Gunybi Ganambarr (b1973) Ngaymil People
Rumbal - Dhalwangu Buyku (2023)
natural pigments on bark
Djambawa Murrawili (b1953) Madarrpa clan
Rambal - Madarrpa Baraltja (2023)
natural pigments on bark
seen from Philippines

seen from Poland

seen from Malaysia

seen from United Kingdom

seen from Tanzania

seen from United States

seen from United Kingdom

seen from Russia
seen from Germany
seen from United States
seen from United Kingdom
seen from Italy
seen from United States
seen from United Kingdom
seen from Russia
seen from United States
seen from Germany
seen from Malaysia
seen from Russia
seen from Spain
Gunybi Ganambarr (b1973) Ngaymil People
Rumbal - Dhalwangu Buyku (2023)
natural pigments on bark
Djambawa Murrawili (b1953) Madarrpa clan
Rambal - Madarrpa Baraltja (2023)
natural pigments on bark
Dundiwuy Wanambi (c1936-96) Marrakulu clan
Wolpa Wanambi (b1970) Marrakulu clan
Motu Yunupingu (b1959) Gumatj People
Wawilak Sisters (1995-96) natural pigments, feathers, hair, resin, natural fibre, wood
Naminapu Maymuru-White (b 1952) Djarrakpi, Australia
Stars reflected in the river (2023)
Naminapu Maymuru-White is one of the the first Yolŋu women to be taught to paint miny’tji (sacred creation clan designs), and her works are of historic and continuing significance as a Maŋgalili clan member and contemporary artist in her own right. Her fluid and unrestrained compositions distinguish her as a highly unique and innovative Yolŋu artist.
Naminapu Maymuru-White began to paint at the age of 12, taught by her uncle Narritjin Maymuru, as well as by her own father, Nänyin Maymuru. Both men were highly celebrated artists, whose works hang in many Australian and international museums. As one of the first Yolŋu women to be taught to paint miny’tji, she was part of the historic adaptations by the Elders of the Yolŋu in the last forty years. This includes the revelation of previously restricted designs in pursuit of justice in the Land Rights struggle (for example The Bark Petition and The Yirrkala Church Panels). Her works are of historic and continuing significance as a Maŋgalili clan member and contemporary artist in her own right.
With numerous solo and important group projects behind her, Nami has recently accelerated her rate of innovation. The early introduction of printmaking into her practice made a strong influence on the visual, textural and overall compositional nature of her works, setting her apart from artists only working in the strict canon of dhuyu (sacred) bark painting. Her compositions have recently become even more fluid and unrestrained and this distinguishes her as unique amongst other Yolŋu artists. sullivanstrumpf.com
watch www.abc.net.au/news/2024-04-22/venice-biennale-to-showcase-yolŋu-artist,-naminapu/103741218