{"title":"Affordable art fair 7","description":null,"products":[{"product_id":"australian-pelican","title":"Edan Azzopardi | Australian Pelican Silkscreen Print","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eEdition of 100.\u003c\/p\u003e\n\u003cp\u003eExplore the artistic aviary of Edan Azzopardi, a Melbourne-based painter whose lifelong love of native birds has led to an ongoing ornithological survey celebrating their colourful character.\u003cbr\u003e\u003c\/p\u003e","brand":"Edan Azzopardi","offers":[{"title":"unframed","offer_id":44501759426858,"sku":"","price":380.0,"currency_code":"AUD","in_stock":true},{"title":"framed","offer_id":44501759459626,"sku":"","price":825.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/products\/AUSTRALIANPELICANSILKSCREENPRINTBYEDANAZZOPARDI.jpg?v=1671371365"},{"product_id":"gouldian-finch","title":"Edan Azzopardi | GOULDIAN FINCH Silkscreen print","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eEdition of 100.\u003c\/p\u003e\n\u003cp\u003eExplore the artistic aviary of Edan Azzopardi, a Melbourne-based painter whose lifelong love of native birds has led to an ongoing ornithological survey celebrating their colourful character.\u003c\/p\u003e","brand":"Edan Azzopardi","offers":[{"title":"unframed","offer_id":44501780496682,"sku":"","price":380.0,"currency_code":"AUD","in_stock":true},{"title":"framed","offer_id":44501780562218,"sku":"","price":825.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/products\/GOULDIANFINCHSILKSCREENPRINTBYEDANAZZOPARDI.jpg?v=1674127846"},{"product_id":"australian-ibis","title":"Edan Azzopardi | AUSTRALIAN IBIS Silkscreen print","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eEdition of 100.\u003c\/p\u003e\n\u003cp\u003eExplore the artistic aviary of Edan Azzopardi, a Melbourne-based painter whose lifelong love of native birds has led to an ongoing ornithological survey celebrating their colourful character.\u003cbr\u003e\u003c\/p\u003e","brand":"Edan Azzopardi","offers":[{"title":"unframed","offer_id":44242175426858,"sku":"","price":380.0,"currency_code":"AUD","in_stock":true},{"title":"framed","offer_id":44242175394090,"sku":"","price":825.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/products\/AUSTRALIANIBISSILKSCREENPRINTBYEDANAZZOPARDI.jpg?v=1674127891"},{"product_id":"australian-magpie","title":"Edan Azzopardi | AUSTRALIAN MAGPIE Silkscreen Print","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eEdition of 100.\u003c\/p\u003e\n\u003cp\u003eExplore the artistic aviary of Edan Azzopardi, a Melbourne-based painter whose lifelong love of native birds has led to an ongoing ornithological survey celebrating their colourful character.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Edan Azzopardi","offers":[{"title":"unframed","offer_id":44242186633514,"sku":"","price":380.0,"currency_code":"AUD","in_stock":true},{"title":"framed","offer_id":44242186699050,"sku":"","price":825.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/products\/AUSTRALIANMAGPIESILKSCREENPRINTBYEDANAZZOPARDI3.jpg?v=1674128081"},{"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":"edan-azzopardi-kookaburra","title":"Edan Azzopardi | Laughing Kookaburra","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eExplore the artistic aviary of Edan Azzopardi, a Melbourne-based painter whose lifelong love of native birds has led to an ongoing ornithological survey celebrating their colourful character.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor framed editions, please allow two weeks for custom framing.\u003c\/span\u003e\u003c\/p\u003e","brand":"Edan Azzopardi","offers":[{"title":"unframed","offer_id":47407386329386,"sku":null,"price":380.0,"currency_code":"AUD","in_stock":true},{"title":"framed","offer_id":47407386362154,"sku":null,"price":825.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/EdanAzzopardi_LaughingKookaburra_2024.jpg?v=1706077352"},{"product_id":"edan-azzopardi-laughing-kookaburra","title":"Edan Azzopardi | Galah","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eExplore the artistic aviary of Edan Azzopardi, a Melbourne-based painter whose lifelong love of native birds has led to an ongoing ornithological survey celebrating their colourful character.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor framed editions, please allow two weeks for custom framing. Framing can be in oak or black stained timber.\u003c\/span\u003e\u003c\/p\u003e","brand":"Edan Azzopardi","offers":[{"title":"unframed","offer_id":47407423226154,"sku":null,"price":380.0,"currency_code":"AUD","in_stock":true},{"title":"framed","offer_id":47407423258922,"sku":null,"price":825.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/EdanAzzopardi_Galah_2024.jpg?v=1706078053"},{"product_id":"maywokka-mayiwalku-chapman-ngurra-home-country-camp-23-953","title":"Maywokka (Mayiwalku) Chapman | Ngurra (Home Country, Camp) 23-953","description":"\u003cp class=\"p1\"\u003eThis painting depicts Mayiwalku’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 (vegetation), and the many life sustaining water sources known intimately through both real life experience and the recounting of jukurrpa (dreamtime) narratives.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\"My name Mayiwalku. I’m pujiman (nomadic desert dweller). [I had] no clothes, nothing. Me Karimarra (skin group). My daughter Milangka, mummy Milangka, daddy Purungu. [I was] born long way [away] – Ngarurr I been born. He [they] been coming back [with me], mummy and daddy. He [they] been bringing little one- me. He [they] been walk around, go round.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWalking, walking with me. Me baby, eating sand! (laughs) My daddy (motions her father hitting her hand). I been big one (the eldest child). My sister Mulyatingki she told me “May you cheeky one! ” I been mujarri (run away), me. I been hit him, my sister. She been crying, telling my mummy. She been hit me then. My daddy always gone long way, hunting marlu (kangaroo) and pussy cat. Get him with a spear. Good feed. He been bring them and cook ‘em. I been get married in Warralong. My nyupa (husband) finished now. Good man. Big one!\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eI’m a single now. Too much children! Dennis, Sally, Pauly, Charlie, Arnold, Doreen and Sandra. My daughter Doreen I been get him (gave birth to) near to Jigalong. All the boys [were born in] Karntimarta, Warralong. In Warralong painting, painting. No fishing – no car! Only painting, painting every day! Yuwayi (yes)!