
Roslyn Oxley9 Gallery is delighted to unveil an exclusive solo presentation of new and captivating works by Yolŋu artist Dhambit Munuŋgurr at Sydney Contemporary 2023. This presentation is a profound exploration of Munuŋgurr’s artistic journey, featuring a curated selection of dynamic and intricately crafted bark paintings and larrakitj (hollow poles).
The complex narratives of Munuŋgurr’s Yolŋu heritage are woven intricately into the fabric of her paintings through her distinct brushstrokes and vivid palette of cobalt blues, echoing depictions of the sky and sea. Painting with Marwat (traditional Yolŋu hairbrush) using her non-preferred left hand, sea creatures and characters appear to float upon the surface, jostling against a vibrant background: the compelling juxtaposition of contemporary materials with ancient narratives form an unexpected signature style.
At the heart of this presentation lies Munuŋgurr’s innovative blend of ochre and acrylic paint — a response to a life-altering car accident that compelled her to redefine her artistic approach. The striking and electric artworks that result are a testament to her resilience and innovative vision, marked by the vibrancy of colour and powerful spontaneity of her mark-making. In doing so, she captures the intricacies of Yolŋu Law and her profound connection to the spiritual forces of her country.
Through a poetic combination of colour, materiality, and storytelling, Munuŋgurr invites us to reflect on the esoteric spirituality and artistic depth of Yolŋu culture. Her paintings stand as living testimonies to the ancestral stories that shape her world, resonating with both local communities and global audiences alike.
Painting with Marwat (traditional Yolŋu hairbrush) using her non-preferred left hand, Dhambit Munuŋgurr’s distinct brushstroke and vivid palette of cobalt blues echo depictions of the sky and sea. Her compelling juxtaposition of contemporary materials and traditional stories construct an unexpected signature style. Munuŋgurr introduced non-traditional colours to her work when she started mixing ochre with acrylic paint in an effort to overcome the difficulty of grinding ochre by hand which became beyond her capability following a car accident in 2007. In doing so, she has defined her practice by the vibrancy of colour and powerful spontaneity of her mark making, to create strident, dazzling artworks.

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