Lightning illuminating ocean sea spray as it smashes against large rocks, phenomena linked to Country and waters of cyclones, huge tides and ripping currents all find a place in Noŋgirrŋa Marawili’s imagery. The artist lived nomadically as part of a clan group with a flotilla of canoes between Groote Eyelandt and the mainland. Her father’s name was Mundukul (Lightning Snake), also the name of the serpent (known as Burrut’tji (Water Python)), who lives deep beneath the sea. The pink-toned works reflect a recent innovation – after discovering a discarded magenta print toner on her Country, Marawili began using ink from disused cartridges, reflecting Yolŋu philosophy that suggests, ‘if you paint the land you should use the land’. At Campbelltown Arts Centre, three painted larrakitj – memorial poles made from hollow Stringybark – show Noŋgirrŋa Marawili’s characteristically dynamic mode of painting that brings forth the interconnected energies of places, layering the tangible and intangible forces, phenomena and atmospheres of environments constantly transforming.

Marawili’s use of pink tones reflects a recent innovation – after discovering a discarded magenta print toner, Marawili began using ink from disused cartridges, reflecting Yolŋu philosophy that suggests, ‘if you paint the land you should use the land’. Her work, while not embodying sacred designs, reflects the philosophies of her Maḏarrpa clan and bears the traces of the places she moves through.

‘I paint water designs. The water. As it crashes on to the rocks at high tide. Sending the spray into the sky. Rocks which stand strong. And the waves which run and crash upon the rocks. The sea spray. This is the painting I do. You may spy on me and think that I am painting sacred things. This would be a lie.’