970) lives in Kaltukatjara, NT (Docker River) and has been painting since 2013. Since commencing painting with Kaltukatjara Art Centre at its inception in 2016, Aaron has developed a distinct signature style of naive, figurative depiction of the animals and landscape of the country surrounding Kaltukatjara community.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhen Aaron paints he slowly makes his way across the canvas stroke-by-stroke, culminating in wacky, highly textured representations of animals and landscape. He is known for his upside down trees, floating rock holes, and disproportioned animals, which ask the audience to suspend reality in order to delve into his cheerful recollections of country.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Aaron Pei Pie","offers":[{"title":"Default Title","offer_id":50099702792490,"sku":null,"price":1220.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Aaron_Pei_Pie_24-601.jpg?v=1744257209"},{"product_id":"nancy-pitjara-frank-bush-flowers-614-24","title":"Nancy Pitjara Frank | Bush Flowers 614-24","description":"\u003cdiv class=\"page\" title=\"Page 4\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 3\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ca href=\"mailto:manager@brunswickstreetgallery.com.au\"\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cspan\u003e\"I was born in the bush at Ammaroo Station, along the Sandover. I have never seen the ocean or a big city. My mother and father were strong healthy people who taught me and my younger sister Rita traditional way to hunt for Kangaroo, Goanna and Porcupine. We know how to gather bush tucker (secrets of the earth)and bush medicine  plants. My mother used grinding stones to make seed damper.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c!----\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"When I paint I think about good memories, being a young girl and walking through the land. My mother made paint from two stones and showed us ceremony painting and how to sing and dance for ceremonies. I still sing and dance and collect the bush medicines, I like to make tea from the small purple flowers of Arreth (hill fuchsia).\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePainting bush medicine stories is important because it helps to maintain a strong knowledge and culture for the community. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Artists of Ampilatwatja","offers":[{"title":"Default Title","offer_id":50117450989866,"sku":null,"price":3110.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/614-24_Nancy_Pitjara_Frank.jpg?v=1744780639"},{"product_id":"barbara-mbitjana-moore-ngayuku-ngura-my-country-nturiya-125-22","title":"Barbara Mbitjana Moore | Ngayuku Ngura - My Country, Nturiya (Babara Moore Ti Tree) 125-22","description":"\u003cp class=\"p1\"\u003e\"I paint the landscape, my home Country of Nturiya (Ti Tree). A long time ago, long before us, my ancestors lived on this Country. They knew all about how to live on Country; where they could find water holes, food, and places to shelter with their family. They passed this knowledge down, daughters to daughters, sons to sons, through the generations to us. I feel happy to paint my Country, and proud to tell the stories of my ancestors. Through my painting I'm teaching my daughters and grandchildren too. I'm doing this for my family - it's all about my family.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBarbara Mbitjana Moore depicts her beloved Anmatyerre Country, offering aerial perspectvies of the landscape meticulously recalled from memory. Rendered in sweeping arcs of colour Moore portrays the undulating landscapes, rock formations, and water holes in the environment, acknowledging a rich conneciton to Country which transcends geographic understanding, and which is deeply rooted in belonging, being, and ancestral significance.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAbout the artist:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBarbara grew up in Ti Tree in the Northern Territory, and moved to Amata to live with her husband. Barbara began to paint at Tjala Arts (formerly Minymaku Arts) in 2003, and is committed to her painting practice, working at Tjala Arts on a daily basis.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBarbara's paintings are highly regarded in the indigenous arts sector, but are also gaining significant success in the in the non indigenous art world as outstanding contemporary artworks in their own right. Her bold and confident command of large scale canvases, saw her receive the prestigious General Painting Award at the National Aboriginal and Torres Strait Islander Art Award (Telstra Prize) in 2012. She has been a multiple finalist at the National Indigenous Art Awards at the Museum and Art Gallery of the Northern Territory and the Wynne Prize at the Art Gallery of New South Wales.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn November 2019 Barbara had her first solo show and residency at the Kluge Ruhe Collection of Aboriginal Art at the University of Virginia. Barbara's work is held in numerous prestigious collections in Australia and abroad.\u003c\/p\u003e","brand":"Tjala Arts","offers":[{"title":"Default Title","offer_id":50216819163434,"sku":null,"price":6390.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Barbara_Mbitjana_Moore___Ngayuku_Ngura_-_My_Country_Nturiya_Barbara_Moore_Ti_Tree_125-22_759b3df4-53a4-4bda-a282-454c073469fe.jpg?v=1751510138"},{"product_id":"freda-brady-seven-sisters-63-25","title":"Freda Brady | Seven Sisters 63-25","description":"\u003cp class=\"p1\"\u003eFreda has depicted the Seven Sisters Story. This is a Tjukurpa Story (Creation Story) about the constellations of Pleiades and Orion. The sisters are the constellaton of Pleiades and the other star Orion is said to be Nyiru or Nyirunya (described as a lusty or bad man). Nyiru is forever chasing the sisters known as the Kunkarunkara women as it is said he wants to marry the eldest sister.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe seven sisters travel again and again from the sky to the earth to escape Nyiru’s unwanted attentions. They turn into their human form to escape from the persistent Nyiru, but he always finds them and they flee back to the sky. As Nyiru is chasing the sisters he tries to catch them by using magic to turn into the most tempting kampurarpra (bush tomatoes) for the sisters to eat and the most beautiful Ili (fig) tree for them to camp under. However, the sisters are too clever for Nyiru and outwit him as they are knowledgeable about his magic.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThey go hungry and run through the night rather than be caught by Nyiru. Every now and again one of the women fall victim to his ways. It is said that he eventually 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 back into the sky to escape Nyiru, reforming the constellation. (In some cases the artist will secretly depict sexual elements as Nyiru is really only after one thing-sex).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAbout the artist:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFreda Brady was born and raised in Amata. She is the daughter of the late Kunmanara (Paniny) Mick and Mick Wikilyiri, both senior and highly regarded painters at Tjala Arts. Freda began her artistic career in 2002 creating batik. Since then, Freda has committed to her painting practice with great vigour and is a highly skilled and respected artist working at the heart of the art centre.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA talented artist in her own right, Freda also paints on impressive large-scale collaborative canvases with her sisters Yaritji Young, Tjungkara Ken, Maringka Tunkin and Sandra Ken.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFreda is also a director and chairperson of Tjala Arts, her commitment to the art centre business extending well beyond her individual painting practice to support the ongoing strength and vitality of art centre business for her community.\u003c\/p\u003e","brand":"Tjala Arts","offers":[{"title":"Default Title","offer_id":50216876769578,"sku":null,"price":5750.