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|oykal : fish : Turrum, carangoides emburyi , king fish, enters into freshwater to breed. read more
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The bark used for bark paintings is cut from the stringybark tree (Eucalyptus tetrodonta). The bark is cut from the tree during the Wet Season when it is moist and pliable, starting in December and going through until April or May.
The painter cuts around the trunk of the tree at the bottom and top then creates a incision down the tree, joining the two cuts together. This then allows the bark to be carefully seperated from the tree.
To flatten the bark, a fire is first made and burned down to hot coals of the right temperature. The wet bark is placed on the coals and pressed flat, with the outside rough surface in contact with the heat. Most of the moisture is driven out and the bark slowly unbends. The surface to be painted does not come into contact with the fire. The bark is then pressed flat for several days under weights. Finally, sticks are tied tightly across both ends with string in order to prevent warping. The surface is then ready to be painted.
The bark painters of Arnhem Land mainly work with four basic colours: red black, yellow and white, although sometimes the primary colours are mixed to give a pink, orange or grey. Red and yellows come from a variety of iron ochres including hematite, ironstone and limonite. White is generally gypsum or pipeclay and black is made from manganese ore or charcoal. The pigments are ground finely and mixed with water and vegetable fixatives. The most common natural fixative is the gum or resin from local trees. Nowadays the artists more frequently use a commercial acrylic binder.
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|oykal : fish : Turrum, carangoides emburyi , king fish, enters into freshwater to breed. read more
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The Ancestral fisherman Muwandi stands on the sacred rock that bares the same name. read more
H: 82cm W: 55cm
The understandings Yolu have of rivers go beyond the mouth. read more
H: 54cm W: 27cm
This painting uses the sacred clan design which denotes the Yirritja moiety Magalili clan identity in a non-figurative way, something of a departure from traditional north east Arnhem Land public art. read more
H: 90cm W: 35cm
This painting uses the sacred clan design which denotes the Yirritja moiety Magalili clan identity in a non-figurative way. read more
H: 102cm W: 25cm
The miny’tji (sacred clan designs) is Magalili freshwater and talks of |oykal the Kingfish, rotting wood raga (sacred object) under the water and the sacred yoku (corms of the water lily) representing the yothu (children) of the Magalili fed on by the Bilthu (Rifle fish). read more
H: 178cm W: 57cm
There are two clan groups represented on this larrakitji, the artists Magalili clan and her husbands Dhud-djapu clan. read more
H: 117cm W: 30cm
This painting uses the sacred clan design which denotes the Yirritja moiety Magalili clan identity in a non-figurative way, something of a departure from traditional north east Arnhem Land public art. read more
H: 75cm W: 35cm
Gluma has painted from the Dhudi Djapu clan of her husband Dhukal Wirrpanda Ga`umay is the pelican that inhabits the flood plains at Dhuruputjpi. read more
H: 168cm W: 31cm
Muurru is a word for saltwter past the tidal zone and shared by Yirritja clans, in this case the magalili, Madarrpa and Dhalwau clans. read more
H: 134cm W: 38cm
This painting uses the sacred clan design which denotes the Yirritja moiety Magalili clan identity in a non-figurative way, something of a departure from traditional north east Arnhem Land public art. read more
H: 112cm W: 53cm
Muurru is a word for saltwter past the tidal zone and shared by Yirritja clans, in this case the magalili, Madarrpa and Dhalwau clans. read more
H: 106cm W: 44cm
Djarrakpi, the Manggalili clan homeland is at the tip of Cape Shield, a promontory overlooking the northern aspect into Blue Mud Bay. read more
H: 53cm W: 27cm
This painting uses the sacred clan design which denotes the Yirritja moiety Magalili clan identity in a non-figurative way, something of a departure from traditional north east Arnhem Land public art. read more
H: 83cm W: 32cm
This painting uses the sacred clan design which denotes the Yirritja moiety Magalili clan identity in a non-figurative way, something of a departure from traditional north east Arnhem Land public art. read more