NEXT EXHIBITION

Next Exhibition

Please join us for the opening of Arnhembrand - Living on Healthy Country, a Karrkad Kanjdji Trust project undertaken between Bininj and Balanda artists in the Djelk Indigenous Protected Area, west Arnhem Land, Northern Territory. This independent and contemporary environmental art project was supported by private donors including the Macquarie Group Foundation. The exhibition uses new media and technologies and includes the Bininj collection of paintings acquired for the archive of the Center for Art + Environment, Nevada Museum of Art in Reno, Nevada. The exhibition also includes paintings and video by Balanda artists, Alexander Boynes, David Leece and Mandy Martin. The exhibition will be accompanied by a catalogue of Arnhembrand writings and artworks, please see the digital version here.

Arnhembrand - Living on Healthy Country
To be officially opened by
Jason Smith - Director, Geelong Gallery
Introduction by David Rickards

6pm - 8pm, 6th July 2017
Space Gallery
9-19 Elizabeth Street, Sydney CBD

Gallery Hours: Tuesdays & Thursdays, 10am - 2pm
Exhibition continues until 27th July 2017

View the CATALOGUE here

Arnhembrand Update 1

ARNHEMBRAND

APRIL 3, 2015

Arnhembrand Update 1

ARNHEMBRANDART + ENVIRONMENT

 

 

 

 

 

 

 

 

 

 

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Arnhembrand: Living on Healthy Country is a new art, science and story project which Mandy Martin and David Leece scoped at the invitation of the community with the Djelk Rangers in Maningrida, Arnhem Land, in March 2015.

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Photo David Leece

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We firstly thanked the Traditional Owners for permission to visit Country and acknowledged the elders past and present. We then presented some models of how Arnhembrand would work with community participation on art and stories about environmental preservation. This would raise awareness both nationally and internationally of the work the Indigenous communities living in the Djelk and Warddeken Indigenous Protected Areas in Arnhem Land undertake to preserve their culture and environment. The Arnhembrand project is designed to support the Karrkad-Kanjdji Trust which is working in the long term to achieve these preservation objectives. Arnhembrand aims to create a multi-disciplined and participatory project following the successful model of the Paruku Project. We presented examples of possible outputs including, a DVD, a website, blogs, an archive and exhibition with a catalogue. We were then invited to meet with artists and artist/rangers at the The Wíwa Project which is hosting Arnhembrand in Maningrida. We presented our ideas in more depth and showed examples of ideas and techniques for drawing, painting and digital art that we could experiment with to foster a new wave of contemporary art which builds on each individual artist's distinct style while extending their traditional practice. The new wave art and new media created will assist in raising awareness of the environmental issues the Djelk and Warrdeken communities deal with.

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Photo Hugo Sharp

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Photo Hugo Sharp

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Photo David Leece

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Photo Hugo Sharp

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Drawing workshop with The Wíwa Project 

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Photo Hugo Sharp

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Photo Hugo Sharp

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Photo Hugo Sharp

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Photo Hugo Sharp

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David Leece Untitled

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Mandy Martin Burning Country 1

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Mandy Martin Burning Country 2

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Digital Art with The Wíwa Project 

Natalie Carey, Coordinator of Wiwa Media Unit, Mathias Cameron, Wiwa artist, Alexander Boynes, artist, Sirus Rostron, Wiwa artist, Hugo Sharp photographer/ Videographer. Photo Mandy Martin

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Sirus + Mathias - Dreaming Story. By Alexander Boynes.

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Natalie Carey, Coordinator of Wiwa Media Unit, Mathias Cameron, Wiwa artist, Alexander Boynes, artist, Sirus Rostron, Wiwa artist, Hugo Sharp photographer/ Videographer. Photo Mandy Martin.

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Drawing with Babbarra Designs

Arnhembrand also worked with Babbarra Designs who work out of The Women’s Centre and the women experimented with making new wave drawings about feral animals and weeds in their community. The chance to experiment will inspire new designs and approaches to making art while contributing to the environmental goals of the Djelk Rangers and the community.

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Photo Hugo Sharp

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Photo Hugo Sharp

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Photo Hugo Sharp

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Photo Mandy Martin

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Kabulwarnymyo

Arnhembrand has also been invited to work with a fourth group of artists at Kabulwarnymyo, in May 2015. We will offer some exploratory drawing with new media and digital media to the descendants of the famous artist, Lofty Bardayal Nadjamerrek “Wamud Namok” who lived and worked at Kabulwarnymyo . Arnhembrand aims to provide opportunities for Wamud Namok’s descendants to build on his legacy and further develop their own art and income opportunities.