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/FredaBrady_SevenSisters63-25copy.jpg?v=1752217987"},{"product_id":"naomi-kantjuriny-minyma-mamu-tjuta-103-25","title":"Naomi Kantjuriny | Minyma Mamu Tjuta 103-25","description":"\u003cp class=\"p1\"\u003e“The Tjukurpa I am painting is about a mamu's place… They have got so much hair on their bodies that it looks like fur. I've carried the image around in my imagination, I can’t think about any other story. I only paint mamu. That's all.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNaomi Kantjuriny depicts Mamu, the malignant, dangerous spirit powers, usually manifest as monsters, pain or an illness, which derive from traditional Anangu Tjukurpa. Mamu is the term to describe both the evil spiritual force itself, as well as its material embodiments, which come in various forms and with varying powers. The mamu Naomi depicts are evil night dwelling spirits, which are on the hunt for the kurunpa (spirits) of those who have left their sleeping bodies. Mamu usually target the vulnerable, interfering with the sprits of children and those who are unwell or suffering.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAs a revered ngankeri, a traditional healer, Naomi works with the spirit world to counter mamu in order to treat the sick and protect community, providing wirunymankupai (healing treatments) through what is called mara ala, meaning open hands. Ngangkari (traditional healers) are trained to safely release the mamu from the sick, and to help reunite people with their kurunpa (spirit) stolen by the mamu.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNaomi’s practice as Ngankeri and her presence in the spirit world informs her artistic practice. In stark black and white palettes, Naomi Kantjuriny depicts mamu tjuta (many mamu), intricately capturing the journeys of the hairy, fearsome spirits as they roam the land at night intent on destruction and evil.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAbout the artist:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNaomi Kantjuriny is a respected community elder and is a steady leading presence at the art centre. Naomi has been working at Tjala Arts since 2001. An excellent hunter, basket maker and wood carver, Naomi took to painting and drawing with remarkable ease.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTogether with her artistic practice, Naomi is also a Ngangkari - traditional healer - specialising in women's and children's health.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNgangkari provide traditional healing treatments and practices of the mind, body and spirit.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNaomi works across painting and drawing. In her drawings, Naomi depicts mamu, good and bad spirits. Mamu are mainly harmful, dangerous spirit forces, evil spirits, monsters or an illness. They come in different forms and with varying powers. They can also be 'good' spirits helping and looking after people and children.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eNaomi also works on collaborative paintings with Mona Mitakiki and Tjimpayi Presley. The ladies were taught to paint by senior artist Kunmanara Katie Kawiny. She has passed away now but the younger women and their granddaughters carry her story on for future generations.\u003c\/p\u003e","brand":"Tjala Arts","offers":[{"title":"Default Title","offer_id":50216895676714,"sku":null,"price":2600.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Naomi_Kantjuriny___Minyma_Mamu_Tjuta_103-25_3ab4803a-ad0f-4ada-81f2-1f9cb8582079.jpg?v=1751510122"},{"product_id":"edie-kemarre-holmes-antarrengeny-75-25","title":"Edie Kemarre Holmes | Antarrengeny 75-25","description":"\u003cdiv class=\"page\" title=\"Page 4\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv title=\"Page 2\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv title=\"Page 6\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eAntarrengeny is Edie's country and also her Father's. In this painting Edie depicts Antarrengeny, \"when there has been no rain and the land shimmers like jewels. It is the open flat country, after a bushfire, when only the young grasses and the trees are growing and where there is good hunting.\" Edie has a strong connection to Antarrengeny. She gave birth to two of her daughters 'out bush' on this land. It is her country and she loves it dearly.\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eThe community of Ampilatwatja made a conscious decision not to paint ‘altyerr’ dreaming stories. The artists paint their country where those stories sit. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Artists of Ampilatwatja","offers":[{"title":"Default Title","offer_id":50512090464554,"sku":null,"price":3150.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/EdieKemarreHolmes_Antarrengeny_75-25.jpg?v=1756187605"},{"product_id":"matthew-djipurrtjun","title":"Matthew Djipurrtjun | Warrabunbun Dhäwu 3778093-340-24","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003ePlease allow 2-4 weeks for framing.\u003c\/p\u003e\n\u003cp\u003eThis print depicts Warrabunbun, the powerful forest spirit belonging to the artist’s märi (mother’s mother) Warrawarra clan. Sometimes also called Wuypa, the spirit inhabits land between Garmu and Gamurra Gu-yurra just south of Milingimbi on the mainland and is said to be over 10 feet tall.\u003c\/p\u003e\n\u003cp\u003eUsually the Warrabunbun figure is shown accompanied by his favourite food, the jamadarr yam, and fuller expressions of the special white rärrk cross-hatching – both described further below.\u003c\/p\u003e\n\u003cp\u003eWarrabunbun is not the spirit of a person, but a maḻagatj, a supernatural being that looks after Warrawarra country and kin. While considered a protective and benevolent spirit that watches over you, it is acknowledged that Warrabunbun can be märr maḏakaḏitj – a bit dangerous or aggressive – if startled or offended. He carries with him a spear and spear-thrower for defence, and is sometimes depicted with a broken leg from when he was once caught in a skirmish defending his land from invaders. Warrabunbun is also said to be djambatji, a prodigious hunter, that can easily spear emu, wallaby and goanna.\u003c\/p\u003e\n\u003cp\u003eThe artist  explains:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Yow, dhuwal Warrabunbun mokuy. Manymak, yurr ŋayi dhuwal nhawi, marrŋgitj ŋayi, balanya. Marrŋgitj — birrimbirr balanya. Ga wäŋaŋurnydja ŋayi dhuwal nhanŋu ŋunha Garmuŋur. Ŋunhi nhanŋu wäŋa, Garmu — Murlmurlma ŋunha.  \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYes, this is Warrabunbun spirit. He is like a medicine-man or sorcerer – a spirit-man – something like that. His home is over at Garmu (on the mainland near Milingimbi), at a place called Murlmurlma.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGa dhawaṯthun ŋayi dhuwal, breakfast, munhakumirr. Marrtjin maṉḏa — ŋayi ga ŋerrk — gapuw dhiṯthunaraw. Ga manymak, ga beŋuryi maṉḏa roŋiyiny ga balanya-bili wäŋalil, ŋunhi wanhaŋur ŋayi dhawaṯthun wäŋaŋur. Ga dhärri ŋayi baladhi.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHe comes out at breakfast, early in the morning just before the sun comes up. Warrabunbun and Ŋyerrk the white cockatoo, they leave to collect water. Yes, and then they return to the same place, the place from where he came out. And there he stands.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGa beŋuryidhiny, dhuḏi-milmitjpan — munhay’nha waluy — ga dhawaṯthuna bili ŋayi, ga gapuw dhiṯthunaraw — ŋayiny maṉḏa Mun-ngokngoknha, ŋurukidhi gapuw, wäŋaŋur Murlmurlma, yäkuŋur ŋunhi maŋutji.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAnd from there, in the evening, when night falls, he leaves again and goes to get water — he and Mun-ngokngok, the owl spirit, at Murlmurlma, the name for that waterhole.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe stories and songs of Warrabunbun are rich source of strength for Warrawarra clan and their kin. The various episodes, themes and connections present in the larger story of Warrabunbun means these artworks often depict him in different contexts and may focus on particular elements. Some of these include various foods or objects, often described as his ‘tools’, including the aforementioned spear and spear-thrower, a digging stick to harvest the jamandarr yams and a special Warrawarra dillybag called burlupurr that he uses to carry his catch or harvest. Warrabunbun is also associated with larger Yirritja moiety song cycles that connect him with ratjuk (barramundi), ginyginy (catfish), gurtha (fire) and bäru (crocodile). The waters of Murlmurlma are represented by the white rärrk cross-hatching enclosed in a circle.