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Elizabeth Kodjdjan Wullunmingu is an Anbara Burarra woman who grew up on her mother country at the mouth of the Blyth River, east of Maningrida in Arnhem Land.
Elizabeth started working as a sewer for Babbarra Women’s Centre in 2010 and created her first screen print design the same year. Rrugurrgurda (mud crab) tells the story of Elizabeth’s homeland, a peaceful place with plenty of mud crabs and shellfish to eat. Rrugurrgurda and Dakkara are good baladji (bush food) and can be eaten all year round.
Elizabeth’s artistic talent runs in her family; her mother, Doris Gingingara, was an artist for the iconic Desert Designs label in the 1980s.
In addition to designing outfits for the 2018 Commonwealth Games, Elizabeth’s work has been featured in high-profile fashion and homeware collaborations including the Kip&Co x Bábbarra collection in 2020 and a stunning collaboration with milliner Helen Kaminski in 2024.
Elizabeth Kodjdjan Wullunmingu is an Anbara Burarra woman who grew up on her mother country at the mouth of the Blyth River, east of Maningrida in Arnhem Land.
Elizabeth started working as a sewer for Babbarra Women’s Centre in 2010 and created her first screen print design the same year. Rrugurrgurda (mud crab) tells the story of Elizabeth’s homeland, a peaceful place with plenty of mud crabs and shellfish to eat. Rrugurrgurda and Dakkara are good baladji (bush food) and can be eaten all year round.
Elizabeth’s artistic talent runs in her family; her mother, Doris Gingingara, was an artist for the iconic Desert Designs label in the 1980s.
In addition to designing outfits for the 2018 Commonwealth Games, Elizabeth’s work has been featured in high-profile fashion and homeware collaborations including the Kip&Co x Bábbarra collection in 2020 and a stunning collaboration with milliner Helen Kaminski in 2024.
Deborah Kamanj Wurrkidj is a highly regarded and versatile artist known for seamlessly adapting to new art forms while upholding her strong clan traditions. Since 1991, she has worked with Bábbarra Designs, alongside her late mother, Helen Lanyinwanga, and her late sister, Jennifer Wurrkidj. As a leading textile artist and an integral member of the Bábbarra Women’s Centre, Deborah’s contributions have been pivotal to its artistic and cultural output. Deborah is the Duwa djungkay (ritual manager) for her mother and grandfathers ancestral dreaming stories.
Her work is vibrant, tactile, and intricate, drawing inspiration from the local natural environment and infused with deep cultural knowledge. Deborah’s extensive body of textile art reflects the innovative artistic evolution occurring in Maningrida, which is also evident in her work across various mediums including bush dye silk, screen print and lino print.
In addition to her textiles, Deborah is world-renowned for her bark paintings, lorrkkon (hollow log), and fibre baskets. Since 2001, she has exhibited extensively across Australia, Europe, the United States, and India. Her work is included in most of Australia’s major state gallery collections.
Janet Kalidjan Marawarr is a senior Kuninjku artist from Maningrida in central Arnhem Land, with a textile practice spanning almost 40 years at Bábbarra Women’s Centre. She comes from a strong family line of Kuninjku artists; her grandfather and her late husband’s father were pioneers of the Kuninjku dolobbo (bark painting) movement. Marawarr works across bark painting, lino printing, and screen-printed textiles, carrying the stories between media using colour, motifs and rarrk (cross hatching) to express her djang (ancestral creation stories).
Janet began printing at Bábbarra as a young woman, learning through observation. Her , draws on knowledge passed down through her family and elders, while also engaging with new materials and processes. As Janet explains:
“… I tell the same stories from bark painting to lino and screen. I can’t change anything, no.. The stories it’s all the same, we’re painting the same stories every single time. Bininj [Indigenous People] we are smart, we know already inside our brain and our heart what we can paint. Singing, painting, dancing, ceremony, it’s all tied together, it’s now and it’s our future.”[i]
Janet’s work has been shown nationally and internationally. In 2019, she travelled to Paris to launch the touring exhibition Jarracharra (Dry Season Wind) of which her textile designs were prominent. In 2022, her textiles were included in Aboriginal Screen-Printed Textiles from Australia’s Top End at the Fowler Museum, UCLA, Los Angeles. In 2021, Janet travelled to Aotearoa/New Zealand as part of a Māori Leadership and Global Trade Summit at Parliament House, where she met with Māori leaders and social enterprises working across business, governance, and culture.
In January 2023, Janet was invited by the Australian Consul-General in Kolkata to visit India as a guest of honour. During her visit to West Bengal and Odisha, she shared knowledge with women’s textile collectives including the Bridging Culture and Art Foundation’s Kantha studio in Tushkhali, Sadaf India Studio, and the Navajeevan Co-operative Society.
Beyond her art practice, Janet is a certified translator and a Director of Bawinanga Aboriginal Corporation, as well as a member of its Arts and Culture Sub-Committee. She is also a Director of Nja–Merleya Aboriginal Corporation. Janet continues to play an important role at Bábbarra Women’s Centre, supporting the passing on of knowledge across generations through her art and leadership.
[i] Janet Marawarr in conversation with Ingrid Johanson in essay, Daluk. Ngarribekkan.., in publication Manburrba ‘Our story of printed cloth from Babbarra women’s Centre, CDU Press, 2023