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BALNHDHURR - A LASTING IMPRESSIONB
AL
NH
DH
UR
R - A
LA
ST
ING
IMP
RE
SS
ION
YIR
RK
AL
A P
RIN
T S
PA
CE
2 3
a lasting impression
WARNINGAboriginal and Torres Strait Islander people are respectfully advised that this publication contains the names and images of deceased persons
6 7
CoNTeNTS
Foreword 8
Introduction 10
early Linocuts 14
early Colour Reduction Linocuts 16
early Collagraphs 18
early Screenprints 22
Japanese Woodblocks 26
etchings 30
Berndt Crayon etchings 32
String Figure Prints 34
Ngarra – Young ones Portraits 38
Gunybi Ganambarr Portraits 40
Seven Sisters 42
Djalkiri – We are Standing on Their Names 48
Mother / Daughter 50
Midawarr Suite 52
The Yuta Project 56
Gapan Gallery 60
Afterword 62
List of Works 66
Acknowledgements 68
8 9
The SoNG oF The PReSS
I arrived at Buku-Larrnggay Mulka Centre in May 1995 just as Andrew and Dianne Blake were bringing into fruition Steve
Fox’s vision for a dedicated Print Space. The new studio was built onto the existing 1960’s handbuilt cypress pine ex-
mission hospital building which had been the art centre since 1975.
Since then I have been an interested observer. A nosy neighbor listening to the music coming over the fence. From within
an art centre, which is a vehicle for serious lawmen and women to represent their law in natural media as a political and
artistic act of resistance to the dominant settler culture, comes a completely different tune.
A lilting, gentle, persistent, sweet melody of (mostly) women humbly working together to make beautiful things. It has
been the sound of laughter and considerateness. The sound of compassion and empathy and respect and dignity.
But above all the sound of friendship.
I will go to my grave frustrated that I can’t seem to explain to people the difference between a print artist and a printmaker.
But I guess I will try once more here. That unrecognised artisan, who takes the incised lino or the several sheets of
painted acetate and produces the final limited edition work on paper for the artist to sign, seems to be invisible to most.
As much as this exhibition celebrates the 137 different artists who have made prints through the Yirrkala Print Space in
twenty years I would also like it to be an acknowledgement of the inspiring effort of a group of Yolngu and Balanda (again
mostly) women to turn up day after day over twenty years to assist those artists to realise their vision.
To make a print is hard physical labour. It wears the elbow, the back, the feet. It is tricky, pernickity technical work.
Something is always going wrong for unexplained reasons. There are fewer and fewer printmakers being produced by
Australian art schools. It is unpopular, unfashionable damn hard work.
But in a remote corner of Arnhem land this ancient guild craft has not only survived but prospered through the good will
and loving energy of a group of people who put a greater goal before their own comfort. They have produced beautiful
music whilst they also made 804 separate print editions.
This is my thanks to Dianne Blake, Annie Studd, Marrnyula Mununggurr, Dundiwuy Mununggurr-Wunungmurra, Araluen
Naminapu 2 Maymuru, Sasha earle, Ruby Djikarra Alderton, Munuy’ngu Marika, Godut Ganambarr, Bawu Gurruwiwi,
Paula Gumana, Burrthi Marika, Dhalmula Burarrwanga, Dindirrk Mununggurr, Mawang Gumana, Amos Wurramarrba,
Multhara #2 Mununggurritj, Ganybu Mununggurr, Lirrina Mununggurr, Aleisha Isaacs, Barrata Marika, Dhapanbal
Yunupingu, Bulmirri Yunupingu, Gandhurrminy Yunupingu, Gunariny Wanambi, Whaiora Tukaki, Barayuwa Mununggurr,
Mamburra 2 Raymond, Gurmarrwuy Yunupingu, Nuwaniny Burarrwanga and all the others that I have forgotten to add.
Will Stubbs
Coordinator, Buku-Larrnggay Mulka.
10 11
For many of the artists the new processes provided exploration into new palettes, genres, styles and media. When
sanctioning the production of art by mechanical reproduction the elders were concerned to prevent copyright infringement
of sacred design (which is much more serious in Yolngu culture than in mainstream law). They decreed that ‘to paint the
land you must use the land’. This limits miny’tji (sacred design) to original works in natural media and therefore bars it
from being reproduced multiple times by mechanical printing techniques. This has been observed in all prints made by
Yirrkala Print Space.
Basil hall is not the only one to have visited the Print Space. Inspiration and guidance has come from other printmakers
working for him such as Simon White, Jacqueline Gribbin and Merran Sierakowski, and independently such as Paul
Machnik, John Wolseley, Alicia Scobie, heather Burness, Adrian Kellett and Sean Smith, each with their own contribution
to the Print Space. Important bodies of works such as Djalkiri (2010), Seven Sisters (2012) and Midawarr Suite (2013)
are the direct result of these collaborations.
