Namorrordo (Spiritman) 3489-16

Signed Certificate of Authenticity
A$350

Artwork Details

Medium Acrylic, Paper (Requires Framing)
Dimensions 31cm (W) x 41cm (H) x 0.5cm (D)
Review Stars 21,229 Customer Reviews

Indigenous Art Code

As a member of the Indigenous Art Code Bluethumb is proud to have established direct partnerships with some of Australia's most respected First Nation's artists and art centres.


Original Artwork
This artwork is one of a kind!
Free Shipping Australia Wide
Return it for free within 7 days

Artwork Description

The artist has painted Namorrordo Spiritman. This story comes from Mt Borradaile. Some children went collecting speargrass for playing with and throwing and spearing each other. Then in the afternoon they were all coming back and going home but they forgot one child. They left him coming behind them. Then came down from the sky a Spiritman who grabbed the child and took him into his cave. His mum and dad were crying for their child and the other good Spiritman heard them crying and went up to the cave and brought back their child and went back again to that other Spiritman and had a big fight.

Kunwinjku art is part of the oldest continuous art tradition in the world. Ancestors of today’s artists have been painting the rock walls of West Arnhem Land for tens of thousands of years. The traditional palette of white, red, yellow and black comes from the ochre that naturally occurs in the region, although contemporary artists sometimes choose to paint in acrylics as well. Kunwinjku artists famously paint using either the traditional rarrk hatching technique, or the more contemporary and complex cross hatching technique which has been adapted from ceremonial painting. These lines are painted using a manyilk, which is a piece of sedge grass shaved down until only a few fibres remain.
Artists at Injalak Art Centre have been painting on Arches 640gsm handmade watercolour paper since it was introduced as a medium by American art collecter John W. Kluge in 1990 when he commissioned a suite of paintings for the Kluge-Ruhe Collection at the University of Virginia, USA. It is archival quality and has an organic texture that mimics the natural surface of bark, making it an excellent alternative in West Arnhem Land where trees suitable for bark harvesting are much sparser than other areas of the Top End of Australia.
This painting needs to be framed. It’s also being sent direct from the artist at a remote art centre, Injalak Arts, in the top end. Please note there is only one mail plane a week that takes the artwork to Gunbalanya. The tracking information is then received a week later when the mail plane returns so often the paintings are delivered before we receive the tracking information. Please expect a slightly longer wait for this very special artwork to arrive.

Artist Bio

Joey Nganjmirra is a storyteller, dancer and cultural ambassador. Amongst the younger generation in Gunbalanya, he is one of those who have taken on the task of carrying on the Stories. Many of his works are driven by narrative, with figures in different stages of a story compressed into a single scene. Others include strong graphic forms, often overlayed and woven into complex designs. His works are primarily figurative, but the interlocking figures sometimes tend towards abstraction and he also produces abstract works based on ceremonial patterns. A look through his works reveals a broad range of stories and original compositions rivalled by few other artists at Injalak. His Mamam (maternal grandfather) Mirndabal Manakgu was from Mangardubu, and he has many stories from this area north of Gunbalanya such as Wulwunj. Joey Nganjmirra is part of a rich artistic family (Nganjmirra) and clan group (Djalama). He is a member of the Karrbarda dance troupe which often performs at festivals as well as local ceremonies. He is the son of Rachael Manakgu and Steven Nganjmirra.