• 11. Lorrkkon and Djulng
  • 11. Lorrkkon and Djulng
  • 11. Lorrkkon and Djulng

Melba Gunjarrwanga

11. Lorrkkon and Djulng


Regular price   

"Long time ago, when our people made lorrkkon, we put bones inside the lorrkkon. I’ve painted rib bones, foot bones, leg bones, scapular and elbow bones. A long time ago, then our people would die, we would put the bones in hollow logs. But now, no longer we do this. I painted this picture with rarrk, in the old times some people would paint lorrkkon with rarrkwe (cross-hatching designs) and dilmeh (small dotted marks)."

  • Ochre and Ink on Arches Paper
  • Dimensions: 77 x 57cm (unframed), 86 x 66.5cm (framed)
  • Cat No. 1831-24


Kuninjku artist, Melba Gunjarrwanga, was born in 1959 at Maningrida in the Northern Territory. Melba is a skilled printmaker, sculptor, weaver and bark painter represented by both the Bábbarra Women’s Centre and Maningrida Arts and Culture. Over the last decade, Melba has taken part in multiple group exhibition across Australia and the world and her works have been presented by Maningrida Arts and Culture and within their collective shows. Her work is also held in the collections of Art Gallery of Western Australia, Museum of Contemporary Art, Museum of Victoria and National Gallery of Australia and The Australian National University Collection. Melba has also featured as one of the emerging artists in a group exhibition, Báb-barra: Women’s Printing Culture at The Cross Art Projects (2017)


Maningrida Arts & Culture is a pre-eminent site of contemporary cultural expression and art-making, abundant with highly collectable art and emerging talent. Through their homelands resource organisation, Bawinanga Aboriginal Corporation, artists turned an art trade that began just over 50 years ago into a multi-million dollar arts and cultural enterprise.

Maningrida Arts & Culture supported hundreds of artists on their homelands, more than 20 artworkers, held 20 exhibitions annually, won prestigious awards, and enjoyed the international fame and success that the boom in the Aboriginal art market of the 1990s and 2000s enabled. 

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