Ngurra-Wanga, Place of Belonging
RUBY DJIKARRA ALDERTON
Yalangbara
ID: 24-32
Medium: Acrylic on canvas
Size: 91.5cm x 40.5cm
Price: $1,685.00
Link to purchase here
Yalangbara
ID: 24-343
Medium: Acrylic on canvas
Size: 56cm x 35.5cm
Price: $1,042.00
Link to purchase here
Yalangbara
ID: 24-47
Medium: Acrylic on canvas
Size: 56cm x 30.5cm
Price: $950.00
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Yalangbara
ID: 24-384
Medium: Acrylic on canvas
Size: 30.5cm x 30.5cm
Price: $484.00
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Milngurr
ID: 23-779
Medium: Acrylic on canvas
Size: 56cm x 56cm
Price: $1,550.00
Link to purchase here
Rowu (Morning Glory)
ID: 24-379
Medium: Acrylic on canvas
Size: 40.5cm x 30.5cm
Price: $642.00
Link to purchase here
Milngurr
ID: 24-394
Medium: Acrylic on canvas
Size: 30.5cm x 40.5cm
Price: $642.00
Link to purchase here
Milngurr
ID: 23-710
Medium: Acrylic on canvas
Size: 30.5cm x 51cm
Price: $800.00
Link to purchase here
ABOUT THE ARTWORKS
Milngurr
Another importance of Yalangbara is the subterranean groundwater. This is atributed to the Djan’kawu, along with many of the geographical and natural sites, who created freshwater wells by digging through the ground with their digging sticks. Whenever we spent time camping down at Yalangbara one of the best parts was being able to dig straight into the sand for freshwater. This freshwater of scared and special qualities under the sands at Yalangbara is called Milngurr.
For me as a Yolngu or aboriginal artist, it’s always important to highlight that our art is not just about the profit. That the art has always really been about our land, our heritage and our connections that have been passed down by our fore fathers generation to generation. Also highlighting the roles that we now have in preserving these very same storis and all the elements of our culture.
This is our country, our inheritance and our responsibility and we must look after it.
“This story is important and this is why our fathers painted all these artworks, to show how these paintings relate to particular sites and what they mean. At the time, they did not have a translator to tell their stories properly and so we want to tell their stories properly now…” Dr B Marika AO (1954-2021)
Yalangbara
This is why Yolngu regard Yalangbara as the original site of human cultural creation. Yalangbara to me is one of the most beautiful places to ever exist. Not only is the beauty in its cultural significance but the place itself an absolute wonder. Crystal clear blue waters, with intensely white sand dunes and massive granite beach outcrops and offshore islands.
For me as a Yolngu or aboriginal artist, it’s always important to highlight that our art is not just about the profit. That the art has always really been about our land, our heritage and our connections that have been passed down by our fore fathers, generation to generation. Also highlighting the roles that we now have in preserving these very same stories and all the elements of our culture.
This is our country, our inheritance and our responsibility and we must look after it.
Rown (Morning Glory)
This image depicts a costal plant that grows on my mother’s country and my birth place Yirrkala, North-East Arnhem Land NT. This is not a traditional story as such. Although the waters, the currents, the tides, the land itself and the plants all have their place in our traditional stories. But this plant in particular I love to paint.
My mother explained that each little flower represents a child born on Yolngu country. When I had my daughter, one of her little
nephews said she reminded him of a little pink Balwa (flower) and it’s been her nickname ever since. Whenever I create this subject I’m thinking of my daughter.
Across Arnhem Land each clan or family group have their own versions and their own specific designs that represents their traditional lands and waters, both fresh and salt waters. Across Arnhem traditionally we used cross hatching or line work (Rarrk). This fine line work is created by using handmade brushes (marwat). Mine is one I’ve made from my son’s hair. Some of my artworks may have the Rarrk element within them, they are not always a particular story but the Rarrk itself is essentially Yolngu. As a
Yolngu woman that is who I am.
FROM THE ARTIST
“I am a Gumatj, Yolngu woman from a small community 800km’s North-East of Darwin, situated on the top of the Gulf of Carpentaria, Arnhem Land, Yirrkala NT. I honestly couldn’t tell you when exactly I started my own artistic journey, some of my earliest memories are being on my mother’s hip in an art studio somewhere. But my heart has always been in art. Both printmaking and painting have been a part of my life from the very beginning. My mother, Dr B Marika AO (1954-2021), was in my eyes, a truly amazing woman. She was so incredibly rich with knowledge and we
miss her dearly, every day.
Mum was taught to paint by my grandfather, Mawalan (1) Marika (1908-1967) with ochres, on stringy bark. Not only was Ngathi Mawalan an artist, he was clan leader of the Rirratjingu bapurru. Rirratjngu are the traditional owners of Yirrkala, were the mission appeared in the 1930s. He was also a statesman who helped initiate Australia’s first Aboriginal land rights case in 1963. Ngathi Mawalan was also the initial plaintiff in the case, Milirrpum and Os. v. Nabalco Pty. Ltd. and the Commonwealth of Australia 1971.
I was born in the township of Nhulunbuy in Gove Hospital in 93. When I was very little dad and I moved away to Darwin, where we lived for a few years. Then after Darwin we moved down south to Newcastle, NSW, to be closer to my grandparents. I returned to live with mum in Yirrkala as a teenager. This is when mum encouraged me to not only help her in her practice but to really think about my own art practice as well. This is what led me to be becoming a printmaker and arts worker at Buku-Larrnggay Mulka Arts for 3 years. In 2013 I became a mother myself and after my
second in 2014 I decided to move back to Newcastle. During my time living in Newcastle I worked as an independent artist and also worked with ArtBack NT & Buku with a nationally touring exhibition, Balnhdhurr – A Lasting Impression.
Loosing mum so suddenly hit me harder than expected. By Christmas 2022 my little family and I found ourselves in Port Hedland, WA. I walked into Spini as an artist trying to find my way back and 12 months later am now proudly the studio technical co-ordinator. Spinifex Hill Studio was such a bright and comfortable feeling space and pivotal in helping me with my healing.”