\u003c\/p\u003e\n\u003cp\u003eThis work shows Warrabunbun with his ceremonial body paint design with  jamandarr yams on his chest, set amongst the checkered squares representing the skin of the crocodile. He also carries his dillybag and digging stick.\u003c\/p\u003e\n\u003cp\u003eWarrabunbun is also said to ‘come alive’ during ceremony, especially during Dhapi’ (intiation) and Bäpurru (Funeral) cermonies. The late Thomas Dhaburrul, who was senior gutharra custodian of the Warrawarra clan, explains,\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“When Warrawarra people have a Dhapi’, all the dancers and song leaders have a catfish design painted on their chest (just like Warrabunbun). They decide with the boy what design he will have – his own clan design, his ŋathi (mother’s father) design, or his märi (mother’s mother) design. When a boy has his Dhapi, it is his future. It is a time for passing on the knowledge to the new generation. If a family member passes away, I sing the Warrabunbun song and the Warrabunbun spirits come up from the jungle area and they dance, and we dance as well. Sometimes I hear their voices. If you get lost, they can take you back to your house.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSenior Warrawarra leader and master weaver Susan Balbuŋa, who is responsible for weaving the Warrawarra burlupurr dillybag, explains,\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eŊunhi napurr dhu ŋayatham mokuy, dead body, Yirritja yolŋu, napurr dhu giritjirr ga bathi gurrkam. Ŋunhi napurr dhu dhawaṯmaram mokuy, beŋurdhi, napurr dhu ḏäḏa – bukuḻup – ga napurr dhu ŋal’maram dharpalil.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhen we hold a mokuy, a dead body, (a funeral), [for a] Yirritja person, we dance and wear this bag. When we finish the funeral, after that we have a cleansing ceremony – and we hang [the bag] up on a pole. Then we are free.\"\u003c\/em\u003e\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Unframed","offer_id":51162728792362,"sku":null,"price":360.0,"currency_code":"AUD","in_stock":true},{"title":"Framed","offer_id":51162728825130,"sku":null,"price":720.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Milinginbi__Warrbunbun_FULL.jpg?v=1755823516"},{"product_id":"margaret-rarru-garrawurra-dhomala-3778093-322-24","title":"Margaret Rarru Garrawurra | Dhomala 3778093-322-24","description":"\u003cp data-end=\"357\" data-start=\"154\"\u003e\u003cmeta charset=\"utf-8\"\u003ePlease allow 2-4 weeks for framing.\u003c\/p\u003e\n\u003cp data-end=\"357\" data-start=\"154\"\u003eMargaret Rarru is based in Milingimbi community, NT, and is a senior Liyagawumirr woman who has been creating both traditional and innovative woven works for many years. She is the younger sister of the renowned Milingimbi artist Micky Durrng.\u003c\/p\u003e\n\u003cp data-end=\"668\" data-start=\"359\"\u003eIn 2023, Rarru won the main prize at the Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAAs) for her large woven work \u003cem data-end=\"527\" data-start=\"502\"\u003eDhomala (Pandanus Sail)\u003c\/em\u003e. This etching tells the same story as \u003cem data-end=\"575\" data-start=\"566\"\u003eDhomala\u003c\/em\u003e, highlighting the historical connection between the Yolŋu people and the Macassan traders.\u003c\/p\u003e\n\u003cp\u003eAs told by the artist:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"This is a Makassan dhomala* (sail). Yolŋu people were watching, over time… Then they started to make them.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMakassan people were weaving their dhomala for Makassan people. Then Yolŋu learned, then they were making it.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMy father picked up the skill as well.  He used to make them, Makassan dhomala.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI was watching my father making these dhomala. He was making them, and I was watching. I was learning, you know? I was learning. I was watching. Then I started making them. I thought about how he made them, my father, and I started remembering. And now I’m making these.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFirst I just tried to make one. I started. And then I made more, with black. And they’re still asking me for more of the same. I might make them. Not maybe. I love dhomala.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI remembered it from that time. My father was making them, I was watching. After a while I knew it really well –  how to make dhomala. I was making them here. Recently I made another one with black. Really big. And they still ah…. bring more for me to make.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI learned everything. My father taught me. And like I know everything: mats, just mats, and baskets, dillybags and this ah, dhomala, I learned it all. They both taught me, my mother and my father. My father taught me how to do these, dhomala.  And so I make these. That’s how it is.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI watched the old people. They were making these. That’s how it is. I was learning. And this work is for everyone, not just only for women. Men also can make these dhomala.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIf you know how to spin string, you can make one. Men, and women –  women can learn. Not only I should learn. Young women you can learn and make them, and you boys, this is men’s work.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNowadays we women are doing it. Men were making it before. They watched the Makassans. Then they started making it.  They’d remembered. They saw them at Milingimbi.  Makassans came here. They sailed here with these dhomala. Then people watched them, and then learned.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMy father also learned, and I obviously learned it. And we people here, men and women, can learn all of it. All of this work. This is not only women’s work but also men’s. That’s how it is. When we feel like it, we women, we can make one. Not only one of us can learn, not just one can make them, no. If we are good at making string, we can make them. That’s all. Just a short story, not long.\"\u003c\/em\u003e\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Unframed","offer_id":51162727973162,"sku":null,"price":450.0,"currency_code":"AUD","in_stock":true},{"title":"Framed","offer_id":51162728005930,"sku":null,"price":800.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Milinginbi_Dhomala_FULL.jpg?v=1755824906"},{"product_id":"nyangulya-katie-nalgood-eagle-25-408","title":"Nyangulya Katie Nalgood | Eagle 25-408","description":"\u003cdiv class=\"text-two-column__column\"\u003e\n\u003cdiv class=\"text__text-container rte type-body-2\"\u003e\n\u003cp\u003eAs much a part of her Country as she is, Nyangulya Katie Nalgood shares a profound affinity with birds. Her days unfold alongside them — rising with their morning song, watching them soar across the sky and settle in the trees.\u003c\/p\u003e\n\u003cp\u003eHer paintings capture the spirit and personality of each bird, often reflecting her own family, friends, and self, a testament to the deep connection she feels with their presence in her life.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"text-two-column__column\"\u003e\n\u003cdiv class=\"text__text-container rte type-body-2\"\u003e\n\u003cp\u003eKatie paints birds native to her Country in the Pilbara region of Western Australia, as well as those from further afield, her imagination flying with them across the land.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":50664848130346,"sku":null,"price":2825.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Katie_Nyangulya_Nalgood_24-408.jpg?v=1759805449"},{"product_id":"nyangulya-katie-nalgood-mum-her-babies-25-228","title":"Nyangulya Katie Nalgood | Mum \u0026 her babies 25-228","description":"\u003cdiv class=\"text-two-column__column\"\u003e\n\u003cdiv class=\"text__text-container rte type-body-2\"\u003e\n\u003cp\u003eAs much a part of her Country as she is, Nyangulya Katie Nalgood shares a profound affinity with birds. Her days unfold alongside them — rising with their morning song, watching them soar across the sky and settle in the trees.