Artist: Djul'djul Gurruwiwi | Title: Worrwurr - Dhuduthudu | Year: 2018 | Medium: Earth pigments on wood | Dimensions: 45 x 14 cm
PROVENANCE
Buku-Larrnggay Mulka Centre Cat No. 6012-18
ARTWORK STORY
The Worrwurr belongs to the Yirritja moiety and is an important totem.
Dhuduthudu is the name for the frogmouth which is Dhuwa.
Datiwuy and Ngaymil sing this bird Dhuduthudu (Frogmouth)(Podargus strigoides) together and it joins their two clans. They also connect to Gälpu and Djambarrpuyngu through this law. Its country is near Yangunbi and is known as Warrathiri or Munumbal. Elders have said that it is not deep law but just something that they sing and dance.
This piece is made from renewable wood which is usually harvested from the tree in the dry season. Preferred woods are Malwan (Hibiscus Tiliaceus), Gunhirr (Blind-Your-Eye-Mangrove), Wuduku (mangrove wood), Barrața (Kapok). The first activity is to enter the monsoon vine thicket and cut the wood and carry it back to the vehicle. Often a long hike through prickly vines and scrub. The wood is skinned and left to dry for a short period. It is then shaped by a knife or axe. After the surface is sanded smooth a layer of red paint is usually the first to go down.
The paints used are earth pigments. The red (Meku), yellow (Gangul) and black (Gurrnan) are provided by rubbing rocks of these colours against a grinding stone and then adding water and PVA glue in small quantities. A new batch of paint is prepared or renewed every few minutes as it dries or is used up. After an outline of the composition is laid down the Marwat or crosshatching commences. This is applied using a brush made of a few strands of straight human hair usually from a young woman or girl. The artist charges the Marwat (brush) with the paint and then paints away from themselves in a straight line. Each stroke requires a fresh infusion of pigment. The last layer to be applied is almost always the white clay (Gapan) which is made from kaolin harvested from special sites. This also has water and glue added after being crushed into fine powder. An alternative to painting the cross hatching is to use a razor to incise fine lines and reveal the light-coloured wood underneath.
PROVENANCE
Buku-Larrnggay Mulka Centre Cat No. 6012-18
ARTWORK STORY
The Worrwurr belongs to the Yirritja moiety and is an important totem.
Dhuduthudu is the name for the frogmouth which is Dhuwa.
Datiwuy and Ngaymil sing this bird Dhuduthudu (Frogmouth)(Podargus strigoides) together and it joins their two clans. They also connect to Gälpu and Djambarrpuyngu through this law. Its country is near Yangunbi and is known as Warrathiri or Munumbal. Elders have said that it is not deep law but just something that they sing and dance.
This piece is made from renewable wood which is usually harvested from the tree in the dry season. Preferred woods are Malwan (Hibiscus Tiliaceus), Gunhirr (Blind-Your-Eye-Mangrove), Wuduku (mangrove wood), Barrața (Kapok). The first activity is to enter the monsoon vine thicket and cut the wood and carry it back to the vehicle. Often a long hike through prickly vines and scrub. The wood is skinned and left to dry for a short period. It is then shaped by a knife or axe. After the surface is sanded smooth a layer of red paint is usually the first to go down.
The paints used are earth pigments. The red (Meku), yellow (Gangul) and black (Gurrnan) are provided by rubbing rocks of these colours against a grinding stone and then adding water and PVA glue in small quantities. A new batch of paint is prepared or renewed every few minutes as it dries or is used up. After an outline of the composition is laid down the Marwat or crosshatching commences. This is applied using a brush made of a few strands of straight human hair usually from a young woman or girl. The artist charges the Marwat (brush) with the paint and then paints away from themselves in a straight line. Each stroke requires a fresh infusion of pigment. The last layer to be applied is almost always the white clay (Gapan) which is made from kaolin harvested from special sites. This also has water and glue added after being crushed into fine powder. An alternative to painting the cross hatching is to use a razor to incise fine lines and reveal the light-coloured wood underneath.