Artiste : Djirrirra Wunuŋmurra (1968)

Titre de l'œuvre : Buyku

Pigments naturels sur écorce

Format : 105 x 63 cm

Provenance et certificat original : centre d'art aborigène de Yirrkala

Référence de la peinture : 4223-21

© Photo & text : Aboriginal signature with the courtesy of the artist, & Buku-Larrngay Mulka.

Explication de l’œuvre :

Artworks such as this have multiple layers of metaphor and meaning which give lessons about the connections between an individual and specific pieces of country (both land and sea), as well as the connections between various clans but also explaining the forces that act upon and within the environment and the mechanics of a spirit’s path through existence. The knowledge referred to by this imagery deepens in complexity and secrecy as a person progresses through a life long learning process.

A sacred expanse of water behind the Gangan outstation where this work was produced is referred to as Gulutji. The initial activities of Barama the great Ancestral Being for the Yirritja moiety took place here. From travelling from the seaside at Blue Mud Bay he emerged from the waters of Gulutji. Council was held with ‘Disciple’ Ancestors and Yirritja Law was ‘written’.

From this place the Yirritja (the Yirritja moiety together with the Dhuwa moiety forms a duality system that keeps all past, present and future life in balance) na􀆟on spread as it traversed its country establishing clan estates and governing policy including language, ceremonial ritual and miny’tji (signature of sacred design of event and place- this word describes the patterns employed in this work).

One of the metaphorical overviews of the work is the union between the different subgroups of the Dhalwangu clan in the ancestral cycle of regular fishtrap ceremonies they join together in celebrating. The last one of these was five years ago. These gatherings are ceremonial but also social and educational.

The sacred diamond design generally refers to the waters around Gangan but here are encased in a strong grid of vertical and horizontal lines which show the structure of the fishtrap made during Mirrawarr (early Dry Season) with Rangan (paperbark) and wooden stakes. This is the Buyku or fishtrap area which is ‘company’ land (ie. shared by all the people who live by/sing the river). The Dhalwangu and allied groups who participate in this song cycle and fishing activity are hunting Baypinga (Saratoga) as does the Gany’tjurr (Reef Heron) which they identify with as the archetypal Yirritja hunter.

Her artworks are in the following prestigious collections :

Art Gallery of New South Wales, Sydney NSW
Artbank, Sydney NSW
Australian Catholic University Art Collection, Melbourne VIC
Kerry Stokes Collection, Perth WA
Levi and Kaplan Collection, Seattle USA
Museum and Art Gallery of the Northern Territory, Darwin NT
National Gallery of Australia, Canberra ACT
Queensland Art Gallery and Gallery of Modern Art, Brisbane QLD
The Kluge-Ruhe Aboriginal Art Collection of the University of Virginia. USA
The Laverty Collection, Sydney NSW
TOGA Group Companies Art Collection
University of Newcastle Art Gallery collection
Woodside Energy Ltd. Art Collection

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