We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of NSW stands.

Title

Baratjala

2018

Artist

Noŋgirrŋa Marawili

Australia

circa 1939 -

Language group

Madarrpa, Arnhem region

Alternate image of Baratjala by Noŋgirrŋa Marawili
Alternate image of Baratjala by Noŋgirrŋa Marawili
  • Details

    Other Title
    Baratjula
    Place where the work was made
    Yirrkala North-east Arnhem Land Northern Territory Australia
    Cultural origin
    Madarrpa, Arnhem region
    Date
    2018
    Media category
    Bark painting
    Materials used
    natural pigments on bark
    Dimensions
    221.0 x 98.0 cm
    Credit
    Mollie Gowing Acquisition fund for Contemporary Aboriginal art 2018
    Location
    Not on display
    Accession number
    241.2018
    Copyright
    © Noŋgirrŋa Marawili, courtesy Buku-Larrŋgay Mulka Art Centre

    Reproduction requests

    Artist information
    Noŋgirrŋa Marawili

    Works in the collection

    25

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  • About

    The art centre documentation for this work states;

    ‘In late 2017 she made an etching with Basil Hall at Yirrkala which used a brilliant fuschia as a component colour. In early 2018 Noŋgirrŋa's friend, kin sister and gallerist Beverly Knight independently queried whether Noŋgirrŋa wanted to respond to another Alcaston artist, Karen Mills recent work which also included fuschia. This coincidence seemed to suggest that it was a good time to add this colour to the palette when painting on recycled print proofs. And so in the early months of 2018 Buku-Larrŋgay went pink big time. This particular bark painting was a response to the fuschia works on paper and the colour was matched using a mixture of natural earth pigments.

    In addition to these superpowers the work is a bifocal view of the universal powers surrounding Marawili's work, there is a grounding reminder of the physical reality of this location where they sit chipping and chiselling at the maypal which adheres to this rock. Mekawu (or simple rock oysters). Some are the duŋgurrŋaniny (barnacles) which she says nibble on the feet of the oyster gatherers whilst they perch atop these rocks. This journey from the sacred to the descriptive shifts in these works. She has reduced the Law to its elements unclothed in sacred design. Her identity cannot be separated from her art and so although she disavows any sacred intent the echo of miny’tji persists.’

  • Places

    Where the work was made

    Yirrkala

  • Exhibition history

    Shown in 1 exhibition

Other works by Noŋgirrŋa Marawili

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