The platform provided for artists to expand their artistic endeavours has produced works included in prestigious national
awards and in exhibitions worldwide. Young participants in recent projects - Young ones (2010) and Yuta (2012) - have
begun to establish themselves as the next generation of Yolngu artists, and the Print Space offers them an empowering
and valuable practice as a foundation on which to develop.
This celebratory retrospective exhibition gives all who have been involved in Yirrkala Print Space over 20 years - who
have worked hard to ensure its success and who have never waivered in their belief that such an entity can exist and be
successful - the chance to contemplate and reflect on their efforts. For those who contributed so significantly but are no
longer around it provides an opportunity to honour and respect their involvement. And for those still working hard, it is
the chance to share their achievements with a new audience and inspire others to believe in themselves and show that
creative self-empowerment is possible no matter who or where you are.
Annie Studd, Dindirrk Mununggurr, Mawang Gumana, Yulula Marika
Printmakers, Yirrkala Print Space, 2015
BALNHDHURR “a mark made as a sign for people to follow.”
Buku-Larrnggay Mulka is the art centre for the Yolngu people of Yirrkala and the adjacent remote region of North east
Arnhem Land. Yirrkala is perched on the coastal peninsular where the Arafura Sea meets the Gulf of Carpentaria. Since
the 1950s the artists and their artwork have gained international and national acclaim and are represented in major
public and private collections.
In 1975 Buku-Larrnggay began as an act of self-determination in the post Mission era. It has always dedicated itself to
the maintenance and preservation of Yolngu law and culture. The Yirrkala Print Space began in 1995 when a purpose
built area was designed to host a printing press and ‘seize the means of production’ into Yolngu hands. It was Basil
hall who assisted in this first installation and training and he has made annual visits until the present day. Since the
inaugural print the studio has produced over 800 editions by 135 artists and is now an integral component of the art
centre and community.
one of the few printing studios based in a remote Indigenous community, its philosophy is to provide an environment
to educate, engage and strengthen the vision of Yolngu through artistic skills development and exploration of
new techniques.
It acts as a training area for emerging artists and is staffed by Indigenous printmakers.
So for twenty years, without interruption, the Yirrkala Print Space has achieved what no other has - an Indigenous owned
and run remote print studio. This exhibition celebrates and attempts to promote appreciation of that achievement.
In this time the Yolngu printmakers of the studio have produced prints using a variety of different techniques – woodblocks,
linocuts, etchings, screenprints, collagraphy and lithography. over this period the skills learnt from Basil hall and print
coordinators Dianne Blake, Araluen Maymuru and Annie Studd have been handed down amongst the generations of
Yolngu printmakers who have passed through the Yirrkala Print Space.
14 15
eARLY LINoCuTS
In 1995 when the Yirrkala Print Space began,
the initial medium chosen was black and white
linocut prints. The process of carving with a razor
into a block of lino (similar to that used on floors)
was familiar to the artists from wood carving
traditions. once covered with ink and rolled
though a printing press the image appears. It was
amazing that the first attempts at printmaking
emerged as fully resolved fine art. An early
decision was made not to chase artists but to let
them enter the space at their own volition. This
happened quickly and gained momentum into
1996. Another early decision was to make small
editions, thus requiring the artists to return and
engage with the new process more frequently.
In order to catalogue the prints, each artist
was given an ascending number starting at
number 2. For each new print by that artist an
ascending letter was assigned starting at A.
As the years went by some artists produced
so much work they finished the alphabet and
so it moved to AA and so forth. Nyapanyapa
Yunupingu’s first print 4A was a linocut in 1995,
her most recent in 2015 is reference 4ZZ.
ToP To BoTToM / 2A Dhuwarrwarr Marika Daymirri / 8B Gaymala Yunupingu Baru
LeFT / 4A Nyapanyapa Yunupingu Gunbirrirr
16 17
eARLY CoLouR ReDuCTIoN LINoCuTS
The complexity of reduction linocut, introduced
in 1997, enhanced and developed the artist’s
printmaking understanding. The process
of reduction linocut involves a series of
progressive cuttings, inkings, and printings; the
image slowly emerging as the original lino is
destroyed. There is no going back! This was the
beginning of colour in the Print Space.
‘Nyapilingu Wapitja’ the triptych by Naminapu
Maymuru-White, originally editioned in black
and white became a linocut reduction in 1996
under the guidance of Basil hall. The work
went on to win the Work on Paper Award at
the 1998 13th Telstra National Aboriginal and
Torres Strait Islander Art Awards.
LeFT / 11I Naminapu Maymuru-White Nyapilingu Wapitja
RIGhT / C3 Marrnyula Mununggurr Dhanggi
ToP / C4 Gaymala Yunupingu Gangalkmirri / C5 Dhuwarrwarr Marika Nyungala
18 19
eARLY CoLLAGRAPhS
A collagraph refers to a collage of materials glued onto a ‘printing
plate’ (generally a square of board). once dry it is varnished so that
it can be painted with ink and printed onto paper. often these prints
are considered mono as each one varies due to the hand-inking.
