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In 1998 Injalak entered into a small series of limited edition prints with Northern Editions, Northern Territory University. The following is an extract from the December 1998 quarterly edition of 'Imprint' magazine, in which Peter Nabarlambarl's Namarrkon etching appeared on the front cover. "Stones to the Stone Country" was Basil Hall's observation as he greeted the expectant staff and artists at Injalak Arts and Crafts, Western Arnhem Land, the area colloquially referred to as 'stone country' because of the weathering effect that the extreme conditions in the top end of Australia have had in carving out the sandstone plateau known as the Arnhem Land escarpment. The irony was not lost on us, as Basil and Leon Stainer from Northern Editions and several other staff from the Northern Territory University School of Fine Arts, arrived at Injalak after their three hour drive from Darwin. In their vehicle were German litho stones along with etching plates to be used by several artists to produce works for limited edition prints. It was not without some feeling of trepidation as to the potential outcomes when it came time for the artists to commence work. After all, this was something quite foreign to these artists, right? Wrong! These artists are practising an art form which is part of the longest continuing tradition in the history of the world. It commenced on rock surfaces some 40,000 years ago. Evidence of these rock art sites is still found today scattered extensively throughout the region. Painting on litho stone was really nothing new and any concerns as to how the artists would respond were immediately alleviated. It had been several years since Injalak's one and only foray into print work and this new venture created a great deal of interest. Contact was made with Northern Editions, culminating with their visit in October. In all, seven artists - Peter Nabarlambarl, Thompson Yulidjirri, England Banggala, Gabriel Maralngurra, Isaiah Nagurrgurrba, Daniel Garlngarr and Leslie Nawiriddj - worked on litho stones and etching plates. Hall and Stainer explained possible processes which could be undertaken, addressing the younger artists first, whose command of English was better, and whose assistance they would seek in explaining the process to the three older men they hoped would work with them. It was expected that England Banggala would have no problems with the idea of working on the stone as he had drawn up a stone or two in collaboration with Johnny Bulun Bulun and printer Theo Tremblay in Canberra in the mid-eighties (and one with Stainer in Darwin). Banggala carefully examined the two visitors and then indicated towards the largest of the stones. In no time he was mapping out a design, assisted by Stainer. Yulidjirri appeared, and was introduced, but didn't seem very interested to begin with, preferring to watch from a distance. "After lunch maybe..." seemed to be the message. Nabarlambarl, on the other hand was eager, and Hall and Stainer on viewing one of his paintings in the Arts Centre with him, discussed his doing a version of Namarrkon (the lightning man), one of his signature figures, the other being Sugar Bag Man. Two plates were de-greased, and Nabarlambarl sat down and meticulously began to paint in sugar lift. Rather than doing the outlines, as had been discussed, he painted the figure as solid. Hall attempted to keep a clean sheet of paper under Nabarlambarl's drawing hand, but soon gave up. The drawing proceeded, and one by one the younger men asked for a plate, and discussed what they wanted to do. Contemporary versions of traditional x-ray designs appeared as Nagurrgurrba, Garlngarr, Nawirridj and then Maralngurra attempted sugar lift, with all the assurance they bring to their paintings on paper and bark. After lunch, all returned and Yulidjirri commenced the first of two exquisite lithographs. Over two days, ten images were completed under the watchful eye of Hall, Stainer, Judy Watson (who assisted Nabarlambarl with tusche washes), staff and visitors at the Art Centre. Bitumen was poured over the dried sugar lift drawings, a jug was boiled, and crowds of bemused artists looked on as drawings first disappeared, then miraculously returned. A tray of acid was set up away from curious dogs and kids, and plates were etched. The artists were invited to run their hands over their marks, to see the affect of the acid on the plate. Meanwhile, Banggala and Yulidjirri were making up their own brews of tusche and cross-hatching in a sequence devised by Stainer to approximate the layering of rarrk used to great effect in this area of Arnhem Land. Occasionally there was an interruption to the work; smoko, the arrival of another tourist bus, a black swan being sighted on the billabong (for the first time in twenty years), but mostly it continued without pause. Anthony Murphy (former Manager, Injalak) All work produced over the two day workshop was marketed by Injalak, Northern Editions and the Australian Print Network. |
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Unfortunately, these limited edition prints are sold out.
Click on an image for details and a larger view.
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Injalak Arts & Crafts Assoc. Inc. ©
