Peter Marralwanga

Peter Marralwanga (1916–1987), also known as Djakku (meaning left-handed ), was an Aboriginal Australian artist known for his paintings. He was a member of the Kardbam clan of the Bininj people, and spoke the Kuninjku language. In addition to being a ceremonial leader, Marralwanga also helped found the Marrkolidjban outstation near Maningrida in 1972, with the help of artists Yirawala, Mick Mandayngu and Curly Barrkadubu. For most of his life, Marralwanga lived at the remote outstation, but briefly lived at the government settlement at Maningrida.

Born in 1916 in West Arnhem Land in the Northern Territory of Australia, Marralwanga derived influence from Yirawala, a fellow artist and elder from his community. He is best known for his creation of paintings both on paper and bark. These works reflect the artistic practices of his elders and community, featuring elements of ceremonial and spiritual creatures alongside the cross-hatching pattern known as rarrk. He taught younger artists of his region including his son, Ivan Namirrki, and nephew, John Mawurndjul. Not only did Marralwanga possess an "intimate firsthand knowledge of the religious geography" He is regarded as an inspirational painter not only to such famous artists as John Marwurndjul, but also for his daughter Kay Lindjuwanga, who adapted Marralwanga's stories into her own bark paintings. In Kuninjku art, much artistic content is sacred, and artists have strict guidelines on what they can depict in their works. Artists who have special roles within a community may receive exclusive rights to paint certain images. Due to his age he gained permission from to incorporate ceremonial elements and knowledge into his work. His use of rarrk strayed from its original use for mortuary painting. Through his designs, Marralwanga represented the power of the original ancestral spirits, the Djang. This combination saw him create a diverse body of work. Rather than employing one style of cross-hatching, Marralwanga innovated and created, using contrasting colors, styles and application techniques to make his works "jump with life." One such way of achieving this effect would be to visually cram a large ancestral figure within the edges of the bark, so that the "figures' spiritual energy appears to be compressed in physical form... waiting to be unleashed." Yet, Marralwanga remained true to his ancestral roots even in his experiments; drawing his use of brightly colored rarrk contrasted with dotted lines directly from body designs that would be painted on during ceremony.

Works Peter Marralwanga, Kuninjku people, Ngal-Kunburriyaymi 1982 Ngalyod, the Rainbow Serpent, at Manabinbala, 1980-81 Mimih Spirit Dancing at Catfish Ceremony, 1979 Kangaroo with Headdress and Spirit Figures, c. 1980s

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 1991: Aboriginal Art and Spirituality 2004: Crossing Country- the Alchemy of Western Arnhem Land Art