By 1999 the print space had increased production and more artists
had involved themselves in the new studio. It was a period when
the artists were creating, inking and printing all of their own work;
learning and developing while sharing new ideas, knowledge and
styles in the studio.
At this time Gaymala Yunupingu began a suite of prints that talked
about the effects the local mining company, Nabalco, was having on
her country (‘Nabalco Suite’ 1999). These works drew on parallels
between sacred animals, trees, birds and rocks to the huge mining
tools as a visual metaphor. Sadly she died in 2005 but remains
the most prolific print artist and the true guiding spirit of the
Yirrkala Print Space.
LeFT / F Gaymala Yunupingu hunting Baru / 48 Barrupu Yunupingu Larrakitj
RIGhT / Gaymala Yunupingu Nabalco Suite 16
22 23
eARLY SCReeNPRINTS
The first screenprint made on-site at the
Print Space was created in 2000. It was
by Gaymala Yunupingu and editioned by
Dundiwuy Mununggurr-Wunungmurra, Marrnyula
Mununggurr and Dianne Blake, the printmakers at
that time. This heralded a new era of printmaking
in Yirrkala.
The artists painted directly onto large sheets of
acetate in bright acrylic paints that were exposed
onto silkscreens. For each colour a different acetate
and screen were made, that was then printed one
at a time onto the paper. Lining up each layer to
fit perfectly required good skills of registration. The
step into a world of bright colours, not traditionally
used in the area, allowed the artists to explore a
whole new genre of artistic storytelling. Traditional
motifs printed in fluorescent pink, crocodiles
that were purple, trees that were orange, it was
a joyous explosion of colour and expression.
It also allowed the full expression of the brush
stroke to appear. Spontaneous loose vivacious
brushwork for some and for others the precise
marks of the marwat – a crosshatching brush
made from human hair, used in bark painting.
The artist paints line by line away from their body.
This system of painting is particular to Yolngu.ABoVe / 8MM Gaymala Yunupingu Baru
RIGhT / 48Q Barrupu Yunupingu Larrakitj ga Wan’kurra
24 25
ToP LeFT / 12C Djambawa Djet / 6J Dundiwuy Wunungmurra Dhanbul wu Yolngu Marryun
BoTToM LeFT / 3Y Marrnyula Munungurr Love Me Safely / 35D Naminapu#2 Maymuru Bathi Malany
ABoVe / 80 Gaymala Yunupingu Djirikitj
26 27
JAPANeSe WooDBLoCKS 2007
In 2007 printmaker Jacqueline Gribbin
held a workshop on Japanese Woodblock
prints. Designs are carved in to the
woodblock and, once inked, printed onto
a delicate rice paper, the back of which is
burnished using a barren – a specialised
tool that rubs the surface of the paper
and transfers the ink. using two or more
blocks enables the use of several colours
and creates works of multiple colours.
The process so exacting and dynamic it is
almost like a dance with a required and
definite rhythm.
CLoCKWISe ToP LeFT / 11F Naminapu#1 Maymuru-White Yoku /
35I Naminuapu#2 Maymuru Rangga / 4AA Nyapanyapa Yunupingu Miyapunu /
48u Barrupu Yunupingu Djirikitj
30 31
eTChINGS
An etching is a print made by using either a soft or hard ground to
resist acid in order to make recessed lines on a printing plate in
which the coloured ink collects. The process allows for different
tonal qualities across a single matrix. Colour can be applied
in specific areas and the intensity of the acid etch affects the
intensity of colour. Sugar lift etching refers to the ground used - a
mix of paint, sugar and water which lifts away from under a hard
ground and creates a soft tonal value to the printed work.
etchings are made with a damp printmaking paper on a printing
press with strong pressure. The plate used almost exclusively at
Yirrkala is one made of zinc.
LeFT / 23I Boliny Wanambi Wakun / 16C Yalmakany Marawili Gurrtjpi
32 33
BeRNDT CRAYoN eTChINGS 2008
In 1947, on a field trip to Yirrkala, anthropologist R.M.Berndt collected 365
crayon drawings done by the men on butcher’s paper. These extraordinary
drawings were the inspiration for a print project. The original crayons went
on to be exhibited nationally and internationally as the Yirrkala Drawings.
The use of pencils on soft ground etching plates (coated with wax which is
displaced by the pencil) recaptured the feel of the works from sixty years
ago. Gathering together the direct descendants of the original drawings all
artists were reconnected to their forbearers and the images and law the
drawings held. Basil hall was instrumental in introducing this technique
to the Yirrkala printmakers. The collection of prints are astonishing in their
colour and texture.
