BALNHDHURR - A LASTING IMPRESSIONB

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a lasting impression

WARNINGAboriginal and Torres Strait Islander people are respectfully advised that this publication contains the names and images of deceased persons

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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

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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.

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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.

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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

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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

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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

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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

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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

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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

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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

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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

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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)

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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

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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

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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.

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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

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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

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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

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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

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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

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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

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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.

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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

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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.

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