\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMayiwalku was born in the desert at Ngarurr soak in the 1940's. She is the eldest sister of fellow artsits Nancy Nyanjilpayi Chapman, Mulyatingki Marney and Marjorie Yates (dec.). As a child and through to young adulthood, Mayiwalku travelled through her parents’ Country with their family. This region encompassed the areas surrounding Punmu, Karlamilyi River and Kunawarritji. Following the death of their parents, the sisters continued to travel in the desert alone, though at times they would meet and travel with other family groups. When Mayiwalku’s family saw white people for the first time, they hid from them in a cave until nightiall. With the construction 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, Mayiwalku’s family walked into Balfour Downs Station, where they were collected by mission staff and taken to Jigalong Mission. They were one of the last families to leave the desert. Mayiwalku lived and worked for many years at Jigalong mission, eventually moving with her five children to Warralong, where she continues to live today with her children and grandchildren.\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Spinifex Hill Studio","offers":[{"title":"Default Title","offer_id":49655585734954,"sku":null,"price":6650.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/23-953_ba170a83-d1c5-47fd-9d92-720d6cddd0bc.jpg?v=1733204245"},{"product_id":"maywokka-mayiwalku-chapman-ngurra-home-country-camp-23-294","title":"Maywokka (Mayiwalku) Chapman | Ngurra (Home Country, Camp) 23-994","description":"\u003cp class=\"p1\"\u003eThis painting depicts Mayiwalku’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 (vegetation), and the many life sustaining water sources known intimately through both real life experience and the recounting of jukurrpa (dreamtime) narratives.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\"My name Mayiwalku. I’m pujiman (nomadic desert dweller). [I had] no clothes, nothing. Me Karimarra (skin group). My daughter Milangka, mummy Milangka, daddy Purungu. [I was] born long way [away] – Ngarurr I been born. He [they] been coming back [with me], mummy and daddy. He [they] been bringing little one- me. He [they] been walk around, go round.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWalking, walking with me. Me baby, eating sand! (laughs) My daddy (motions her father hitting her hand). I been big one (the eldest child). My sister Mulyatingki she told me “May you cheeky one! ” I been mujarri (run away), me. I been hit him, my sister. She been crying, telling my mummy. She been hit me then. My daddy always gone long way, hunting marlu (kangaroo) and pussy cat. Get him with a spear. Good feed. He been bring them and cook ‘em. I been get married in Warralong. My nyupa (husband) finished now. Good man. Big one!\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eI’m a single now. Too much children! Dennis, Sally, Pauly, Charlie, Arnold, Doreen and Sandra. My daughter Doreen I been get him (gave birth to) near to Jigalong. All the boys [were born in] Karntimarta, Warralong. In Warralong painting, painting. No fishing – no car! Only painting, painting every day! Yuwayi (yes)!\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMayiwalku was born in the desert at Ngarurr soak in the 1940's. She is the eldest sister of fellow artsits Nancy Nyanjilpayi Chapman, Mulyatingki Marney and Marjorie Yates (dec.). As a child and through to young adulthood, Mayiwalku travelled through her parents’ Country with their family. This region encompassed the areas surrounding Punmu, Karlamilyi River and Kunawarritji. Following the death of their parents, the sisters continued to travel in the desert alone, though at times they would meet and travel with other family groups. When Mayiwalku’s family saw white people for the first time, they hid from them in a cave until nightiall. With the construction 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, Mayiwalku’s family walked into Balfour Downs Station, where they were collected by mission staff and taken to Jigalong Mission. They were one of the last families to leave the desert. Mayiwalku lived and worked for many years at Jigalong mission, eventually moving with her five children to Warralong, where she continues to live today with her children and grandchildren.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eThis piece is sold stretched.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Spinifex Hill Studio","offers":[{"title":"Default Title","offer_id":49655686627626,"sku":null,"price":4450.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/23-994.jpg?v=1733205917"},{"product_id":"joshua-de-gruchy-it-is-what-it-was-wilcannia","title":"Joshua de Gruchy | It is what it was, Wilcannia","description":"\u003cdiv id=\"bgLayers_comp-luf664fn\" data-hook=\"bgLayers\" data-motion-part=\"BG_LAYER comp-luf664fn\" class=\"MW5IWV\"\u003e\n\u003cdiv id=\"bgMedia_comp-luf664fn\" data-motion-part=\"BG_MEDIA comp-luf664fn\" class=\"VgO9Yg\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-mesh-id=\"comp-luf664fninlineContent\" data-testid=\"inline-content\" class=\"\"\u003e\n\u003cdiv data-mesh-id=\"comp-luf664fninlineContent-gridContainer\" data-testid=\"mesh-container-content\"\u003e\n\u003cdiv id=\"comp-m0j21lb6\" class=\"Z_l5lU ku3DBC zQ9jDz qvSjx3 Vq6kJx comp-m0j21lb6 wixui-rich-text\" data-testid=\"richTextElement\"\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003e\u003c\/span\u003eJoshua de Gruchy (b.1999) is a visual artist living in Castlemaine on Djaara Country, Victoria, Australia.\u003cbr class=\"wixui-rich-text__text\"\u003e\u003cbr class=\"wixui-rich-text__text\"\u003eHis work draws from the Australian landscape and stems from studies made during painting trips out bush, where he camps and translates thoughts to paper and wood.\u003cbr class=\"wixui-rich-text__text\"\u003e\u003cbr class=\"wixui-rich-text__text\"\u003eIt is the colour and form of the land, paired with the memory of those places that shape his studio work, allowing him to investigate the space between figuration and abstraction as a way of storytelling.\u003cbr class=\"wixui-rich-text__text\"\u003e\u003cbr class=\"wixui-rich-text__text\"\u003eHaving chosen an alternative approach to fine arts education through travel and self-directed research, de Gruchy has exhibited in solo and group exhibitions across the country, and is held in private collections locally and internationally.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Joshua De Gruchy","offers":[{"title":"Default Title","offer_id":49908339540266,"sku":null,"price":650.