RIGhT / 69A Nyangungu Marawili Gapu Mungurru / 77A Marrirra Marawili Limbarrki
ToP To BoTToM / 71A Galarrwuy Yunupingu Mawindi / 49M Gulumbu Yunupingu Mangatharra Miny’tji
ToP To BoTToM LeFT / 32C Gawirrin Gumana Garrapara / 3DD Marrnyula Mununggurr Djapu Design
ToP To BoTToM RIGhT / 24M Nongirrnga Marawili Baniyala Story / 2V Dhuwarrwarr Marika Dhambaliya / 48W Barrupu Yunupingu Yothu Yindi
34 35
STRING FIGuRe PRINTS
As part of the 1948 American-Australian Scientific expedition to
Arnhem Land anthropologist Frederick McCarthy concentrated
on collecting and recording string figures. Working with Ngarrawu
Mununggurr as his principal guide and collaborator, he made a collection
of string figures, constituting one fifth of all ‘known’ string figures in the
world at the time, which remains the largest of its kind – that is collected
at a single time and place, from a single community, 193 in total. Made
by slipping the finished figure off the maker’s hands and affixing it
onto a cardboard support the ephemeral nature of string figure making
as a performance process was thus turned into a fixed and stable
two-dimensional form. These mounted figures, both strange and
beautiful, the product of a cross-cultural encounter between Yolngu
and western anthropology, inspired a further exchange in a series of
String Figure prints.
In Yirrkala in 2010, five string figure designs were transferred by the
artists from their hands to a cardboard support, and then pressed and
secured. In Canberra, with printmaker heather Burness, they were
placed on etching plates treated with a soft-ground medium, and run
through the press, leaving an imprint capturing the fine textured detail
of the bush string. The acid biting into the metal plate then made these
marks permanent and replicable. In the lines of the figures can be
read the controlled manipulation of the string to form a pattern, against
which play the random energies of chance.
In 2013, after a request by the MCA for their exhibition ‘String Theory’,
another seven string figures were captured onto a soft ground plate and
sent to Basil hall editions for editioning.
LeFT / 130A Dhunhdhunga Mununggurr Dapal (caterpillar)
ToP To BoTToM / 15G Mulkun Wirrpanda Biyay (goanna) / 22D Gundimulk Wanambi Lipa Lipa (canoe)
38 39
NGARRA - YouNG oNeS PoRTRAITS 2010
In 2010 a workshop aimed at disengaged youth, facilitated by Alicia Scobie and the local school, produced Ngarra –
Young ones Portraits a set of self-portraits made by the youth of Yirrkala. Nothing like them had ever been produced at
Yirrkala before. They owed nothing to the established Yirrkala art styles or authority nor relied on any sacred knowledge
or previous art production experience but instead employed digital photography; photocopying and chine-colle linocut
printing that produced a contemporary ‘Facebook’ feel.
An expanding group continued to attend the Print Space one day a week to edition their self-portrait prints. This phase
went from early September 2009 until the end of 2010. The pool of involved young people swelled weekly. In the end 35
artists created 38 images.
The Print Space is an area for young emerging artists to develop and hone their skills and ideas and this project gave an
opportunity for these young people to portray themselves in a contemporary manner in order to gain the confidence to
tackle issues concerning their remote community and life.
ABoVe LeFT To RIGhT / 87B Munuy’ngu Marika Ngarra / 114A Burrthi Marika Ngarra / 101B Bulmirri Yunupingu Ngarra
RIGhT / 107B Djuwakan#2 DJ Marika Ngarra
40 41
other an idealised Dhuwa Ngaymil man. Gunybi is from the Ngaymil clan implying that this is a
self-portrait to match that of his wife, a Mardarrpa clan woman. on her face the miny’tji (sacred design)
is glowing: the intensity of the beauty/fire causes men to shield their eyes. And if they are drawn in
too close they will be consumed by it. his Dhuwa man reflects the strengths of the Barracuda.
GuNYBI PoRTRAITS 2013
A visit by renowned Canadian printmaker Paul Machnik in 2013 pioneered a new etching technique
for the print space. Gunybi Ganambarr is renowned for his innovative and groundbreaking approach
to the traditional realms of Yolngu art. using a sharp needle tool he scratched into the surface of
aluminium plates these two extraordinary portraits. one, an idealised Yirritja Madarrpa woman; the
LeFT / 80e Gunybi Ganambarr Dhuwa Man / RIGhT / 80D Gunybi Ganambarr Yirritja Women
42 43
SeVeN SISTeRS 2012
A constellation of seven sisters in the sky inspired a body of prints created by seven Gumatj clan sisters in 2012.
each sister created her own large print as well as a single star that was arranged in a constellation to form
‘The Seven Sisters Collaboration’.
The Yunupingu sisters were all great artists and three in particular, Gulumbu Yunupingu, Barrupu Yunupingu and
Nyapanyapa Yunupingu, involved themselves heavily in the Print Space and created bodies of work that show their
exceptional artistic expertise.
each artist, with their distinctive individual styles, earned titles relating directly to their personal imagery – the Star Lady,
the Fire Lady and Lady Garkgark. Two of these celebrated artists have tragically passed but their prints and artistic legend
are commemorated in this collection of their work from 20 years.