\u003c\/p\u003e\n\u003cp\u003eHer paintings capture the spirit and personality of each bird, often reflecting her own family, friends, and self, a testament to the deep connection she feels with their presence in her life.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"text-two-column__column\"\u003e\n\u003cdiv class=\"text__text-container rte type-body-2\"\u003e\n\u003cp\u003eKatie paints birds native to her Country in the Pilbara region of Western Australia, as well as those from further afield, her imagination flying with them across the land.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":50664850489642,"sku":null,"price":3300.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/82367584_7896d143-d3bb-45f3-9556-0b2f4039108c.jpg?v=1759370190"},{"product_id":"djul-djul-gurruwiwi-worrwurr-5865-25","title":"Djul’djul Gurruwiwi | Worrwurr 5865-25","description":"\u003cdiv title=\"Page 2\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003cem\u003eWorrwurr\u003c\/em\u003e belongs to the Yirritja moiety and is an important totem. \u003cem\u003eDhuḏuthuḏu\u003c\/em\u003e is the name for the frogmouth which is Dhuwa. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eḎäṯiwuy and Ŋaymil sing this bird Dhuḏuthuḏu (Frogmouth - Podargus strigoides) together and it joins their two clans. They also connect to Gälpu and Djambarrpuyŋu through this law. Its country is near Yaŋunbi and is known as Warrathiri or Munumbal. Elders have said that it is not deep law but just something that they sing and dance. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece is made from renewable wood which is usually harvested from the tree in the dry season. Preferred woods are Maḻwan (Hibiscus Tiliaceus), Gunhirr (Blind-Your-Eye-Mangrove), Wuḏuku (mangrove wood), Barraṯa (Kapok). The first activity is to enter the monsoon vine thicket and cut the wood and carry it back to the vehicle. Often a long hike through prickly vines and scrub. the wood is skinned and left to dry for a short period. It is then shaped by knife or axe. After the surface is sanded smooth a layer of red paint is usually the first to go down. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe paints used are earth pigments. The red (Meku), yellow (Gaŋgul) and black (Gurrŋan) are provided by rubbing rocks of these colours against a grinding stone and then adding water and PVA glue in small quantities. A new batch of paint is prepared or renewed every few minutes as it dries or is used up. After an outline of the composition is laid down the Marwat or crosshatching commences. This is applied using a brush made of a few strands of straight human hair usually from a young woman or girl. The artist charges the Marwat (brush) with the paint and then paints away from themselves in a straight line. Each stroke requires a fresh infusion of pigment. The last layer to be applied is almost always the white clay (Gapan) which is made from kaolin harvested from special sites. This also has water and glue added after being crushed into a fine powder. An alternative to painting the cross hatching \u003c\/span\u003e\u003cspan\u003eis to use a razor to incise fine lines and reveal the light coloured wood underneath.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAbout the artist:\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eDjul’djul is the daughter of the famous Gälpu clan artist Mithinarri Gurruwiwi. She is a very precise and knowledgeable wood carver and painter. Together with her sister Manany and brother Watjuku (deceased) they have inherited a lot of painting knowledge and skill from their father. All three artists also share the same Gumatj mother, Duwambu Burarrwaŋa. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDjul’djul’s husband was Burrŋupurrŋu (Bruce) Wunuŋmurra (deceased), a highly respected yiḏaki player and maker. She painted the yiḏaki he made, often with Gälpu clan designs from her own clan. These designs sometimes feature Wititj the olive python, djaykuŋ the file-snake and guḏurrku the brolga. At other times they are decorated with beautiful columns of diamonds, the sacred miny'tji belonging to the Dhaḻwaŋu clan, representing the freshwater system where their creation ancestor Barama emerged from the water. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese yiḏaki are highly priced among collectors and players world-wide, being commonly referred to as some of the best works available. Djul'djul's bark paintings, ḻarrakitj and carvings are now becoming sought after by dealers and collectors for their fine attention to detail. Recently she has also been producing worrwurr (owls) in collaboration with her sister Manany. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn recent years, Didiwarr, one of her sons, has been making yiḏaki that she has been painting. These instruments are often decorated with a coiled djaykuŋ at the distal end. This is a new collaboration, continuing the legacy of their work with Burrŋupurrŋu. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":50681435816234,"sku":null,"price":360.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/5865-25.jpg?v=1760498988"},{"product_id":"djul-djul-gurruwiwi-worrwurr-5866-25","title":"Djul’djul Gurruwiwi | Worrwurr 5866-25","description":"\u003cdiv title=\"Page 2\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003cem\u003eWorrwurr\u003c\/em\u003e belongs to the Yirritja moiety and is an important totem. \u003cem\u003eDhuḏuthuḏu\u003c\/em\u003e is the name for the frogmouth which is Dhuwa. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eḎäṯiwuy and Ŋaymil sing this bird Dhuḏuthuḏu (Frogmouth - Podargus strigoides) together and it joins their two clans. They also connect to Gälpu and Djambarrpuyŋu through this law. Its country is near Yaŋunbi and is known as Warrathiri or Munumbal. Elders have said that it is not deep law but just something that they sing and dance. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece is made from renewable wood which is usually harvested from the tree in the dry season. Preferred woods are Maḻwan (Hibiscus Tiliaceus), Gunhirr (Blind-Your-Eye-Mangrove), Wuḏuku (mangrove wood), Barraṯa (Kapok). The first activity is to enter the monsoon vine thicket and cut the wood and carry it back to the vehicle. Often a long hike through prickly vines and scrub. the wood is skinned and left to dry for a short period. It is then shaped by knife or axe. After the surface is sanded smooth a layer of red paint is usually the first to go down. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe paints used are earth pigments. The red (Meku), yellow (Gaŋgul) and black (Gurrŋan) are provided by rubbing rocks of these colours against a grinding stone and then adding water and PVA glue in small quantities. A new batch of paint is prepared or renewed every few minutes as it dries or is used up. After an outline of the composition is laid down the Marwat or crosshatching commences. This is applied using a brush made of a few strands of straight human hair usually from a young woman or girl. The artist charges the Marwat (brush) with the paint and then paints away from themselves in a straight line. Each stroke requires a fresh infusion of pigment. The last layer to be applied is almost always the white clay (Gapan) which is made from kaolin harvested from special sites. This also has water and glue added after being crushed into a fine powder. An alternative to painting the cross hatching \u003c\/span\u003e\u003cspan\u003eis to use a razor to incise fine lines and reveal the light coloured wood underneath.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAbout the artist:\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eDjul’djul is the daughter of the famous Gälpu clan artist Mithinarri Gurruwiwi. She is a very precise and knowledgeable wood carver and painter. Together with her sister Manany and brother Watjuku (deceased) they have inherited a lot of painting knowledge and skill from their father. All three artists also share the same Gumatj mother, Duwambu Burarrwaŋa. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDjul’djul’s husband was Burrŋupurrŋu (Bruce) Wunuŋmurra (deceased), a highly respected yiḏaki player and maker. She painted the yiḏaki he made, often with Gälpu clan designs from her own clan. These designs sometimes feature Wititj the olive python, djaykuŋ the file-snake and guḏurrku the brolga. At other times they are decorated with beautiful columns of diamonds, the sacred miny'tji belonging to the Dhaḻwaŋu clan, representing the freshwater system where their creation ancestor Barama emerged from the water. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese yiḏaki are highly priced among collectors and players world-wide, being commonly referred to as some of the best works available. Djul'djul's bark paintings, ḻarrakitj and carvings are now becoming sought after by dealers and collectors for their fine attention to detail. Recently she has also been producing worrwurr (owls) in collaboration with her sister Manany. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn recent years, Didiwarr, one of her sons, has been making yiḏaki that she has been painting. These instruments are often decorated with a coiled djaykuŋ at the distal end. This is a new collaboration, continuing the legacy of their work with Burrŋupurrŋu. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":50681438830890,"sku":null,"price":360.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/5866-25.jpg?v=1760498988"},{"product_id":"djul-djul-gurruwiwi-worrwurr-6169-25","title":"Djul’djul Gurruwiwi | Worrwurr 6169-25","description":"\u003cdiv title=\"Page 2\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003cem\u003eWorrwurr\u003c\/em\u003e belongs to the Yirritja moiety and is an important totem. \u003cem\u003eDhuḏuthuḏu\u003c\/em\u003e is the name for the frogmouth which is Dhuwa. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eḎäṯiwuy and Ŋaymil sing this bird Dhuḏuthuḏu (Frogmouth - Podargus strigoides) together and it joins their two clans. They also connect to Gälpu and Djambarrpuyŋu through this law. Its country is near Yaŋunbi and is known as Warrathiri or Munumbal. Elders have said that it is not deep law but just something that they sing and dance. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece is made from renewable wood which is usually harvested from the tree in the dry season. Preferred woods are Maḻwan (Hibiscus Tiliaceus), Gunhirr (Blind-Your-Eye-Mangrove), Wuḏuku (mangrove wood), Barraṯa (Kapok). The first activity is to enter the monsoon vine thicket and cut the wood and carry it back to the vehicle. Often a long hike through prickly vines and scrub. the wood is skinned and left to dry for a short period. It is then shaped by knife or axe. After the surface is sanded smooth a layer of red paint is usually the first to go down. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe paints used are earth pigments. The red (Meku), yellow (Gaŋgul) and black (Gurrŋan) are provided by rubbing rocks of these colours against a grinding stone and then adding water and PVA glue in small quantities. A new batch of paint is prepared or renewed every few minutes as it dries or is used up. After an outline of the composition is laid down the Marwat or crosshatching commences. This is applied using a brush made of a few strands of straight human hair usually from a young woman or girl. The artist charges the Marwat (brush) with the paint and then paints away from themselves in a straight line. Each stroke requires a fresh infusion of pigment. The last layer to be applied is almost always the white clay (Gapan) which is made from kaolin harvested from special sites. This also has water and glue added after being crushed into a fine powder. An alternative to painting the cross hatching \u003c\/span\u003e\u003cspan\u003eis to use a razor to incise fine lines and reveal the light coloured wood underneath.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAbout the artist:\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eDjul’djul is the daughter of the famous Gälpu clan artist Mithinarri Gurruwiwi. She is a very precise and knowledgeable wood carver and painter. Together with her sister Manany and brother Watjuku (deceased) they have inherited a lot of painting knowledge and skill from their father. All three artists also share the same Gumatj mother, Duwambu Burarrwaŋa. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDjul’djul’s husband was Burrŋupurrŋu (Bruce) Wunuŋmurra (deceased), a highly respected yiḏaki player and maker. She painted the yiḏaki he made, often with Gälpu clan designs from her own clan. These designs sometimes feature Wititj the olive python, djaykuŋ the file-snake and guḏurrku the brolga. At other times they are decorated with beautiful columns of diamonds, the sacred miny'tji belonging to the Dhaḻwaŋu clan, representing the freshwater system where their creation ancestor Barama emerged from the water. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese yiḏaki are highly priced among collectors and players world-wide, being commonly referred to as some of the best works available. Djul'djul's bark paintings, ḻarrakitj and carvings are now becoming sought after by dealers and collectors for their fine attention to detail. Recently she has also been producing worrwurr (owls) in collaboration with her sister Manany. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn recent years, Didiwarr, one of her sons, has been making yiḏaki that she has been painting. These instruments are often decorated with a coiled djaykuŋ at the distal end. This is a new collaboration, continuing the legacy of their work with Burrŋupurrŋu. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":50681439224106,"sku":null,"price":440.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/6169-25.jpg?v=1760498988"},{"product_id":"djul-djul-gurruwiwi-worrwurr-6168-25","title":"Djul’djul Gurruwiwi | Worrwurr 6168-25","description":"\u003cdiv title=\"Page 2\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003cem\u003eWorrwurr\u003c\/em\u003e belongs to the Yirritja moiety and is an important totem. \u003cem\u003eDhuḏuthuḏu\u003c\/em\u003e is the name for the frogmouth which is Dhuwa. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eḎäṯiwuy and Ŋaymil sing this bird Dhuḏuthuḏu (Frogmouth - Podargus strigoides) together and it joins their two clans. They also connect to Gälpu and Djambarrpuyŋu through this law. Its country is near Yaŋunbi and is known as Warrathiri or Munumbal. Elders have said that it is not deep law but just something that they sing and dance. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece is made from renewable wood which is usually harvested from the tree in the dry season. Preferred woods are Maḻwan (Hibiscus Tiliaceus), Gunhirr (Blind-Your-Eye-Mangrove), Wuḏuku (mangrove wood), Barraṯa (Kapok). The first activity is to enter the monsoon vine thicket and cut the wood and carry it back to the vehicle. Often a long hike through prickly vines and scrub. the wood is skinned and left to dry for a short period. It is then shaped by knife or axe. After the surface is sanded smooth a layer of red paint is usually the first to go down. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe paints used are earth pigments. The red (Meku), yellow (Gaŋgul) and black (Gurrŋan) are provided by rubbing rocks of these colours against a grinding stone and then adding water and PVA glue in small quantities. A new batch of paint is prepared or renewed every few minutes as it dries or is used up. After an outline of the composition is laid down the Marwat or crosshatching commences. This is applied using a brush made of a few strands of straight human hair usually from a young woman or girl. The artist charges the Marwat (brush) with the paint and then paints away from themselves in a straight line. Each stroke requires a fresh infusion of pigment. The last layer to be applied is almost always the white clay (Gapan) which is made from kaolin harvested from special sites. This also has water and glue added after being crushed into a fine powder. An alternative to painting the cross hatching \u003c\/span\u003e\u003cspan\u003eis to use a razor to incise fine lines and reveal the light coloured wood underneath.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAbout the artist:\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eDjul’djul is the daughter of the famous Gälpu clan artist Mithinarri Gurruwiwi. She is a very precise and knowledgeable wood carver and painter. Together with her sister Manany and brother Watjuku (deceased) they have inherited a lot of painting knowledge and skill from their father. All three artists also share the same Gumatj mother, Duwambu Burarrwaŋa. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDjul’djul’s husband was Burrŋupurrŋu (Bruce) Wunuŋmurra (deceased), a highly respected yiḏaki player and maker. She painted the yiḏaki he made, often with Gälpu clan designs from her own clan. These designs sometimes feature Wititj the olive python, djaykuŋ the file-snake and guḏurrku the brolga. At other times they are decorated with beautiful columns of diamonds, the sacred miny'tji belonging to the Dhaḻwaŋu clan, representing the freshwater system where their creation ancestor Barama emerged from the water. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese yiḏaki are highly priced among collectors and players world-wide, being commonly referred to as some of the best works available. Djul'djul's bark paintings, ḻarrakitj and carvings are now becoming sought after by dealers and collectors for their fine attention to detail. Recently she has also been producing worrwurr (owls) in collaboration with her sister Manany. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn recent years, Didiwarr, one of her sons, has been making yiḏaki that she has been painting. These instruments are often decorated with a coiled djaykuŋ at the distal end. This is a new collaboration, continuing the legacy of their work with Burrŋupurrŋu. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":50681439387946,"sku":null,"price":500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/6168-25.jpg?v=1760498988"},{"product_id":"djul-djul-gurruwiwi-dhatam-5345-25","title":"Djul’djul Gurruwiwi | Dhatam 2417-23","description":"\u003cdiv title=\"Page 2\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp class=\"p1\"\u003eThis imagery refers to perhaps the oldest continuous human religious iconographical practice: the story of the Rainbow Serpent.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEstimates vary from 40,000-60,000 years on the depictions of the Rainbow Serpent in West Arnhem rock shelters.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAmongst the Dhatam, waterlillies, two ancestral figures travelled Gälpu clan lands and on further, during the days of early times called Waŋarr: Wititj, the all powerful rainbow serpent (olive python) and Djaykuŋ the Javanese filesnake that is a companion and possibly alternate incarnation of Wititj, living in amongst the Dhatam, or waterlillies, causing ripples and rainbows (Djari) on the surface of the water (one reference in the cross hatch).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe story of \u003cmeta charset=\"utf-8\"\u003eWititj is of storm and monsoon, in the ancestral past. It has particular reference to the mating of \u003cmeta charset=\"utf-8\"\u003eWititj during the beginning of the wet season when the Djarrwa (square shaped thundercloud) begin forming and the lightning starts striking.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Galpu clan miny’tji (sacred clan design behind the lillies) represents Djari (rainbows) and the power of the lightning within them.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIt also refers to the power of the storm created by Wi\u003cmeta charset=\"utf-8\"\u003etitj, the diagonal lines represen\u003cmeta charset=\"utf-8\"\u003eting trees that have been knocked down as Wi\u003cmeta charset=\"utf-8\"\u003etitj moves from place to place. The ribs of the snake also form the basis of the sacred design here.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe sun shining against the scales of the snake form a prism of light like a rainbow. The arc which a snake in mo\u003cmeta charset=\"utf-8\"\u003etion travels through holds to a rainbow shape but causes the oily shimmer to refract the colours of the rainbow. The power of the lightning is made manifest when they strike their tongue. The thunder being the sound they make as they move along the ground. The morning after a major cyclone there are swathes of stringybark bent over in snake trails through the bush in just the same way a normal scale snake leaves bent over grass traceable by trained trackers. After Cyclone Monica there was a path cleared through the stringybark forest  almost from Maningrida to Jabiru.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn mortuary ceremony for Gälpu, the slithering line of dancers take on the form of Wititj and coil in the sand searching for their place. As the spirit comes to rest it adopts the metaphor of a python setlling its head into the fork in the tree, known as Galmak, the final resting place of Wititj. Other references are the bunches of leaves dancers hold in their hands wet and shining in the sun, perhaps like a rainbow. This pattern is the fury of the tempest seen through the relief of the emerging survivor as the storm moves on sucking the cloud with it allowing the sun to shine.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAbout the artist:\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv title=\"Page 1\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eDjul’djul is the daughter of the famous Gälpu clan artist Mithinarri Gurruwiwi. She is a very precise and knowledgeable wood carver and painter. Together with her sister Manany and brother Watjuku (deceased) they have inherited a lot of painting knowledge and skill from their father. All three artists also share the same Gumatj mother, Duwambu Burarrwaŋa. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDjul’djul’s husband was Burrŋupurrŋu (Bruce) Wunuŋmurra (deceased), a highly respected yiḏaki player and maker. She painted the yiḏaki he made, often with Gälpu clan designs from her own clan. These designs sometimes feature Wititj the olive python, djaykuŋ the file-snake and guḏurrku the brolga. At other times they are decorated with beautiful columns of diamonds, the sacred miny'tji belonging to the Dhaḻwaŋu clan, representing the freshwater system where their creation ancestor Barama emerged from the water. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese yiḏaki are highly priced among collectors and players world-wide, being commonly referred to as some of the best works available. Djul'djul's bark paintings, ḻarrakitj and carvings are now becoming sought after by dealers and collectors for their fine attention to detail. Recently she has also been producing worrwurr (owls) in collaborayion with her sister Manany. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn recent years, Didiwarr, one of her sons, has been making yiḏaki that she has been painting. These instruments are often decorated with a coiled djaykuŋ at the distal end. This is a new collaboration, continuing the legacy of their work with Burrŋupurrŋu. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Buku-Larrŋgay Mulka Centre","offers":[{"title":"Default Title","offer_id":50688090767658,"sku":null,"price":4600.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/2417-23_106x65cm.jpg?v=1760504228"},{"product_id":"maggie-green-gum-tree-and-kuntal-25-236","title":"Maggie Green | Gum Tree and Kuntal 25-236","description":"\u003cp\u003e\u003cem\u003e\u003cspan data-sheets-root=\"1\"\u003eGum Tree and Kuntal (Edible botanical gum otherwise known as Sugar Bag).\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAs told by the artist:\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e“[I was] born on station, Myroodah Station, Derby side. My mother and father, granddad, grandmother, uncles, aunties, we all been grew up there. I been going to school there. Working in the house, cooking, go for hunting. [My family] always took us out for bush tucker, fishing. Me and my mum we been cooking for station owner Charles Lanigan, and Mary, his daughter. Always work on the station; clean up, cooking, washing. Everybody got to get up early, go to school there. That’s my home. We all been there, we get big there. Get all the eggs from the chickens, milk the nanny goat, mop the floor, make bed, wash all the sheets. We didn’t go to Derby school. Mr Lanigan said you go to school here. Going mustering my dad, my mum did the cooking. Mr Lanigan always took us to Derby for shopping, then take us back to Myroodah station, Martu \u003cmeta charset=\"utf-8\"\u003estation. Family all in Looma, all the Greens. Big mob us Greens.” Maggie, a Mangala woman based in Port Hedland, paints about her childhood; the \u003cmeta charset=\"utf-8\"\u003estation where she grew up, went to school, and worked; the dam she visited for fishing and swimming; and the bush tucker she collected and hunted for. Her mother is frequently referred to in the stories associated with her artwork, as are then Myroodah \u003cmeta charset=\"utf-8\"\u003eStation Manager Mick, and teacher Mary, Lannigan. Maggie also fondly remembers the friends she grew up with on the \u003cmeta charset=\"utf-8\"\u003estation, with whom she would ‘run amok’. Maggie began painting with her mother and grandmother at Myroodah \u003cmeta charset=\"utf-8\"\u003eStation; “We start doing \u003cmeta charset=\"utf-8\"\u003epainting on Myroodah Station. My mum and my grandmother teaching us doing \u003cmeta charset=\"utf-8\"\u003epainting for us. That’s how we were learning dot paint.”