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/It_is_was_it_was_Large_4c1d5135-df61-4ae9-b35c-c0f572da3289.jpg?v=1738457727"},{"product_id":"joshua-de-gruchy-lake-pamamaroo-menindee","title":"Joshua de Gruchy | Lake Pamamaroo, Menindee","description":"\u003cdiv id=\"bgLayers_comp-luf664fn\" data-hook=\"bgLayers\" data-motion-part=\"BG_LAYER comp-luf664fn\" class=\"MW5IWV\"\u003e\n\u003cdiv id=\"bgMedia_comp-luf664fn\" data-motion-part=\"BG_MEDIA comp-luf664fn\" class=\"VgO9Yg\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-mesh-id=\"comp-luf664fninlineContent\" data-testid=\"inline-content\" class=\"\"\u003e\n\u003cdiv data-mesh-id=\"comp-luf664fninlineContent-gridContainer\" data-testid=\"mesh-container-content\"\u003e\n\u003cdiv id=\"comp-m0j21lb6\" class=\"Z_l5lU ku3DBC zQ9jDz qvSjx3 Vq6kJx comp-m0j21lb6 wixui-rich-text\" data-testid=\"richTextElement\"\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003e\u003c\/span\u003eJoshua de Gruchy (b.1999) is a visual artist living in Castlemaine on Djaara Country, Victoria, Australia.\u003cbr class=\"wixui-rich-text__text\"\u003e\u003cbr class=\"wixui-rich-text__text\"\u003eHis work draws from the Australian landscape and stems from studies made during painting trips out bush, where he camps and translates thoughts to paper and wood.\u003cbr class=\"wixui-rich-text__text\"\u003e\u003cbr class=\"wixui-rich-text__text\"\u003eIt is the colour and form of the land, paired with the memory of those places that shape his studio work, allowing him to investigate the space between figuration and abstraction as a way of storytelling.\u003cbr class=\"wixui-rich-text__text\"\u003e\u003cbr class=\"wixui-rich-text__text\"\u003eHaving chosen an alternative approach to fine arts education through travel and self-directed research, de Gruchy has exhibited in solo and group exhibitions across the country, and is held in private collections locally and internationally.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Joshua De Gruchy","offers":[{"title":"Default Title","offer_id":49908349174058,"sku":null,"price":2500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Lake_Pamamaroo__Large_a8b67e16-d548-4fb2-8f3d-0680e28c896b.jpg?v=1738457723"},{"product_id":"samson-bonson-mimih-spirit-1098-24","title":"Samson Bonson | Mimih Spirit 1098-24","description":"\u003cdiv class=\"page\" title=\"Page 25\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThis piece comes fitted with a custom stand for floor display. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience. Whether shown in a national or international context these works communicate and exist in a particular space that is cross-cultural and simultaneously so particular to the Arnhem region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003esits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists, or apprentices, employ the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eas an important exercise for the practice of the \u003c\/span\u003e\u003cspan\u003erarrk \u003c\/span\u003e\u003cspan\u003etechnique, as it could be achieved on a smaller surface area before being attempted in larger scale on pieces of bark. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eserves a purpose for those young artists first learning to carve in a social space of sharing and innovating. The initial \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003emanifestation was a large form that almost mirrored the anatomy of a human and at this stage the sculptures have been likened to \u003c\/span\u003e\u003cspan\u003emorkuy \u003c\/span\u003e\u003cspan\u003ecarvings visible in eastern Arnhem Land. Contemporaneously, \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eare depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirits are notable for in their interaction with \u003c\/span\u003e\u003cspan\u003ebininj \u003c\/span\u003e\u003cspan\u003e(humans). The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA leading figure engaging the spirit in visual storytelling was Crusoe Kuningbal, a Kuninjku man, who while traveling was familiarised with carving styles from the east of Arnhem at the mission in Milingimbi pre-dating World War II. Thus showing a notable connection and interaction of different language groups across such space. As well as travel and the development of art forms being informed by cross cultural dialogues within northern Aboriginal language groups. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ebecame a valued inclusion in performance and public ceremony by Kuninjku people like Kuningbal. At times these ceremonies were performed for extended language groups in the local region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNow a familiar and broadly depicted figure of iconography, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture. Variation in the creation of \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eacts as an indication of the individualism of each artist and their stylistic markers. Additionally significant to note is that in the space of the past thirty years the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ehas begun being produced by multiple language groups residing in the Maningrida area including the traditional owners of Maningrida, the Ndjébbana, speaking Kunibidji as well as Gurrgoni people who have strong ties to \u003c\/span\u003e\u003cspan\u003eKuninjku.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eText courtesy of Maningrida Arts \u0026amp; Culture. Maningrida Arts \u0026amp; Culture acknowledge the work of many academic and non-academic voices when writing on this topic, it is important to note Luke Taylor, who’s broad research has informed this text.\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Maningrida Arts \u0026 Culture","offers":[{"title":"Default Title","offer_id":50183241990442,"sku":null,"price":1840.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/1098-22_Samson_Bonson.jpg?v=1746771896"},{"product_id":"samson-bonson-mimih-spirit-1105-22","title":"Samson Bonson | Mimih Spirit 1105-22","description":"\u003cdiv class=\"page\" title=\"Page 25\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThis piece comes fitted with a custom stand for floor display. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience. Whether shown in a national or international context these works communicate and exist in a particular space that is cross-cultural and simultaneously so particular to the Arnhem region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003esits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists, or apprentices, employ the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eas an important exercise for the practice of the \u003c\/span\u003e\u003cspan\u003erarrk \u003c\/span\u003e\u003cspan\u003etechnique, as it could be achieved on a smaller surface area before being attempted in larger scale on pieces of bark. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eserves a purpose for those young artists first learning to carve in a social space of sharing and innovating. The initial \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003emanifestation was a large form that almost mirrored the anatomy of a human and at this stage the sculptures have been likened to \u003c\/span\u003e\u003cspan\u003emorkuy \u003c\/span\u003e\u003cspan\u003ecarvings visible in eastern Arnhem Land. Contemporaneously, \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eare depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirits are notable for in their interaction with \u003c\/span\u003e\u003cspan\u003ebininj \u003c\/span\u003e\u003cspan\u003e(humans). The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA leading figure engaging the spirit in visual storytelling was Crusoe Kuningbal, a Kuninjku man, who while traveling was familiarised with carving styles from the east of Arnhem at the mission in Milingimbi pre-dating World War II. Thus showing a notable connection and interaction of different language groups across such space. As well as travel and the development of art forms being informed by cross cultural dialogues within northern Aboriginal language groups. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ebecame a valued inclusion in performance and public ceremony by Kuninjku people like Kuningbal. At times these ceremonies were performed for extended language groups in the local region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNow a familiar and broadly depicted figure of iconography, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture. Variation in the creation of \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eacts as an indication of the individualism of each artist and their stylistic markers. Additionally significant to note is that in the space of the past thirty years the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ehas begun being produced by multiple language groups residing in the Maningrida area including the traditional owners of Maningrida, the Ndjébbana, speaking Kunibidji as well as Gurrgoni people who have strong ties to \u003c\/span\u003e\u003cspan\u003eKuninjku.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eText courtesy of Maningrida Arts \u0026amp; Culture. Maningrida Arts \u0026amp; Culture acknowledge the work of many academic and non-academic voices when writing on this topic, it is important to note Luke Taylor, who’s broad research has informed this text.\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Maningrida Arts \u0026 Culture","offers":[{"title":"Default Title","offer_id":50183242121514,"sku":null,"price":1600.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/1105-22_Samson_Bonson.jpg?v=1746771896"},{"product_id":"samson-bonson-mimih-spirit-1177-22","title":"Samson Bonson | Mimih Spirit 1177-22","description":"\u003cdiv class=\"page\" title=\"Page 25\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThis piece comes fitted with a custom stand for floor display. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience. Whether shown in a national or international context these works communicate and exist in a particular space that is cross-cultural and simultaneously so particular to the Arnhem region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003esits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists, or apprentices, employ the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eas an important exercise for the practice of the \u003c\/span\u003e\u003cspan\u003erarrk \u003c\/span\u003e\u003cspan\u003etechnique, as it could be achieved on a smaller surface area before being attempted in larger scale on pieces of bark. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eserves a purpose for those young artists first learning to carve in a social space of sharing and innovating. The initial \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003emanifestation was a large form that almost mirrored the anatomy of a human and at this stage the sculptures have been likened to \u003c\/span\u003e\u003cspan\u003emorkuy \u003c\/span\u003e\u003cspan\u003ecarvings visible in eastern Arnhem Land. Contemporaneously, \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eare depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirits are notable for in their interaction with \u003c\/span\u003e\u003cspan\u003ebininj \u003c\/span\u003e\u003cspan\u003e(humans). The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA leading figure engaging the spirit in visual storytelling was Crusoe Kuningbal, a Kuninjku man, who while traveling was familiarised with carving styles from the east of Arnhem at the mission in Milingimbi pre-dating World War II. Thus showing a notable connection and interaction of different language groups across such space. As well as travel and the development of art forms being informed by cross cultural dialogues within northern Aboriginal language groups. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ebecame a valued inclusion in performance and public ceremony by Kuninjku people like Kuningbal. At times these ceremonies were performed for extended language groups in the local region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNow a familiar and broadly depicted figure of iconography, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture. Variation in the creation of \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eacts as an indication of the individualism of each artist and their stylistic markers. Additionally significant to note is that in the space of the past thirty years the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ehas begun being produced by multiple language groups residing in the Maningrida area including the traditional owners of Maningrida, the Ndjébbana, speaking Kunibidji as well as Gurrgoni people who have strong ties to \u003c\/span\u003e\u003cspan\u003eKuninjku.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eText courtesy of Maningrida Arts \u0026amp; Culture. Maningrida Arts \u0026amp; Culture acknowledge the work of many academic and non-academic voices when writing on this topic, it is important to note Luke Taylor, who’s broad research has informed this text.\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Maningrida Arts \u0026 Culture","offers":[{"title":"Default Title","offer_id":50183242252586,"sku":null,"price":1840.