Peter Marralwanga
Peter Marralwanga (1916–1987), also known as Djakku (meaning left-handed,[1]) was a Yolgnu artist known for his painting.[2]
Peter Marralwanga | |
---|---|
Born | 1916 West Arnhem Land, Northern Territory, Australia |
Died | 1987 (aged 70–71) |
Known for | Yolngu painter |
Style | Bark paintings; rarrk |
Patron(s) | Yirawala |
Born in 1916 in West Arnhem Land in the Northern Territory of Australia,[3] Marralwanga derived influence from Yirawala, a fellow artist and elder to from his community. He is best known for his creation of paintings both on paper and bark. Thse works reflect the artistic practices of his elders and community with elements of ceremonial and spiritual creatures alongside the cross-hatching pattern known as rarrk. He continued his legacy by teaching younger artists of his region such as his son, Ivan Namirrki, and nephew, John Mawurndjul. He is still highly regarded as an inspirational painter from the region.
Career
Marralwanga began to paint relatively late in his life during his mid 50s, starting around 1970. Under the guidance of Yirawala, Marralwanga began to incorporate elements of ceremony into his works. Due to his age, he had gained permission from the clan to incorporate ceremonial elements and knowledge into the works of art .[4] In Yolngu art, much of the artistic content is sacred. The artists have strict guidelines on what they can depict in their works. Oftentimes artists who have special roles within a community receive exclusive rights to paint certain images.[5] Marralwanga's use of rarrk also strayed from its original use for mortuary painting to ensure that traditional foods grow each season. He passed his knowledge of rarrk to a new generation of artists and served as an inspiration to their works,.
While much of Marralwanga's work was derived from the ceremony, he still added elements from his own life and experience. Marralwanga described this interaction within his work between the ceremony and his personal experience saying his works were “half secret one, half ordinary one."[6] Marralwanga's choice to explore his own experience as well as his deep ceremonial knowledge allowed for him to create a diverse body of work which depicted many figures and ceremonies.
Works
Exhibitions
- 1981: Solo exhibition at Mary Macha at Aboriginal Traditional Arts
- 1983: Solo exhibition at Mary Macha at Aboriginal Traditional Arts
- 1989: A Myriad of Dreaming: Twentieth Century Aboriginal Art[11]
- 1991: Aboriginal Art and Spirituality[12]
- 2004: Crossing Country- the Alchemy of Western Arnhem Land Art[13]
References
- "Peter Marralwanga- Artist Profiles". Cooee Art. Retrieved 16 March 2021.
- "The Artists: Peter Marralwanga". NMA. National Museum Australia. Retrieved 16 March 2021.
- "Peter Marralwanga". NGV. The National Gallery of Victoria. Retrieved 16 March 2021.
- "The Artists: Peter Marralwanga". NMA. National Museum Australia. Retrieved 16 March 2021.
- "Indigenous Australian Art". Lumen Learning. Lumen. Retrieved 11 May 2021.
- "The Artists: Peter Marralwanga". NMA. National Museum Australia. Retrieved 16 March 2021.
- "Peter Marralwanga, Kuninjku people, Ngal-Kunburriyaymi 1982". Apple Podcasts (Podcast). National Gallery of Australia. 29 June 2011. Retrieved 16 March 2021.
- Marralwanga, Peter. "Ngalyod, the Rainbow Serpent, at Manabinbala". National Gallery of Australia.
- Marralwanga, Peter. "Mimih Spirit Dancing at Catfish Ceremony". Invaluable.
- Marralwanga, Peter. "Kangaroo With Headdress And Spirit Figures". National Gallery of Australia.
- Lauraine Diggins Fine Art Pty Ltd (1989). A Myriad of dreaming: twentieth century Aboriginal art. Malakoff Fine Art Press.
- Crumlin, Rosemary (1991). Aboriginal art and spirituality. Collins Dove.
- Hetti, Perkins (2004). crossing country: The Alchemy of Western Arnhem Land Art. Art Gallery of New South Wales.