44 45
CLoCKWISe LeFT / 49D Gulumbu Yunupingu Garak / 4GG Nyapanyapa Yunupingu Bukmak Mulmu / 4YY Nyapanyapa Yunupingu Seven Sisters / 48A Barrupu Yunupingu Gurtha
CLoCKWISe ABoVe / 49R Gulumbu Yunupingu Ganyu / 48BB Barrupu Yunupingu Gurtha / 4T Nyapanyapa Yunupingu Guny’tjulu / 48BB Barrupu Yunupingu Gurtha / 49W Gulumbu Yunupingu Ganyu
48 49
DJALKIRI – We ARe STANDING oN TheIR NAMeS 2010
This was one of the earliest collaborative projects that the Print Space was involved in. Initiated by Nomad Art in Darwin
(long term representatives of the Print Space) it brought ethnobotanists, anthropologists and ceremonial leaders together
with Yolngu and Balanda artists. Fiona hall, John Wolseley and Jorg Schmeisser worked with Judy Watson, Djambawa
Marawili, Mulkun Wirrpanda, Marrnyula Mununggurr and others at the remote homeland of Yilpara to produce a
superlative suite of prints reflective of the place from so many different perspectives.
LeFT / 12I Djambawa Marawili Garrangali
ABoVe / 3GG Marrnyula Mununggurr Bawu
50 51
MoTheR / DAuGhTeR
Banduk Marika is the best known print
artist from Yirrkala and one of the most
famous Indigenous print artists in the
country. She began to work in lino as
early as 1980, decades before the
Yirrkala Print Space existed. She has
frequently produced prints through
Yirrkala Print Space since her return
to the community. Maybe it is not
surprising, that Banduk’s daughter,
Ruby Djikarra Alderton, became one
of the youngest and best printmakers
and artists to work in the studio.
her leadership was crucial in the
success of the Yuta Project and
drawing young people into work at the
studio. her involvement signalled a
generational change in the art centre.
RIGhT / 14M Banduk Marika Miny’tjinharra
LeFT / 115Q Ruby Djikarra Alderton Yathiny /
115o Ruby Djikarra Alderton Yalangbara
52 53
MIDAWARR SuITe 2013
The Midawarr Suite is a collection of woodblocks as a result
of collaboration between Mulkun Wirrpanda and John
Wolseley. Mulkun Wirrpanda is a senior female artist for
the Dhudi-Djapu clan from Dhuruputjpi. John Wolseley is a
contemporary Australian artist whose work is represented in
all major Australian public art galleries.
In 2009 the two artists were part of Djalkiri a collaborative
print-based art project at Yilpara. Later Mulkun adopted John
as her wawa or brother, and gave him the name Langgurrk.
In each of the following years they have spent a week or
two together in the Miwatj region every Midawarr, or harvest
season, when many of the little known root foods are ripe.
The two have hunted rare plants, eaten the unique tropical
yams and tubers and painted them. Since 2009 John
Wolseley has also been making drawings, woodcuts and
large works on paper about the same plants and landscape.
Innovation occurred when John sent Mulkun some slabs of
ancient huon pine. She began to carve the rare plants into
the wood - the nature of which with its textural grains and
nuances lent itself to her topic.
Two of these woodblocks were printed onto original and
unique handmade Stringybark Paper made by Winsome
Jobling in Darwin. This paper is made from the volume of
excess bark trimmed from Buku-Larrnggay Mulka’s regular
Wet Season bark harvest.
RIGhT / 15S Mulkun Wirrpanda Rakay #4
56 57
The young participants were given cameras and sent
into their community to photograph images of local
scenes, places or people, capturing the elements
relevant and important to their daily lives. With
Photoshop manipulated images and hand drawn
illustrations printed together, the Yuta prints are
complex and resolved works of art that have been
appreciated by audiences both nationally and globally.
In 2014 the uNeSCo online journal published an
article examining the Yuta Project and its positive
effect on the young artists and community.
The YuTA PRoJeCT 2012
In early 2012 Sean Smith from The ownership
Project alongside permanent printmakers Annie
Studd and Ruby Djikarra Alderton facilitated a
workshop which saw a body of unique digital
screenprints created by the youth of Yirrkala.
The aim of this workshop was to empower
youth by providing a safe space where they
could involve themselves artistically without
boundaries or judgment. The project directly
targeted youth who were not engaged with
mainstream schooling and were at risk from
substance abuse, suicide, teenage pregnancy
and violence, lack of motivation and low
self-confidence.RIGhT / 125A Ishmael Marika Sunset Tower / 126e Mikey Gurruwiwi Petrol Sniffer /
117D Dhalmula Burarrwanga Milkarri (tear)
ToP To BoTToM / 107C Djuwakan#2 Marika Mari / 115P Ruby Djikarra Alderton The hunter /
92G Gurmarrwuy Yunupingu Matpana
60 61
GAPAN GALLeRY
The main event each year since 2003 is the Gapan Gallery held out at the Garma Festival in August. In a dell of stringy
bark trees on the edge of the escarpment an outdoor gallery is created each year by clearing the forest floor, covering
it with white sand, painting the trees in gapan - the local white clay – and hanging the framed prints in the trees. This
annual exhibition is the primary focus for the printmakers and artists. At this special event the work of that year premieres.