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Photo Hugo Sharp

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Arnhembrand: Living on Healthy Countrywill inject energy through experimentation with new wave art and media and produce new material for performance and exhibition which take as their content living on healthy Country. This will also contribute to the Djelk and Warrdeken archives of stories and recordings and will generate income through external exhibition and media opportunities.

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A Successful Second Trip

Editing ‘Arnhembrand Update 1’

A Successful Second Trip

ARNHEMBRAND

MAY 23, 2015

A Successful Second Trip

ARNHEMBRAND

Following our successful 'reccie' in March to Maningrida to present community members in the Djlek IPA with a project proposal developed from their concerns about Living on Healthy, we returned with a larger Arnhembrand team to Maningrida in the Djelk IPA. The community endorsed our proposal and started drawings, digital and oral recordings and signed participation consent forms.

Maningrida, Djelk IPA

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Ranger and artist Greg Wilson making a start on a fluoro masterpiece. Photo Hugo Sharp.

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After initial meetings to organise the logistics and a programme for the week, everyone scattered around the community to discuss their individual plans. Guy headed off to talk with the Rangers and they hunted a buffalo, destined for the crocodile trap down near the wharf, where the kids swim! Alexander and Laura Boynes met with Natalie Carey, David, Fran and I collected the art materials and canvases freighted out by barge from Darwin We organised a working programme with the women for the week. We left Henry Skerritt and Bill Fox to familiarise themselves with some of the senior artists. They were delighted to immediately meet and interview John Marwundjul. Another highlight for them during the week was witnessing the smoking ceremony for the completion of an enormous hollow log Johnny Bulunbulun had been painting at the time of his death in 2010 and which his widow Laurie Maburru had continued to completion. Henry recorded a number of oral histories from the senior artists and also the Arnhembrand artists during the week, which explicate the works being made for the Arnhmebrand project. Bill was tasked with placing Arnhembrand within an international Brand context and also in the stream of multidisciplinary art and environment projects on an international scale. He thought and researched widely during the week.

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Daniel Bonson Yams and dragonflies.

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Jennifer Wurrkidj Goanna, Sea Turtle and Barramundi.

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Digital still from Alexander Boynes' video work. 

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Ivan Namarnyilk Feral Pigs rubbing on rock art.

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David Leece The flood plain from Djinkarr.

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Mandy Martin Djinkarr sketch.

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Jennifer Wurrkidj Barramundi and food seeds.

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After buying our food we headed out to set up the “Lab”, the science workshop at Djinkarr, for the painting workshops that week. David and I painted fluoro grounds on 30 canvases in preparation and shortly after, the first artists, Djelk Rangers, Ivan Namarnyilk and Greg Wilson arrived to work on large squares of heavy black paper, while David and I grabbed a few moments to work also.

Later after a magnificent sunset, Leila Nimbadja, Djinkarr Traditional Owner, joined us for dinner and agreed to work with Fran Murrell and some younger women on a project about food. They all collected and used local seed to apply to small partially painted canvases. Leila has expert knowledge on plants, birds and bush foods and medicine and runs a plant nursery in Maningrida.

The following days were a busy continuum of painting and interviewing the Rangers, the women from Babbarra designs and other community members, who well understood  what they were painting and passionately explained environmentally themed works about ghost nets and plastic in the ocean, through to the first fluoro rarrk feral cat and kitten ever painted!

Alexander and Laura worked with performers and were really excited to record a Creation story with the Pascoe family. It was a good chance for Laura to observe and do some preparatory dance moves with possible Arnhembrand new wave performers. Alexander and Laura continued work after dark, collecting support material for the digital work, the filming of a cane toad causing great hilarity. It was of course captured by Hugo as usual who was everywhere the whole week photographing and filming everything and at all times.

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Fran Murrell and Leila Nimbadja. Photo Mandy Martin.

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Hugo Sharp feeling the heat. Photo Mandy Martin.

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As the season had dried out quickly, access to remote outstations is now possible and Guy went out with the Djelk Rangers to visit a few and drop off buffalo and crocodile, hunted and butchered along the way, to people who are otherwise totally isolated and without services during the wet. It is burning season and fires were started everywhere in both IPA’s while we were there. Guy walked 5 kms with a fire dripper one day starting fires, David Leece had an exciting time photographing when the fire suddenly flared up near him. 