\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Spinifex Hill Studio","offers":[{"title":"Default Title","offer_id":50757167612202,"sku":null,"price":690.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Maggie_Green_25-236.jpg?v=1761796628"},{"product_id":"maggie-green-gum-tree-and-kuntal-25-299","title":"Maggie Green | Kunmunya Waterholes 25-299","description":"\u003cp\u003e\u003cem\u003e\u003cspan data-sheets-root=\"1\"\u003eGum Tree and Kuntal (Edible botanical gum otherwise known as Sugar Bag).\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAs told by the artist:\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e“[I was] born on station, Myroodah Station, Derby side. My mother and father, granddad, grandmother, uncles, aunties, we all been grew up there. I been going to school there. Working in the house, cooking, go for hunting. [My family] always took us out for bush tucker, fishing. Me and my mum we been cooking for station owner Charles Lanigan, and Mary, his daughter. Always work on the station; clean up, cooking, washing. Everybody got to get up early, go to school there. That’s my home. We all been there, we get big there. Get all the eggs from the chickens, milk the nanny goat, mop the floor, make bed, wash all the sheets. We didn’t go to Derby school. Mr Lanigan said you go to school here. Going mustering my dad, my mum did the cooking. Mr Lanigan always took us to Derby for shopping, then take us back to Myroodah station, Martu \u003cmeta charset=\"utf-8\"\u003estation. Family all in Looma, all the Greens. Big mob us Greens.” Maggie, a Mangala woman based in Port Hedland, paints about her childhood; the \u003cmeta charset=\"utf-8\"\u003estation where she grew up, went to school, and worked; the dam she visited for fishing and swimming; and the bush tucker she collected and hunted for. Her mother is frequently referred to in the stories associated with her artwork, as are then Myroodah \u003cmeta charset=\"utf-8\"\u003eStation Manager Mick, and teacher Mary, Lannigan. Maggie also fondly remembers the friends she grew up with on the \u003cmeta charset=\"utf-8\"\u003estation, with whom she would ‘run amok’. Maggie began painting with her mother and grandmother at Myroodah \u003cmeta charset=\"utf-8\"\u003eStation; “We start doing \u003cmeta charset=\"utf-8\"\u003epainting on Myroodah Station. My mum and my grandmother teaching us doing \u003cmeta charset=\"utf-8\"\u003epainting for us. That’s how we were learning dot paint.”\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Spinifex Hill Studio","offers":[{"title":"Default Title","offer_id":50757173969194,"sku":null,"price":990.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Maggie_Green_25-299.jpg?v=1761796625"},{"product_id":"maggie-green-gum-tree-and-kuntal-25-307","title":"Maggie Green | Gum Tree and Kuntal 25-307","description":"\u003cp\u003e\u003cem\u003e\u003cspan data-sheets-root=\"1\"\u003eGum Tree and Kuntal (Edible botanical gum otherwise known as Sugar Bag).\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAs told by the artist:\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003e“[I was] born on station, Myroodah Station, Derby side. My mother and father, granddad, grandmother, uncles, aunties, we all been grew up there. I been going to school there. Working in the house, cooking, go for hunting. [My family] always took us out for bush tucker, fishing. Me and my mum we been cooking for station owner Charles Lanigan, and Mary, his daughter. Always work on the station; clean up, cooking, washing. Everybody got to get up early, go to school there. That’s my home. We all been there, we get big there. Get all the eggs from the chickens, milk the nanny goat, mop the floor, make bed, wash all the sheets. We didn’t go to Derby school. Mr Lanigan said you go to school here. Going mustering my dad, my mum did the cooking. Mr Lanigan always took us to Derby for shopping, then take us back to Myroodah station, Martu \u003cmeta charset=\"utf-8\"\u003estation. Family all in Looma, all the Greens. Big mob us Greens.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003eMaggie, a Mangala woman based in Port Hedland, paints about her childhood; the \u003cmeta charset=\"utf-8\"\u003estation where she grew up, went to school, and worked; the dam she visited for fishing and swimming; and the bush tucker she collected and hunted for. Her mother is frequently referred to in the stories associated with her artwork, as are then Myroodah \u003cmeta charset=\"utf-8\"\u003eStation Manager Mick, and teacher Mary, Lannigan. Maggie also fondly remembers the friends she grew up with on the \u003cmeta charset=\"utf-8\"\u003estation, with whom she would ‘run amok’. Maggie began painting with her mother and grandmother at Myroodah \u003cmeta charset=\"utf-8\"\u003eStation; “We start doing \u003cmeta charset=\"utf-8\"\u003epainting on Myroodah Station. My mum and my grandmother teaching us doing \u003cmeta charset=\"utf-8\"\u003epainting for us. That’s how we were learning dot paint.”\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Spinifex Hill Studio","offers":[{"title":"Default Title","offer_id":50757178589482,"sku":null,"price":360.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Maggie_Green_25-307.jpg?v=1761796626"},{"product_id":"margaret-ngwarraye-long-arnkerrth-360-25","title":"Margaret Kngwarraye Long | Arnkerrth 360-25","description":"\u003cp\u003e\u003cem\u003e\"Arnkerrth is one dreaming on my Country. My mother's dreaming. She's been painting the mountain devil for a long time. The mountain devil moves all around Alhalkere and Atnangkere. She's carrying her swag on her back.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e– \u003c\/em\u003eMargaret Kngwarraye Long\u003c\/p\u003e\n\u003cp\u003eAbout the artist:\u003c\/p\u003e\n\u003cp\u003e\"Amaroo old station. That’s where I was born. Where I grew up. I used to go to Utopia Homestead school when I was a young girl. A long time ago.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMy father was working doing station work. Mustering for tucker. No money. We moved all over. Queensland and Northern Territory side. Argadargada Station, Waite River Station, Lake Nash, Mount Skinner. Everywhere. My father’s working. We went and sat down all the ladies and young girls. We were sitting down at Waite River and Argadargada for a long time.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHunting in the Eugene River. My family were learning me. Learning to ride horse too. Atnangker country we used to go with my aunties. Gloria, Kathleen, Violet. I was watching them doing painting. Making canvas and batik. We were working there at Utopia Homestead all together. When I was young. Batik first then painting now.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e– Margaret Kngwarraye Long\u003c\/p\u003e","brand":"Utopia Art Centre","offers":[{"title":"Default Title","offer_id":51145747497258,"sku":null,"price":2700.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/360-25_Margaret_Long.jpg?v=1772596519"},{"product_id":"margaret-ngwarraye-long-arnkerrth-361-25","title":"Margaret Kngwarraye Long | Arnkerrth 361-25","description":"\u003cp\u003e\u003cem\u003e\"Arnkerrth is one dreaming on my Country. My mother's dreaming. She's been painting the mountain devil for a long time. The mountain devil moves all around Alhalkere and Atnangkere. She's carrying her swag on her back.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e– \u003c\/em\u003eMargaret Kngwarraye Long\u003c\/p\u003e\n\u003cp\u003eAbout the artist:\u003c\/p\u003e\n\u003cp\u003e\"Amaroo old station. That’s where I was born. Where I grew up. I used to go to Utopia Homestead school when I was a young girl. A long time ago.