Career
Okumaya devam et...
← Previous revision | Revision as of 23:12, 5 May 2024 |
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| As a senior Kunbarlanja community member, Thompson Yulidjirri understood the undeniable link between rock painting and Kunbarlanja's most famously traded art form, bark painting<ref>{{cite book |last1=May |first1=Sally K. |title=Archaeologies of Art: Time, Place, and Identity |date=2008 |publisher=Routledge |page=174 |pages=279 |access-date=5 May 2024}}</ref>. He described the purpose of these paintings as "decoration and education," using painting to illustrate stories and teach children about local culture<ref>{{cite book |last1=May |first1=Sally K. |title=Archaeologies of Art: Time, Place, and Identity |date=2008 |publisher=Routledge |page=174 |pages=279 |access-date=5 May 2024}}</ref>. | As a senior Kunbarlanja community member, Thompson Yulidjirri understood the undeniable link between rock painting and Kunbarlanja's most famously traded art form, bark painting<ref>{{cite book |last1=May |first1=Sally K. |title=Archaeologies of Art: Time, Place, and Identity |date=2008 |publisher=Routledge |page=174 |pages=279 |access-date=5 May 2024}}</ref>. He described the purpose of these paintings as "decoration and education," using painting to illustrate stories and teach children about local culture<ref>{{cite book |last1=May |first1=Sally K. |title=Archaeologies of Art: Time, Place, and Identity |date=2008 |publisher=Routledge |page=174 |pages=279 |access-date=5 May 2024}}</ref>. |
| In the early 1990s, Thompson Yulidjirri come to the Injalak Arts and began teaching young men as he worked.<ref name=":2" /> Yulidjirri even mentored the founder of Injalak Arts, [[Gabriel Maralngurra]], underscoring just how large of an impact he had on the center, especially those of Maralngurra's generation. One article describes a painting style used among this generation as "Yulidjirri mode". This style features figures with long, articulated limbs and beak-like mouths and cross-hatching known as [[rarrk]].<ref name=":3">{{Cite book|last=McLean, Ian, 1952-|url=http://worldcat.org/oclc/953517581|title=Double desire : transculturation and indigenous contemporary art|year=2014|isbn=978-1-4438-6743-6|oclc=953517581}}</ref> The use of rarrk is connected to the [[Madayin]] ceremony, meaning that when it is featured in works, there is a hidden meaning in its depiction about the artist's clan.<ref name=":4">{{Cite book|last=Van Nest|first=Lauren|title='The Stories Will Never Be Forgotten': Reframing Contemporaneity and Authenticity in Western Arnhem Land Paintings|publisher=Kluge-Ruhe Aboriginal Art Collection of the University of Virginia|year=2019|isbn=9780999830369|location=Charlottesville}}</ref> Using rarrk in his works allowed Yulidjirri to combine tradition and ancestral power with the contemporary.<ref name=":4" /> | In the early 1990s, Thompson Yulidjirri come to the Injalak Arts and began teaching young men as he worked.<ref name=":2" /> Yulidjirri even mentored the founder of Injalak Arts, [[Gabriel Maralngurra]], underscoring just how large of an impact he had on the center, especially those of Maralngurra's generation. Thompson is also credited with educating young Kunbarlanja artists on the complex regulations and cultural protocols relating to Aboriginal art and clan imagery. These protocols were taught to Yulidjirri by [[Paddy Namatbara Compass]], a famous artist and rock painter who helped raise him <ref>{{cite book |last1=May |first1=Sally K. |title=Archaeologies of Art: Time, Place, and Identity |date=2008 |publisher=Routledge |page=182 |pages=279 |access-date=5 May 2024}}</ref>.. |
| One article describes a painting style used among this generation as "Yulidjirri mode." This style features figures with long, articulated limbs and beak-like mouths and cross-hatching known as [[rarrk]].<ref name=":3">{{Cite book|last=McLean, Ian, 1952-|url=http://worldcat.org/oclc/953517581|title=Double desire : transculturation and indigenous contemporary art|year=2014|isbn=978-1-4438-6743-6|oclc=953517581}}</ref> The use of rarrk is connected to the [[Madayin]] ceremony, meaning that when it is featured in works, there is a hidden meaning in its depiction about the artist's clan.<ref name=":4">{{Cite book|last=Van Nest|first=Lauren|title='The Stories Will Never Be Forgotten': Reframing Contemporaneity and Authenticity in Western Arnhem Land Paintings|publisher=Kluge-Ruhe Aboriginal Art Collection of the University of Virginia|year=2019|isbn=9780999830369|location=Charlottesville}}</ref> Using rarrk in his works allowed Yulidjirri to combine tradition and ancestral power with the contemporary.<ref name=":4" /> | |
| As younger generations began to experiment and innovate, tensions arose. Young artists preferred to paint similarly to older painters, rather than the approved images of non-sacred images which they were allowed to paint.<ref name=":4" /> This led to anger from older artists, however, Yulidjirri worked as a mediator between innovation and tradition to alleviate tensions and guide the new generation of artists. These men that Yulidjirri mentored and taught continue his tradition as they pass knowledge and skills down to the younger generations.<ref name=":0" /> The artist Gary Djorlam notes, "Old Thompson Yulidjirri I is the one who taught us how to paint. Then he passed it on to his children, even myself and the boys who works here at Injalak. He was the best artist and a story teller, I'm proud off him, his painting and teaching and telling stories all sorts of dreaming stories, animals and birds, trees, mountains, animals like crocodiles, kangaroo or even the rainbow serpent."<ref>{{Cite web|title=GARRY DJORLOM Gunbalanya|url=http://creativecowboyfilms.com/blog_posts/garry-djorlom-gunbalanya|website=Creative Cowboy Films|access-date=2020-05-02}}</ref> | As younger generations began to experiment and innovate, tensions arose. Young artists preferred to paint similarly to older painters, rather than the approved images of non-sacred images which they were allowed to paint.<ref name=":4" /> This led to anger from older artists, however, Yulidjirri worked as a mediator between innovation and tradition to alleviate tensions and guide the new generation of artists. These men that Yulidjirri mentored and taught continue his tradition as they pass knowledge and skills down to the younger generations.<ref name=":0" /> The artist Gary Djorlam notes, "Old Thompson Yulidjirri I is the one who taught us how to paint. Then he passed it on to his children, even myself and the boys who works here at Injalak. He was the best artist and a story teller, I'm proud off him, his painting and teaching and telling stories all sorts of dreaming stories, animals and birds, trees, mountains, animals like crocodiles, kangaroo or even the rainbow serpent."<ref>{{Cite web|title=GARRY DJORLOM Gunbalanya|url=http://creativecowboyfilms.com/blog_posts/garry-djorlom-gunbalanya|website=Creative Cowboy Films|access-date=2020-05-02}}</ref> |
Okumaya devam et...