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Back-burning. Photo Guy Fitzhardinge.

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The team enjoying an Arnhem sunset. Photo Hugo Sharp.

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Many thanks to all who helped make this second trip possible.

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Cherylynn Holmes 10 months ago · 0 Likes

   

An illuminating and generous insight into how to have wonderful adventures and do artistic exchanges and make fires for & with the remote and precious indigenous folks of this famous area .
Great work

A Day in the Life of the Djelk Rangers

Arnhembrand Update 1

Editing ‘A Successful Second Trip’

A Day in the Life of the Djelk Rangers

ARNHEMBRAND

JUNE 8, 2015

A Day in the Life of the Djelk Rangers

RANGERSENVIRONMENT

The ranger station was a hive of activity when I arrived.  A line of Toyotas, bonnets up, were parked in front of the ranger station. Some had been washed and some were being washed and all were having the essential elements for a hard day in the bush checked – tyres, oil, fuel etc. Safety is a huge priority for the rangers who operate in a landscape where an accident or breakdown could be life threatening.

The rangers were as smart as their vehicles in their ranger uniforms and caps. It’s a big thing to be a ranger in this community – it’s a position of respect and of envy as it provides a socially valued job and allows people to get back on Country and out bush. There’s always the chance of some bush tucker too – something you can’t get in camp!

Before we set off, Dominic Nicholls, “Dom”, the ranger coordinator, briefs everyone on their jobs for the day. The women rangers  are going, with the fire truck, to one community outstation to burn around the community and so create a firebreak in case of wild fires later in the hot season.

Another group is sent to check the crocodile trap near the wharf where a large 5 meter crocodile has been lurking for some time and has been seen taking a dog or two that foolishly went swimming. Such crocodiles are usually old and cunning and hard to trap. As the area is frequented by children and people walking along the beach or occasionally swimming, the reptile presents a risk.

I am assigned to another group that has a number of tasks. We are going to some outstations to burn fire breaks, but also on the way to carry out a more general burning in the landscape. For many thousands of years this has been a managed landscape and in a sense has co-evolved with people. The landscape was burnt in the cooler months of the year, when fires crept along in the semi green undergrowth after the wet, often leaving a mosaic of burnt and unburnt country. Many plants and animals have evolved through time to depend on the ‘cool mosaic burning’ and eventually required it for their continued survival.

Past government policies have encouraged people to leave the land and live in the larger towns, leaving the landscape ‘empty’, and as a result the traditional burning practices ceased. Before the wet, in the hottest time of the year, lightning storms set off wildfires that burnt out large areas with hot and damaging intensity and cause landscape scale destruction.

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Photo Guy Fitzhardinge

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Darrel – a senior ranger and I travelled together, talking all the time. I had to be careful I did not tire him out as, like almost everyone there, English was probably his third or fourth language. As much as the coming of white people has had a significant change on landscape management, this has been mirrored in changes to culture and one of the more significant changes is the loss of the numerous languages that occurred in the area previously. Language carries culture and with it a knowledge and understanding of the bush that has been accumulated over thousands of years.

Anyway, on the way to the outstations the rangers and I set fire to kilometres of bush along the roadside. Some of it exploded in flame sending great sheets of smoke into the sky, while other parts trickled along and died out – all good. Fortunately in this area there are none of the imported grasses  introduced by the pastoral industry that choke out endemic species and burn at very hot and damaging temperatures … these weeds are a prime target for the rangers and they make all efforts to keep them out.

We burnt around three outstations as a protective measure. The outstations are really just a small group of houses situated on tribal country where those families responsible for the country can continue live and care for it. Mostly they are occupied, but not always as families come and go often for cultural duties. There is usually water and often a phone which may or may not work. The bigger outstations may have electricity, but generally the ones I saw did not. There is an enormously strong connection between people and country and it is critically important in all sorts of ways that this connection is not broken.

At each community we came to, if there were people there, Darrel stopped and explained to them what we wanted to do and sought their permission. This was readily given as the rangers are popular people! The rangers play a really significant role in connecting with these communities and ensuring – as much as they can – their safety and wellbeing. There was no community where something was not left or given – smokes, ice out of our water container, food or in one case where we shot a kangaroo, we returned to the community to give it to them.

In one community that was situated not far from a billabong where the children wanted to swim, they had set up a crocodile trap. On our arrival we found a 2 metre crocodile in the trap! So the rangers went back to the community and picked up the children and took them down to the trap to show them what they could have been swimming with! We shot the crocodile and took it back to camp where it was to be eaten for dinner!