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/1177-22_Samson_Bonson.jpg?v=1746772181"},{"product_id":"samson-bonson-mimih-spirit-1178-22","title":"Samson Bonson | Mimih Spirit 1178-22","description":"\u003cdiv class=\"page\" title=\"Page 25\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience. Whether shown in a national or international context these works communicate and exist in a particular space that is cross-cultural and simultaneously so particular to the Arnhem region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003esits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists, or apprentices, employ the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eas an important exercise for the practice of the \u003c\/span\u003e\u003cspan\u003erarrk \u003c\/span\u003e\u003cspan\u003etechnique, as it could be achieved on a smaller surface area before being attempted in larger scale on pieces of bark. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eserves a purpose for those young artists first learning to carve in a social space of sharing and innovating. The initial \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003emanifestation was a large form that almost mirrored the anatomy of a human and at this stage the sculptures have been likened to \u003c\/span\u003e\u003cspan\u003emorkuy \u003c\/span\u003e\u003cspan\u003ecarvings visible in eastern Arnhem Land. Contemporaneously, \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eare depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirits are notable for in their interaction with \u003c\/span\u003e\u003cspan\u003ebininj \u003c\/span\u003e\u003cspan\u003e(humans). The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA leading figure engaging the spirit in visual storytelling was Crusoe Kuningbal, a Kuninjku man, who while traveling was familiarised with carving styles from the east of Arnhem at the mission in Milingimbi pre-dating World War II. Thus showing a notable connection and interaction of different language groups across such space. As well as travel and the development of art forms being informed by cross cultural dialogues within northern Aboriginal language groups. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ebecame a valued inclusion in performance and public ceremony by Kuninjku people like Kuningbal. At times these ceremonies were performed for extended language groups in the local region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNow a familiar and broadly depicted figure of iconography, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture. Variation in the creation of \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eacts as an indication of the individualism of each artist and their stylistic markers. Additionally significant to note is that in the space of the past thirty years the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ehas begun being produced by multiple language groups residing in the Maningrida area including the traditional owners of Maningrida, the Ndjébbana, speaking Kunibidji as well as Gurrgoni people who have strong ties to \u003c\/span\u003e\u003cspan\u003eKuninjku.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eText courtesy of Maningrida Arts \u0026amp; Culture. Maningrida Arts \u0026amp; Culture acknowledge the work of many academic and non-academic voices when writing on this topic, it is important to note Luke Taylor, who’s broad research has informed this text.\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Maningrida Arts \u0026 Culture","offers":[{"title":"Default Title","offer_id":50183242678570,"sku":null,"price":1700.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/1178-22_Samson_Bonson.jpg?v=1746772169"},{"product_id":"samson-bonson-mimih-spirit-2677-22","title":"Samson Bonson | Mimih Spirit 2677-22","description":"\u003cdiv class=\"page\" title=\"Page 25\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience. Whether shown in a national or international context these works communicate and exist in a particular space that is cross-cultural and simultaneously so particular to the Arnhem region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003esits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists, or apprentices, employ the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eas an important exercise for the practice of the \u003c\/span\u003e\u003cspan\u003erarrk \u003c\/span\u003e\u003cspan\u003etechnique, as it could be achieved on a smaller surface area before being attempted in larger scale on pieces of bark. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eserves a purpose for those young artists first learning to carve in a social space of sharing and innovating. The initial \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003emanifestation was a large form that almost mirrored the anatomy of a human and at this stage the sculptures have been likened to \u003c\/span\u003e\u003cspan\u003emorkuy \u003c\/span\u003e\u003cspan\u003ecarvings visible in eastern Arnhem Land. Contemporaneously, \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eare depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirits are notable for in their interaction with \u003c\/span\u003e\u003cspan\u003ebininj \u003c\/span\u003e\u003cspan\u003e(humans). The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA leading figure engaging the spirit in visual storytelling was Crusoe Kuningbal, a Kuninjku man, who while traveling was familiarised with carving styles from the east of Arnhem at the mission in Milingimbi pre-dating World War II. Thus showing a notable connection and interaction of different language groups across such space. As well as travel and the development of art forms being informed by cross cultural dialogues within northern Aboriginal language groups. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ebecame a valued inclusion in performance and public ceremony by Kuninjku people like Kuningbal. At times these ceremonies were performed for extended language groups in the local region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNow a familiar and broadly depicted figure of iconography, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture. Variation in the creation of \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eacts as an indication of the individualism of each artist and their stylistic markers. Additionally significant to note is that in the space of the past thirty years the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ehas begun being produced by multiple language groups residing in the Maningrida area including the traditional owners of Maningrida, the Ndjébbana, speaking Kunibidji as well as Gurrgoni people who have strong ties to \u003c\/span\u003e\u003cspan\u003eKuninjku.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eText courtesy of Maningrida Arts \u0026amp; Culture. Maningrida Arts \u0026amp; Culture acknowledge the work of many academic and non-academic voices when writing on this topic, it is important to note Luke Taylor, who’s broad research has informed this text.