The studio is making and editioning work on a daily basis. A theme naturally develops between the festivals and focuses
the print space; a visiting printmaker might come and influence the work; an exchange, collaboration, a workshop, or an
artistic push to develop an idea; all of these things shape and mould the direction the prints take in a year.
Drawing from the well of knowledge and expertise gained over the years or from reaching out to learn more, the prints
from recent years are a diverse assortment of twenty years acquired learning.
ABoVe / 24T Nongirrnga Marawili Lightning and The Rock (detail)
RIGhT / 134A Garawan Wanambi Marrangu
62 63
AFTeRWoRD
Yirrkala Print Space is always a hub of activity. It always has been.
It’s not unusual for an artist to arrive with a fully formed idea in mind, demanding the
means to realise it. At other times the print staff might grab a visiting homeland artist
and get them working on a plate. It could be a lithograph from an exchange with Native
American artists; an embossed print created from a collaboration with Basil hall; a
linocut from an award-winning bark artist; a small subtle etching or a large bright
screenprint, usually made to the tune of loud R&B and the squeak of the roller. These
are the daily layers and levels of the Yirrkala Print Space.
Somehow in one of Australia’s remotest areas a space has been created where high
standards of excellence in printmaking and creativity have flourished and been
persistently maintained in a humble and thoughtful way. It is only now in looking back
that we can really appreciate how special this journey has been and share it with a
wider audience.
The Yolngu word Balnhdhurr describes the situation where one group goes on ahead but
wants to leave a message for those following behind. An impression is scratched into the
ground with a sign directing the future viewer to follow the right path. And so it is here.
66 67
Nyangungu MarawiliDhamula (sea eagle)soft ground etching 2013image size 49 x 39 cm69C edition 20
Dhunhdhunga MununggurrDapal (caterpillar)soft ground etching 2013image size 59 x 25 cm130A edition 20
Ngarra - Young Ones Portraits 2010
Munuy’ngu MarikaNgarraphotographic linocut 2010 image size 30 x 21 cm87B edition 5
Burrthi MarikaNgarraphotographic linocut 2010image size 30 x 21 cm114A edition 3 Milika MarikaNgarraphotographic linocut 2010image size 30 x 21 cm112A edition 5
Djakala WurramarrbaNgarraphotographic linocut 2010image size 21 x 30 cm105A edition 4
Muluyulk#2 MarikaNgarraphotographic linocut 2010image size 21 x 30 cm119A edition 5
Djuwakan#2 DJ MarikaNgarraphotographic linocut 2010image size 30 x 21 cm107B edition 5
Bulmirri YunupinguNgarraphotographic linocut 2010image size 30 x 21 cm101B edition 4
Gunybi Portraits 2013
Gunybi GanambarrYirritja Womenetching 2013image size 40 x 40 cm80D edition 30
Gunybi GanambarrDhuwa Manetching 2013image size 40 x 40 cm80E edition 30
Mother / Daughter
Banduk MarikaMiny’tjinharrascreenprint 2006image size 68.5 x 46 cm14M edition 80
Ruby Djikarra AldertonYalangbaraetching 2012image size 25 x 20 cm115O edition 30
Ruby Djikarra AldertonYathinyetching 2012image size 15 x 34 cm115Q edition 30
Midawarr Suite 2013
Mulkun WirrpandaRakay #4woodblock 2013image size 102 x 38 cm15S edition 30
Mulkun WirrpandaRakay #3woodblock on handmade stringy bark paper 2013image size 54.5 x 28.5 cm15W edition 30
Mulkun WirrpandaRakay #2woodblock on handmade stringy bark paper 2013image size 54.5 x 28.5 cm15P edition 30
Japanese Woodblocks 2007
Naminuapu#2 MaymuruRanggajapanese woodblock 2007image size 30 x 15 cm 35I edition 10
Naminapu#1 Maymu-ru-WhiteYokujapanese woodblock 2007image size 30 x 15 cm11F edition 10
Barrupu YunupinguDjirikitjjapanese woodblock 2007image size 15 x 30 cm48U edition 10
Nyapanyapa YunupinguMiyapunujapanese woodblock 2007image size 15 x 30 cm4AA edition 10
2009-2010
Mulkun WirrpandaDarranggicollagraph 2010image size 30 x 50 cm15E edition 15
Laklak#2 GanambarrMaccassan Boatcollagraph 2010image size 25 x 50 cm73A edition 30