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Photo Guy Fitzhardinge

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Photo Guy Fitzhardinge

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On the Saturday following our departure the football grand finals were going to be held at Maningrida and this was to be a big day in town! People would be coming in from far and wide to support their team – a bit confusing for me, as the teams had the same names as their southern counterparts – this Saturday I think it was the Swans vs maybe the St Kilda!  One of the jobs the rangers were tasked with was supplying some wild caught meat for the event.

Some three hours’ drive from town and late in the day we fulfilled this mission – two large buffalo downed with a single shot each. The rangers were expert in skinning the animals and removing the best parts – the legs, ribs and strip loin, all removed and placed on a bed of leaves on the back of the Toyota in no time at all! Things were looking good for the finals!

Our last outstation was far from anywhere – just two houses at the end of a long bush track that most people would not think of driving over. One house was empty, but outside the other sat a man and his two children and several dogs on a blanket. The mother was apparently inside. They looked happy and contented – no electricity, so no fridge or stove. Running water not far away in a small creek. No phone. Just a roof over their heads. I was told that this family believed that it was important to live ‘on country’ or as we would say, on their own Country.

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Photo Guy Fitzhardinge

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Photo Guy Fitzhardinge

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The parents wanted the children to learn the ways of the bush – to hunt and gather and to be self-sufficient on their own land. They were also learning how to take care of and look after the land – just as their forefathers had done over thousands of years. This is an important way – perhaps even the only way, of preserving experiential knowledge and the culture that goes with 40,000 years of habitation. I am sure that what they didn’t know about the landscape they lived in, was not worth knowing!

I felt incredibly humbled to have met these people who had such a rich and meaningful connection to the land in which they lived and the culture that they were part of. Their knowledge and skills enable them to live a life of happiness and contentment in a landscape where most of us would starve to death. To see these skills and knowledge being lost is a tragedy.

Shortly after waving our farewell to the family, the rangers shot a kangaroo and took it back to the family – several meals at least!

Three hours driving and we were back at the ranger station. The fires we lit earlier were still trickling along and we drove through a lot of smoke, past logs and stumps struggling to stay alight in the cooling of the day. Dom, was there to meet us at the ranger station and check that we all returned safely and so he could lock up and head home – thinking, as he always appeared to be, of the work that needed doing in the weeks ahead.

I can’t thank the rangers enough for sharing this experience with me. The deep connection between them and the land they care for provides a subtle message for us all – we need to care for the land that cares for us!

Guy Fitzhardinge, May 2015

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August Reflections

A Successful Second Trip

Editing ‘A Day in the Life of the Djelk Rangers’

AUGUST REFLECTIONS

ARNHEMBRAND

SEPTEMBER 3, 2015

August Reflections

 

This blog post was written by David Leece.

A third trip occurred in the late dry of August. Warm days and very cool mornings. The floodplain in the early morning, from our vantage point at Djinkarr, is a vast white ocean of mist, all features lost, the extent unknown and hidden, to be revealed in the latent heat of the day. Dawn is the best time of day, the chorus of everything awakening in a cacophony of excitement. The northern Kookaburra sounds like a Brolga to the uninitiated. The curlew is distinctive though slightly mournful. The Gouldian finches are absent – chasing food elsewhere. And the red tailed black cockatoos are ubiquitous. The parade is repeated at dusk, the great restitution of community as all the birds discuss their travails of the day. This fades to a great sky of extraordinary illumination – and a moon which at this time of the month is described by one of the team (a class romantic who shall remain nameless) as a ‘beautiful little toenail’.

 

Morning mist over Djinkarr, photo by Hugo Sharp.

Sitting waiting
Looking
Waiting sitting
Sitting
Looking
Ma

Another floodplain – vast. Great flocks of brolgas dance, churning the recently burnt earth, leaving the surface desiccated. What are they looking for? What is the relation between Brolgas and fire? The floodplain is broken by great craters that become impossible to miss or even traverse, formed by the wallowing of pig and buffalo. Now – with the surface dry – they are riven by cracks and are broken. Green pick is a curious bright filament against the grey of earth and black of ash.

We arrive at the river. We are on guard for the potential crocodile. We unpack and begin drawing or painting. Dave Taylor assumes the role of croc watcher, large stick in hand. I turn to get some water and jump several feet at the thrashing of the bush behind me – ‘Its ok Dave I’ve got him’ shouts Dave Taylor as everyone else laughs at my distress. ‘Bastard’ I mutter and resume drawing.

