This exhibition is brought to you by Outstation, in collaboration with the following art centres:
- Djirrirra Wunungmurra
- Nawurapu Wunungmurra
BLACK & WHITE: REBIRTH AND RENEWAL
YIRRKALA ARTISTS Nawurapu Wunungmurra and Djirrirra Wunuŋmurra reveal their clan moiety in a bold and striking monochromatic interpretation of the life giving processes through season and ceremony.
THE WET SEASON: RAIN AND REBIRTH
Nawurapu Wunungmurra paints the Yirritja clan design of zig-zagged triangles representing the clouds forming on the horizon, indicating a change of season. It is also a signifier for elements of cultural exchange and the historical relationship with the Macassans: a time the praus are returning. Rain and rebirth are also interwoven with the cloud design relating to the water cycle of souls going from ocean to vapour to cloud to freshwater rain rebirth. In 2016 Nawurapu adopted a monochromatic stylisation of this design for his Mokuy (spirits), and later onto larrakitj (memorial poles). The black and white fully painted works are a stunning graphic patternation: a contemporary interpretation of traditional design.
Yolngu sacred songs tell of the first rising clouds on the horizons – the first sightings for the year of the Macassan praus’ sails.
– BUKU-LARRNJGAY MULKA
The Wangupini (wet seaon) build-up of cumulo-nimbus activity is represented by his very modern and naturalistic cloud painting, which brings a soft contrast to the impeccable patterning of the clan motif.
Djirrirra Wunuŋmurra paints her Yukuwa (yam) moiety as it relates to Yirritja renewal ceremony. The Yukuwa is a metaphor for the increase and renewal of the people and their land. In our 2016 exhibition Light Through Glass, Djirrirra interpreted her design onto glass, illuminating her motifs with colour. In contrast, her new work is grounded by the lack of light – bold and distinct translations of line and the flow of form by a monochromatic range. Her precise hand lends itself to this striking graphic interpretation of her subject where the form is not distracted by colour. In contrast to the works on the vacuous black ground, the works on a light ground appear ethereal and feathery, as though her hand has gently graced the surface with her enigmatic design.