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMy father was working doing station work. Mustering for tucker. No money. We moved all over. Queensland and Northern Territory side. Argadargada Station, Waite River Station, Lake Nash, Mount Skinner. Everywhere. My father’s working. We went and sat down all the ladies and young girls. We were sitting down at Waite River and Argadargada for a long time.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eHunting in the Eugene River. My family were learning me. Learning to ride horse too. Atnangker country we used to go with my aunties. Gloria, Kathleen, Violet. I was watching them doing painting. Making canvas and batik. We were working there at Utopia Homestead all together. When I was young. Batik first then painting now.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e– Margaret Kngwarraye Long\u003c\/p\u003e","brand":"Utopia Art Centre","offers":[{"title":"Default Title","offer_id":51145748971818,"sku":null,"price":1400.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/361-25_Margaret_Ngwarraye_Long.jpg?v=1772596511"},{"product_id":"jennifer-brown-sun-mat-405-25","title":"Jennifer Brown | Sun Mat 405-25","description":"\u003cp\u003eWorks in fibre from the Maningrida region are widely recognised as some of the finest in Australia. Artists confidently push the boundaries of fibre craft and cultural expression, adapting traditional techniques and forms to produce strikingly inventive and aesthetically exquisite artworks.\u003c\/p\u003e\n\u003cp\u003eCommonly used fibres include the leaves of pandanus (\u003cem\u003ePandanus spiralis\u003c\/em\u003e), and palms (\u003cem\u003eLivistonus\u003c\/em\u003e), \u003cem\u003emírlírl\u003c\/em\u003e (burney or jungle vine, \u003cem\u003eMalaisia scandens\u003c\/em\u003e), and the inner bark of kurrajong and stringybark eucalyptus trees. Weaving is physically hard work, now done only by women. Artists commonly use a mix of naturally dyed and undyed fibre to create a striking variation of coloured bands. They colour the pandanus using natural dyes made from the roots, leaves or flowers of plants within the weaver’s clan estate. Some artists also incorporate different types of looping to produce different patterns and textured finishes. Each type of mat, fibre bag, basket and dilly bag has its own name in the various languages spoken in the Maningrida region.\u003c\/p\u003e\n\u003cp\u003eArtists weave many different kinds of mats. Conical mats were traditionally used to shield babies from mosquitoes. Long flat mats were used for blocking creeks so that fish would be diverted into fish traps. A small triangular mat made of pandanus fibre used to be worn by women during ceremonial gatherings, tied around their back and covering them at the front. Mats are also used for wrapping and rinsing food in water.\u003c\/p\u003e\n\u003cp\u003eArtists usually use ngarakáya, \u003cem\u003epandanus spiralis\u003c\/em\u003e, to weave fragrant, decorative round or oblong mats, as well as the less common triangular and conical shapes. The radial woven patterns of the finest round mats appear to vibrate with colour, sometimes regarded as an aesthetic manifestation of deep cultural meaning, as there is a significant spiritual dimension to pandanus mats.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":51149966868778,"sku":null,"price":3800.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/MatJenniferBrown.jpg?v=1777509171"},{"product_id":"jenny-birrkinbirrkin-malibirr-mat-604-25","title":"Jenny Birrkinbirrkin Malibirr | Mat 604-25","description":"\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eYolŋu 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. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBula’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. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTraditionally, \u003c\/span\u003e\u003cspan\u003eNganiyal \u003c\/span\u003e\u003cspan\u003e(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. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":51149992362282,"sku":null,"price":1600.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/604-25_Jenny_Birrkinbirrkin_Malibirr.jpg?v=1771290320"},{"product_id":"besma-nulla-mat-729-25","title":"Besma Nulla | Mat 729-25","description":"\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eYolŋu 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. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBula’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. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTraditionally, \u003c\/span\u003e\u003cspan\u003eNganiyal \u003c\/span\u003e\u003cspan\u003e(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. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":51149997965610,"sku":null,"price":1200.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/729-25BesmaNulla.jpg?v=1770954803"},{"product_id":"jenny-birrkinbirrkin-malibirr-mat-758-25","title":"Jenny Birrkinbirrkin Malibirr | Mat 758-25","description":"\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eYolŋu 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. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBula’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. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTraditionally, \u003c\/span\u003e\u003cspan\u003eNganiyal \u003c\/span\u003e\u003cspan\u003e(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. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":51150006485290,"sku":null,"price":1400.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/758-25_Jenny_Birrkinbirrkin_Malibirr.jpg?v=1771290357"},{"product_id":"cecille-baker-burlupurr-1374-23","title":"Cecille Baker | Burlupurr 1374-23","description":"\u003cp\u003eBurlupurr, or dilly bag, is usually a large woven collecting basket. These large bags are often made from the vine ‘Malasia scandens’, a strong pliable plant which grows along the floor and into the canopy of monsoon vine thickets. The bags are used to collect any kind of large numbers of heavy foods such as fish caught in conical fish traps or large collections of yams.\u003c\/p\u003e\n\u003cp\u003eThey can also be made from Pandanus spiralis, a plant which grows in many areas of Arnhem Land. These dilly bags are a tightly woven collecting basket, very finely made. These dilly bags are often used to collect sugarbag, the native honey. \u003c\/p\u003e\n\u003cp\u003eCommon colours used to dye pandanus used for weaving\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eburlupurr\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003einclude:\u003c\/p\u003e\n\u003cp\u003e– \u003cem\u003ebarra gu-jirra: \u003c\/em\u003ethe soft, white and fleshy end of the pandanus leaf imparts green to the fibre.\u003c\/p\u003e\n\u003cp\u003e–  \u003cem\u003emun-gumurduk\/ gala \u003c\/em\u003e(Pogonolobus reticulatus):\u003cem\u003e \u003c\/em\u003ea bright yellow root that is crushed and put in a billycan with the fibre and boiled. It creates yellow when boiled once and deep orange hues when boiled multiple times.\u003c\/p\u003e\n\u003cp\u003e– \u003cem\u003engalpur \u003c\/em\u003e(Haemodorum brevicaule): a bright red root which yields a range of purply red to brown colours.\u003c\/p\u003e\n\u003cp\u003e– \u003cem\u003eBaluk: \u003c\/em\u003eashes of certain plants are added to the boiling billycan with the fibre and dye plants to alter the colour that is imparted to the fibre. The fruiting body of \u003cem\u003egulpiny (\u003c\/em\u003eBanksia denanta) is burnt and the ashes added to other day plants to make the colour pink. \u003c\/p\u003e\n\u003cp\u003eAs well as being of practical use, dilly bags are also of religious significance to Arnhem Land people. Dilly bags are said to be totemic objects and associated with particular sites in the landscape.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eText courtesy of Maningrida Arts \u0026amp; Culture.\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Default Title","offer_id":51150692745514,"sku":null,"price":340.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/1374-25_Cecille_Baker.jpg?v=1770964616"}],"url":"https:\/\/brunswickstreetgallery.com.au\/collections\/4ls.oembed?page=2","provider":"Brunswick Street Gallery","version":"1.0","type":"link"}