The stillness is short lived. The beast arrived silently – how long it had lain there looking at us none of us could say. It stared at us as we began to hurriedly pack. Then it was as silently gone. We picked out a pair of eyes in the water, then they too were gone – and so were we!

 

 

 

 

 

 

 

 

 

 

 

(from above: first 3 images David Leece, remainder Hugo Sharp)

The family paint – Jennifer Wurrkidj and Deborah Wurrkidj, daughters of the renowned John Mawurndjul, with Hamish Garrgarrku, Jennifer’s husband, an artist in his own right with recent exhibitions in Perth. We work together at Djinkarr for most of the day. Then in the late afternoon a car arrives with Deborah’s husband and several children and grandchildren. Three generations are now painting and general mayhem breaks loose. Small squares of black paper are produced and more brushes and paint brought out. Bandanas are passed around and soon everyone is engaged in making work – mainly of long neck turtles! Then when paint and paper are exhausted the face paints come out and another cultural icon takes over – Spiderman comes alive!

 

 

 

 

(above Wurrkidj and Garrgarrku family members. Photos David Leece) 

We walk down the hill to an open savannah woodland dotted with enormous termite mounds – each waist to chest height, tall straight plains aligned in a north south axis. They appear as quiet sentinels – waiting, or bearing witness or just being – fragments seemingly from another time. Grey – the colour of the earth that becomes golden in the reflected evening light. The grasslands are open with low height savannah trees. Even here there are the tracks of buffalo – deep hollows that break the meadow. And perhaps incongruously the tracks of a vehicle. Then again maybe not. We have seen numerous vehicles heading down onto the floodplain which at this time of year is accessible. Cars packed with different families and different generations that are all engaged in traditional hunting of some form or other. And if not hunting then family business, or just having fun.

Paperbark swamp and long neck turtles. A Sunday afternoon and families arrive. Fires are lit to clean country. Long sticks selected and a strange parade of children and adults prodding the earth along the edge of the swamp. Waiting hoping for the hollow thud of stick against shell that will deliver the prize – the long neck turtle!

 

 

(from above: left image David Leece, right image Hugo Sharp)

Telstra pre-paid. I thought this meant that you bought a phone, paid for credit and could phone anyone until that credit ran out. Paying in advance, no need for contracts or credit ratings or anything – unless you’re the government. It seems that you now need to be on a government database somewhere to be able to activate a phone. And not just any database - you need a license, medicare card, or passport. I was trying to help a local activate her phone - she didn’t drive so no license. She didn’t have a passport. Her medicare card had expired – she dropped into the clinic and retrieved her number – but they also wanted the colour of the card and the expiry date. What is this about? And why just those elements of identification? Virtually everyone here is paid through Centrelink for one reason or another – but the Centrelink Card is not accepted. If it’s good enough for the government to give people money using this database, why not a simple prepaid phone?

Another day and a journey through the new suburb to pick up the family, then working –

 

Hamish and Jennifer. Photo David Leece.

We are now working in town and Jennifer and Deborah are working on large 75 x 75cm canvases. By special arrangement Hamish is allowed to join them with his own canvas and story. Both of the women are painting about food – dilly bags and what may fill them. Turtle, goanna, bush plums, yams and bush potatoes. Hamish paints of the waterhole and the emergence of the Rainbow Serpent surrounded by waterlilies. The works utilise traditional rarrk technique on new canvas with new pigments. Each line is applied skilfully, deliberately. The complex compositions seemingly emerge from nowhere, though of course they are probably well known and understood stories.

Painting new works
Colour
Fluorescent
Old stories
New ways
Rarrk old
Canvas new,
No bark
Old stories.

 

 

Deborah. Photo David Leece.

 

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April Reflections

A Day in the Life of the Djelk Rangers

APRIL REFLECTIONS

ARNHEMBRAND

MAY 25, 2016

April Reflections

Hugo here writing up some of my experiences of the most recent Arnhembrand trip to Maningrida to work with the amazing local artists and rangers.

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Jennifer Wurrkidj working on Stone Country Old Way. Image by Hugo Sharp. 

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Artists at Work

For some reason I expected it to be on the cooler side post-wet season and was surprised to find it a humid 36 degrees centigrade. For our artists this was the last trip to finalise many of the largest images in the project and a big effort was put in by all. 