Boliny WanambiWakunsugar lift etching 2009image size 50 x 25 cm23I edition 20
Nawurapu WunungmurraGarraparasugar lift etching 2009image size 50 x 25 cm75B edition 20
Yalmakany MarawiliGurrtjpisugar lift etching 2009image size 50 x 25 cm16C edition 20
Djalkiri - We are Standing on Their Names 2010
Djambawa MarawiliGarrangalietching 2010image size 50 x 62 cm12I edition 40
Marrnyula MununggurrBawuetching 2010image size 38 x 50 cm3GG edition 40
Yuta Project 2012
Mikey GurruwiwiPetrol Snifferphotographic screenprint 2012image size 30 x 21 cm126E edition 10
Ishmael MarikaSunset Towerphotographic screenprint 2012image size 30 x 21 cm125A edition 5
Mikey GurruwiwiNgarraphotographic screenprint 2012image size 30 x 21 cm126D edition 6
Djuwakan#2 MarikaMariphotographic screenprint 2012image size 21 x 30 cm107C edition 8
Dhalmula BurarrwangaMilkarri (tear)photographic screenprint 2012image size 30 x 21 cm117D edition 8
Gandhurrminy YunupinguDjamarrkuli IIphotographic screenprint 2012image size 30 x 21 cm108C edition 5
Barrata MarikaSky and Earthphotographic screenprint 2012image size 30 x 21 cm99H edition 8
Ruby Djikarra AldertonThe Hunterphotographic screenprint 2012image size 21 x 30 cm115P edition 8
Gurmarrwuy YunupinguMatpanaphotographic screenprint 2012image size 21 x 30 cm92D edition 4
2011-2015
Malaluba GumanaGarrimalalinocut 2011image size 54.5 x 41.5 cm76C edition 50
Djalinda YunupinguYathinyetching 2015image size 40 x 40 cm66H edition 30
Nongirrnga MarawiliLightning and The Rockscreenprint 2014image size 59 x 25 cm24T edition 50
Nongirrnga MarawiliTeacupetching 2013image size 40 x 40 cm24R edition 30
Wukun WanambiWawurritjpaletching 2011image size 48.5 x 48.5 cm57L edition 10
Garawan WanambiMarranguetching 2015image size 40 x 40 cm134A edition 30
Burrthi MarikaNgarrpiyalinocut 2014image size 27 x 29 cm114C edition 30
Ruby Djikarra AldertonRulyapaetching 2013image size 25 x 20 cm115U edition 30
Nyapanyapa YunupinguMowdarrietching 2015image size 40 x 40 cm4ZZ edition 30
Djirrirra WunungmurraYukuwalithograph 2013 image size 30 x 35 cm123D edition 15
LIS
T o
F W
oR
KS
Early Linocuts
Dhuwarrwarr MarikaDaymirrilinocut 1996image size 37 x 26 cm2A edition 50
Marrnyula MununggurrGanngal ga Djarrwitlinocut 1996image size 30 x 30 cm3A edition 50
Nyapanyapa YunupinguGunbirrirrlinocut 1996image size 26 x 38 cm4A edition 50
Gaymala YunupinguBarulinocut 1996image size 26 x 37 cm8B edition 50
Early Colour Reduction Linocuts
Dhuwarrwarr MarikaNyungalareduction linocut 1997image size 26 x 37 cmC5 edition 10
Marrnyula MununggurrDhanggireduction linocut 1997image size 37 x 25 cmC3 edition 10 Gaymala YunupinguGangalkmirrireduction linocut 1997image size 26 x 37 cmC4 edition 9
Triptych
Naminapu Maymuru-WhiteNyapilingu Wapitjareduction linocut 1996image size 138 x 21 cm11I edition 50
Early Collagraphs
Nyapanyapa YunupinguDetjcollagraph 1999image size 50 x 30 cm4 monoprint
Manunu WunungmurraMandacollagraph 1999image size 50 x 30 cmM monoprint
Dundiwuy WunungmurraMadicollagraph 1999image size 50 x 30 cmAA monoprint
Gaymala YunupinguHunting Barucollagraph 1999image size 50 x 30 cmF monoprint
Barrupu YunupinguLarrakitjcollagraph 1999image size 50 x 30 cm48 monoprint
Nabalco Suite
Gaymala YunupinguNabalco Suite 16collagraph 1999image size 30 x 30 cmmonoprint
Early Screenprints
Dundiwuy WunungmurraDhanbul wu Yolngu Marryunscreenprint 2001image size 48 x 40 cm6J edition 20
Dundiwuy WunungmurraYolngu Cultural Way of Lifescreenprint 2002image size 46 x 62 cm6K edition 20
Nongirrnga MarawiliDhambilingu ga Bonbascreenprint 2003image size 52 x 64 cm24I edition 34
Nyapanyapa YunupinguHunting Dhawuscreenprint 2001image size 47 x 39 cm4G edition 21
Gaymala YunupinguBaruscreenprint 2004image size 62 x 45.5 cm8MM edition 30
Barrupu YunupinguLarrakitj ga Wan’kurrascreenprint 2006image size 66 x 46.5 cm48Q edition 30
Djambawa MarawiliDjetscreenprint 1997image size 67 x 49 cm12C edition 45