\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Maningrida Arts \u0026 Culture","offers":[{"title":"Default Title","offer_id":50183242809642,"sku":null,"price":1200.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/2677-22_Samson_Bonson.jpg?v=1746772155"},{"product_id":"samson-bonson-mimih-spirit-1788-23","title":"Samson Bonson | Mimih Spirit 1788-23","description":"\u003cdiv class=\"page\" title=\"Page 25\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThis piece comes fitted with a custom stand for floor display. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience. Whether shown in a national or international context these works communicate and exist in a particular space that is cross-cultural and simultaneously so particular to the Arnhem region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003esits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists, or apprentices, employ the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eas an important exercise for the practice of the \u003c\/span\u003e\u003cspan\u003erarrk \u003c\/span\u003e\u003cspan\u003etechnique, as it could be achieved on a smaller surface area before being attempted in larger scale on pieces of bark. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eserves a purpose for those young artists first learning to carve in a social space of sharing and innovating. The initial \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003emanifestation was a large form that almost mirrored the anatomy of a human and at this stage the sculptures have been likened to \u003c\/span\u003e\u003cspan\u003emorkuy \u003c\/span\u003e\u003cspan\u003ecarvings visible in eastern Arnhem Land. Contemporaneously, \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eare depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirits are notable for in their interaction with \u003c\/span\u003e\u003cspan\u003ebininj \u003c\/span\u003e\u003cspan\u003e(humans). The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA leading figure engaging the spirit in visual storytelling was Crusoe Kuningbal, a Kuninjku man, who while traveling was familiarised with carving styles from the east of Arnhem at the mission in Milingimbi pre-dating World War II. Thus showing a notable connection and interaction of different language groups across such space. As well as travel and the development of art forms being informed by cross cultural dialogues within northern Aboriginal language groups. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ebecame a valued inclusion in performance and public ceremony by Kuninjku people like Kuningbal. At times these ceremonies were performed for extended language groups in the local region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNow a familiar and broadly depicted figure of iconography, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture. Variation in the creation of \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eacts as an indication of the individualism of each artist and their stylistic markers. Additionally significant to note is that in the space of the past thirty years the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ehas begun being produced by multiple language groups residing in the Maningrida area including the traditional owners of Maningrida, the Ndjébbana, speaking Kunibidji as well as Gurrgoni people who have strong ties to \u003c\/span\u003e\u003cspan\u003eKuninjku.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eText courtesy of Maningrida Arts \u0026amp; Culture. Maningrida Arts \u0026amp; Culture acknowledge the work of many academic and non-academic voices when writing on this topic, it is important to note Luke Taylor, who’s broad research has informed this text.\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Maningrida Arts \u0026 Culture","offers":[{"title":"Default Title","offer_id":50183242907946,"sku":null,"price":1750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/1788-23_Samson_Bonson.jpg?v=1746771977"},{"product_id":"samson-bonson-mimih-spirit-1375-24","title":"Samson Bonson | Mimih Spirit 1375-24","description":"\u003cdiv class=\"page\" title=\"Page 25\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirit exists in a realm that runs parallel to and mirrors many facets of human life, also demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience. Whether shown in a national or international context these works communicate and exist in a particular space that is cross-cultural and simultaneously so particular to the Arnhem region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003esits within a complex and important pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists, or apprentices, employ the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eas an important exercise for the practice of the \u003c\/span\u003e\u003cspan\u003erarrk \u003c\/span\u003e\u003cspan\u003etechnique, as it could be achieved on a smaller surface area before being attempted in larger scale on pieces of bark. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eserves a purpose for those young artists first learning to carve in a social space of sharing and innovating. The initial \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003emanifestation was a large form that almost mirrored the anatomy of a human and at this stage the sculptures have been likened to \u003c\/span\u003e\u003cspan\u003emorkuy \u003c\/span\u003e\u003cspan\u003ecarvings visible in eastern Arnhem Land. Contemporaneously, \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eare depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003espirits are notable for in their interaction with \u003c\/span\u003e\u003cspan\u003ebininj \u003c\/span\u003e\u003cspan\u003e(humans). The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA leading figure engaging the spirit in visual storytelling was Crusoe Kuningbal, a Kuninjku man, who while traveling was familiarised with carving styles from the east of Arnhem at the mission in Milingimbi pre-dating World War II. Thus showing a notable connection and interaction of different language groups across such space. As well as travel and the development of art forms being informed by cross cultural dialogues within northern Aboriginal language groups. The \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ebecame a valued inclusion in performance and public ceremony by Kuninjku people like Kuningbal. At times these ceremonies were performed for extended language groups in the local region. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNow a familiar and broadly depicted figure of iconography, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture. Variation in the creation of \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003eacts as an indication of the individualism of each artist and their stylistic markers. Additionally significant to note is that in the space of the past thirty years the \u003c\/span\u003e\u003cspan\u003emimih \u003c\/span\u003e\u003cspan\u003ehas begun being produced by multiple language groups residing in the Maningrida area including the traditional owners of Maningrida, the Ndjébbana, speaking Kunibidji as well as Gurrgoni people who have strong ties to \u003c\/span\u003e\u003cspan\u003eKuninjku.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eText courtesy of Maningrida Arts \u0026amp; Culture. Maningrida Arts \u0026amp; Culture acknowledge the work of many academic and non-academic voices when writing on this topic, it is important to note Luke Taylor, who’s broad research has informed this text.\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Maningrida Arts \u0026 Culture","offers":[{"title":"Default Title","offer_id":50183243366698,"sku":null,"price":1950.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/1375-24_Samson_Bonson.jpg?v=1746772131"},{"product_id":"serena-bonson-warraburnburn-1938-24","title":"Serena Bonson | Warraburnburn 1938-24","description":"\u003cp\u003eThis piece includes a custom fitted steel stand for display.\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 39\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eIn Burarra and Gun-nartpa languages the figure represented in this artwork is generally known as a \u003c\/span\u003e\u003cspan\u003ewangarra \u003c\/span\u003e\u003cspan\u003e‘ghost spirit’. For the Warrawarra clan ghost spirits have their own particular characteristics and their own name - Warraburnburn. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Warraburnburn and the closely related Galabarrbarr spirit (owned by the Balkarranga clan) are also \u003c\/span\u003e\u003cspan\u003emanikay \u003c\/span\u003e\u003cspan\u003esong topics. The spirits are related to each other as maternal grandparent and grandchild, just as the people of Warrawarra and \u003c\/span\u003e\u003cspan\u003eBalkarranga are. The dancing of the two ghost spirit figures forms the finale performance for funerals, and is the final goodbye to a deceased family member. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn many ways the Warraburnburn and Galabarrbarr ghost spirits are like people. They emerge from the patches of jungle on Warrawarra and Balkarranga country in the late afternoon and go hunting in family groups of men, women and children. They stay in contact with each other by calling out as the men hunt for fish and the women walk with their dillybags looking for vegetable food. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe ghost spirits are associated closely with white ochre and artists commonly paint the bodies of carved figures in white. Different types of ghost spirit wear different patterns. Warraburnburn is decorated with uniform white dots while others are painted white all over. Some ghost spirits are shown with a design painted on their chest infilled with rarrk ‘cross-hatching’, the same designs that are painted onto \u003c\/span\u003e\u003cspan\u003ejapi an-guyinda \u003c\/span\u003e\u003cspan\u003e‘male initiations’. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey also have supernatural characteristics including superhuman size (\u003c\/span\u003e\u003cspan\u003ejarra anbaykarda \u003c\/span\u003e\u003cspan\u003e‘super tall’). They know the country intimately – some are malevolent towards humans and will lead people astray, taking them to unfamiliar and dangerous places. These malevolent spirits are likened to \u003c\/span\u003e\u003cspan\u003ean-muburda \u003c\/span\u003e\u003cspan\u003e‘sorcerers’ and can conduct dangerous rituals that cause harm to people. Others are benign and will lead humans back to familiar paths and their own camps.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAbout the artist:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eBorn in Miwirnbi, \u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003cb\u003eSerena Bonson \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003elives and works in Manigrida community in the Northern Territory. Her heritage is of Djowinge moiety, the Djinang language group and she is part of the Murrungun clan. Bonson has quickly become known for her striking carvings in stringybark painted in black and white to depict the Wangarra spirits. The Wangarra play a key role in the stories of Bonson’s community relating to death, birth and the transition of the spirit into the afterlife, and in rebirth. They are considered indicative of ancestral beings and deeply connected to the waterholes that are central to the stories of the clan and their connections to land.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eText courtesy of Maningrida Arts and Culture.\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Maningrida Arts \u0026 Culture","offers":[{"title":"Default Title","offer_id":50183250805034,"sku":null,"price":1880.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Serena_Bonson_1938-24.jpg?v=1747717007"},{"product_id":"karen-rogers-gu-la-bush-86-25","title":"Karen Rogers | Gu la bush 86-25","description":"\u003cdiv title=\"Page 25\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 21\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 15\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cem\u003e\"Pekimap ba gu la bush. Mela gon na. Bin Abum flet taiya. Tjeijimbat dat taiya. Mela gon egin. Bin gedin na.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePack up to go out bush. We are going. We had a flat tyre. Changing that tyre. We're off again. We have arrived.\"\u003c\/em\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\u003cp class=\"p1\"\u003e– Karen Rogers\u003c\/p\u003e","brand":"Ngukurr Arts","offers":[{"title":"Default Title","offer_id":50442775462186,"sku":null,"price":440.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/KarenRogers_Gulabush86-25copy.jpg?v=1762477867"},{"product_id":"karen-rogers-guwei-budu-roud-83-25","title":"Karen Rogers | Guwai budu roud 83-25","description":"\u003cdiv title=\"Page 25\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 21\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 15\"\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\u003cp\u003e\u003cem\u003e\"Det bafalou bin jandup la roud en ebirribodi la det trupi bin jingat \"Guwei budu roud\".\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe buffalo was standing on the road and everybody in the troops shouted \"Go away from the road!