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Hard at it. Image by Hugo Sharp. 

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Hamish graciously showed Billy Griffiths and me how he makes traditional Rarrk brushes from spear grass near his beach-front house. The fibrous stem of the plant is pressed and bent until the fibres become malleable. Then the outer fibres are cut away to leave a few fibres with which to paint the very intricate Rarrk styled paintings this area of the Northern Territory is famous for (see image below right). 

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Hamish Gurrgurrku selecting the right stems to be made into traditional brushes. Image by Hugo Sharp.

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Traditional Rarrk brushes made by Hamish Gurrgurrku. Image by Hugo Sharp. 

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Beyond the very un-traditional traditional paintings much was happening with dance and video. Laura Boynes choreographed and rehearsed a 'new wave' dance with Colin Wilson and Matihew Djipurrtjun and with Daniel Bonson live drawing onto the projected backdrop of red clouds and a polluted sea (seen below). The results were stunning on every level. Alexander Boynes and I filmed this live Arnhembrand performance (Broken Dreaming Story) and it is to be edited by Laura into a video work. 

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Behind the scenes of production for Laura Boynes' Arnhembrand Live Performance, (Broken Songline). Still image by Hugo Sharp. 

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Alexander and Laura also collaborated on recording the final digital performance (below) which melds traditional dance and music with modern depth-mapping video technology.

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Just effortless magic by these seasoned musicians and dancers. Photo by Hugo Sharp. 

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Laura and Alex discussing how best to capture the traditional arts in a 3D visual. Photo by Hugo Sharp. 

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Arnhembrand digital performance mainly worked with the younger participants in the 18-35 year-old age group, using digital and depth mapping technologies to record song and dance. These digital artworks will be presented for exhibition as a large projection on a silk scrim and on the ground in front of this screen will be a large mat which Arnhembrand have commissioned. Alexander’s artworks will also be presented as 2D acrylic and ACM aluminium panels in vibrant colours.

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Daisy and Veira family holding mat artwork. Image by Mandy Martin. 

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The large mat in natural pandanus collected that week by the women and fluorescent dyed raffia palm, bought from a craft store, has been overseen by Sally Rickards, an environmental benefactor and nurse. She has selflessly worked all week, firstly helping the women collect the pandanus at remote communities, then sitting on the ground helping Maisie and Vera Cameron tease out threads and prepare them for weaving, making cups of tea and taking notes.

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Faces

There were many old friends to see and catch up with as well as new faces to meet and get to know. Portraits are always a treat for me and, thanks to a lovely piece of white panelling, I was able to create a quick outdoor studio.  

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Jason Walarri, dancer. Image by Hugo Sharp.

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Hamish Gurrgurrku, painter. Image by Hugo Sharp. 

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Rosina Gunjarrwanga, painter. Image by Hugo Sharp.

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Vera Cameron, weaver. Image by Hugo Sharp. 

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Environmental Work

Getting out onto country is essential for the Djelk Rangers to effectively implement the community's land management goals. Billy Griffiths and I joined them on a day of meeting with land owners, fire management and culling feral buffalo. It has been a dry wet, and there was a lot of concern about the possibility of damaging 'hot' fires late in the season. The rangers made firebreaks around the outstations, blowing debris away from houses, cars, and water tanks, and then flicking matches into dry leaves to start 'cool' burns that clean the country. 

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Joining the rangers 'on country'. Image by Hugo Sharp. 

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Fire management around homes and infrastructure involves raking and blowing leaf litter away from the structures and then burning any large accumulations. Image by Hugo Sharp. 

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Land that is easy going to get around in the dry season becomes a real task in the wet. Image by Hugo Sharp. 

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Down Time

'Twas the season... for AFL, but given the 36 degree days, matches are played in the late afternoon. Coin tosses are crucial as the sun becomes quite low in the second half.   

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The Buffaloes played the Lightning. Some real stars make for entertaining matches. Image by Hugo Sharp. 

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Children playing on an as others watch the local derby match. Image by Hugo Sharp.

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You never paint alone at Djinkarr. Team mascot 'Eyebrows' and a horde of Mosquitos are always more than happy to provide company. 

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Mandy uses a quiet moment to paint the local landscape. Image by Hugo Sharp. 

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'Eyebrows' was a welcome addition to the team from day one. Image by Hugo Sharp. 

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Many thanks for reading and don't hesitate to ask any questions below. 
Hugo.

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August Reflections

Editing ‘April Reflections’