Marrnyula MununggurrMichael Longscreenprint 2002image size 47 x 33 cm3R edition 50
Marrnyula MununggurrGarma (Gapan Gallery)screenprint 2004image size 59 x 49 cm3U edition 30
Marrnyula MununggurrLove Me Safelyscreenprint 2005image size 64.5 x 51 cm3Y edition 30
Naminapu#2 MaymuruBathi Malanyscreenprint 2001image size 39 x 47 cm35D edition 35
Gaymala YunupinguDjirikitjscreenprint 1998image size 40 x 40 cm8O edition 22
Seven Sisters 2012
Gulumbu Yunupingu, Nyapa-nyapa Yunupingu, Barrupu Yunupingu, Dhopiya Yunupin-gu, Djerrkngu Yunupingu, Djakanngu Yunupingu, Ranydjupi YunupinguSeven Sisters Collaborationetching 2012image size 50 x 100 cm129A edition 20
Gulumbu YunupinguGarakscreenprint 2002image size 48 x 33 cm49D edition 20
Gulumbu YunupinguGanyureduction linocut 2011image size 50 x 43 cm49R edition 100
Gulumbu YunupinguGanyuetching 2011image size 18.5 x 13.5 cm49W edition 100
Nyapanyapa YunupinguBukmak Mulmu etching 2009image size 25 x 50 cm4GG edition 20
Nyapanyapa YunupinguBayinietching 2012image size 25 x 20 cm4OO edition 30
Nyapanyapa YunupinguGuny’tjuluetching 2004image size 31 x 23 cm4T edition 40
Nyapanyapa YunupinguSeven Sistersetching 2014image size 32 x 30 cm4YY edition 30
Barrupu YunupinguGurthaetching 2011image size 18.5 x 13.5 cm48BB edition 100
Barrupu YunupinguGurthaScreenprint 2001image size 40 x 30 cm48A edition 10
Barrupu YunupinguGurthareduction linocut 2011image size 30 x 30 cm48AA edition 30
Berndt Crayon Etchings 2008
Galarrwuy YunupinguMawindietching 2008image size 50 x 25 cm71A edition 30
Gulumbu YunupinguMangatharra Miny’tjietching 2008image size 50 x 25 cm49M edition 30
Marrnyula MununggurrDjapu Designetching 2008image size 50 x 25 cm3DD edition 30
Nongirrnga MarawiliBaniyala Storyetching 2008image size 25 x 50 cm24M edition 30
Barrupu YunupinguYothu Yindietching 2008image size 25 x 50 cm48W edition 30 Marrirra MarawiliLimbarrkietching 2008image size 50 x 25 cm77A edition 30
Nyangungu MarawiliGapu Mungurruetching 2008image size 50 x 25 cm69A edition 30
Gawirrin GumanaGarraparaetching 2008image size 50 x 25 cm32C edition 30
Dhuwarrwarr MarikaDhambaliyaetching 2008image size 25 x 50 cm2V edition 30
String Figure Prints
Mulkun WirrpandaBiyay (goanna)soft ground etching 2010image size 21 x 47 cm15G edition 15
Gundimulk WanambiLipa Lipa (canoe)soft ground etching 2010image size 21 x 39 cm22D edition 15
Djerrkngu MarikaWaterholesoft ground etching 2013image size 59 x 24 cm85C edition 20
ACKNOWLEDGEMENTSTwenty years of Yirrkala Print Space would not have been possible without all of the Yolngu printmakers and artists and the help of Don Whyte, Basil Hall (and his team at Basil Hall Editions), Rose and Angus Cameron, Denise Salvestro, Neil Lanceley, Steve Fox, Andrea Kingston, Aimee Anderson, John Wolseley, Caitlyn Gibson, Cassandra Gill, Sean Smith, Jeremy Cloake, Leesi Guerin, Paul Machnik, Jacqueline Gribbin, Merran Sierakowski, Howard and Frances Morphy, Gillian Hutcherson, Simon White, Dianne Agnew, Cynthia Coyne, Alicia Scobie, Heather Burness, Adrian Kellett, Robyn McKenzie, Pep Phelan, Dianne and Andrew Blake, Will Stubbs, Kade McDonald and Annie Studd.
2015 first edition Balnhdhurr - A Lasting Impression
© Copyright Buku-Larrnggay Mulka Centre
© Copyright in all art, photography, writing and translation remains with the artists, photographers, writers and translators.
Editor: Annie Studd
National Library of Australia Cataloguing-in-Publication entry
Title: BALNHDHURR; A Lasting Impression
Edition: First Edition
ISBN: 978-0-646-94519-4 (paperback)
Notes: Includes index
Subjects: Yirrkala-Indigenous Art-Printmaking-Yirrkala Print Space-Northern Territory-Buku-Larrnggay Mulka Centre
Contributors: Annie Studd, Will Stubbs, Dindirrk Mununggurr, Mawang Gumana, Yulula Marika, Fiona Morrison, Peter Eve,
Buku-Larrnggay Mulka Centre
All photos of artwork are by Fiona Morrison Photography. All photos of people/area are courtesy of Buku-Larrnggay Mulka Inc.
Page 61 Gapan Gallery. Image © Yothu Yindi Foundation, Garma 2014. Photographer Peter Eve.
YP