\"\u003c\/em\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\n\u003cp class=\"p1\"\u003e– Karen Rogers\u003c\/p\u003e","brand":"Ngukurr Arts","offers":[{"title":"Unframed","offer_id":51162726957354,"sku":null,"price":320.0,"currency_code":"AUD","in_stock":true},{"title":"Framed","offer_id":51162726990122,"sku":null,"price":610.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/KarenRogers_GuweiBuduRoud83-25copy_19ab9993-247d-47e4-9788-056ac119b5c6.jpg?v=1762477761"},{"product_id":"karen-rogers-gubek-la-kemp-82-25","title":"Karen Rogers | Gubek la Kemp 82-25","description":"\u003cdiv title=\"Page 25\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 21\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 15\"\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 4\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cem\u003e\"Oldei mela bin guwei langa bush en mela gibe kemp na.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWe have been out bush all day and now we are going back home.\"\u003c\/em\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\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp class=\"p1\"\u003e– Karen Rogers\u003c\/p\u003e","brand":"Ngukurr Arts","offers":[{"title":"Unframed","offer_id":51162634092842,"sku":null,"price":300.0,"currency_code":"AUD","in_stock":true},{"title":"Framed","offer_id":51162634125610,"sku":null,"price":550.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/KarenRogers_GubeklaKemp82-25_66c8a3d7-92de-48ed-be89-66efd6d5be4bcopy.jpg?v=1762477572"},{"product_id":"karen-rogers-trupi-bin-nugud-84-25","title":"Karen Rogers | Trupi bin Nugud 84-25","description":"\u003cdiv title=\"Page 25\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 21\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cdiv class=\"page\" title=\"Page 15\"\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 4\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cem\u003e\"Wen mela bin gubek det trupi bin nugud.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhen we tried to go back, the troopy was broken.\"\u003c\/em\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\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp class=\"p1\"\u003e– Karen Rogers\u003c\/p\u003e","brand":"Ngukurr Arts","offers":[{"title":"Unframed","offer_id":51162634027306,"sku":null,"price":300.0,"currency_code":"AUD","in_stock":true},{"title":"Framed","offer_id":51162634060074,"sku":null,"price":550.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/KarenRogers_TrupibinNugud84-25_846708b4-e8b1-41c7-bdff-354bf28cf18e.jpg?v=1765861497"},{"product_id":"jennifer-tarry-smith-whitesands","title":"Jennifer Tarry-Smith | Whitesands","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eJennifer Tarry-Smith is a Melbourne based artist working in the medium of painting and printmaking.  She produces abstract works that are meditative explorations of line and negative space. The act of laying down lines and leaving spaces is an ongoing, intuitive process that leads Tarry-Smith to being so immersed in her work she loses track of time and space. She is drawn to the intricacies and nuances that emerge as pattern evolves and changes to suit its environment. It is these subtle differences that distinguish the hand-made from machine-made, and highlights the beauty in the imperfect.\u003c\/span\u003e\u003c\/p\u003e","brand":"Jennifer Tarry-Smith","offers":[{"title":"Default Title","offer_id":50514974376234,"sku":null,"price":500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/JenTarry-Smith_Whitesands.jpg?v=1755674575"},{"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":"matthew-djipurrtjun-warrabunbun-dhawu-3778093-420-24","title":"Matthew Djipurrtjun | Warrabunbun Dhäwu 3778093-420-24","description":"\u003cp\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":51162728137002,"sku":null,"price":360.0,"currency_code":"AUD","in_stock":true},{"title":"Framed","offer_id":51162728169770,"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_2FULL.jpg?v=1765418452"},{"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":"joe-dhamanydji-guku-galangarr-gupapuyngu-body-paint-design-3778093-321-24","title":"Joe Dhamanydji | Guku Galaŋarr (Gupapuyŋu Body Paint Design) 3778093-321-24","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003ePlease allow 2-4 weeks for framing.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eThis work shows the Gupapuyŋu Ḏaygurrgurr clan design Guku (Native Bee and Honey) in the full splendour of its ceremonial expression. The artist, inspired by researching historic collections from the 1920’s, has referenced the ceremonial dillybags, spears and orthodox galaŋarr stye bark paintings made by his forefathers and found in these early collections.\u003cbr\u003e\u003cbr\u003eGalaŋarr is a Yirritja word used by dhuwala-mirri language speakers to indicate the form used when painted on bodies during ceremony. This includes the main rumbal (body) painted on the chest, yaŋara’ (legs), and waṉa (arms) that are painted over the shoulders. During the high law ceremony of ŋärra, these layers of design are added progressively throughout the ceremony to make the final complete form, which is seen in this painting.\u003cbr\u003e\u003cbr\u003eSometimes the first layer, the rumbal or guḻun-mirri (chest design) is referred to as tjiŋlit-mirri galaŋarr, coming from the English word ‘singlet’ (lit. singlet-shaped body paint design). The waṉa ‘arms’ are said to represent those that hang from the djaḻi (armbands) of Gupapuyŋu people as the leave the restricted Ŋärra ceremony grounds for the final stage of the public buku-lup cleansing.\u003cbr\u003e\u003cbr\u003eThe artist explains that this painting shows the legal regalia of Gupapuyŋu ceremony. He describes the objects depicted as the tools of ceremony that affirm its legality and authority. The ceremonial dillybag, or the dhulmu mulka bathi, is a clans public symbol of sovereignty and affirms connections to creation ancestors – like the Gupapuyŋu Guku Honeybee – and ownership of land associated with the travels of these ancestors. The artist compares the dhulmu mulka bathi to the Australian coat of arms as an object that represents nationhood and constitutional law, a reference made by the artist in previous works.\u003c\/span\u003e\u003c\/p\u003e","brand":"Brunswick Street Gallery","offers":[{"title":"Unframed","offer_id":51162729120042,"sku":null,"price":360.0,"currency_code":"AUD","in_stock":true},{"title":"Framed","offer_id":51162729152810,"sku":null,"price":660.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0678\/0374\/2506\/files\/Millinginbi_Mokuy_full.jpg?v=1755823232"}],"url":"https:\/\/brunswickstreetgallery.com.au\/collections\/affordable-art-fair-7.oembed","provider":"Brunswick Street Gallery","version":"1.0","type":"link"}