Yuan MOR'O OCAMPOArdiyanto PRANATAPeter ADSETTDhopiya YUNUPINGUDjalu GURRUWIWIBasil HALL, Gapu, Tubig, Air, Water. Enlarge 1 /1



Ardiyanto PRANATA

Surabaya, East Java, Indonesia born 1944


Gisborne, North Island, New Zealand born 1959

  • Australia


Gumatj people

Australia born 1946 /1950


Galpu people

Australia born 1940

Basil HALL

Melbourne, Victoria, Australia born 1954


Gapu, Tubig, Air, Water. 1997 Place made: Northern Territory University, Darwin, Northern Territory, Australia
Materials & Technique: prints, ink; paper screenprint, printed in colour inks, from multiple stencils Support: cream wove paper
Edition State: published state
Impression: 33/35
Edition: edition of 35

Primary Insc: Signed lower right in black pencil, by all artists.
Dimensions: printed image 89.0 h x 69.6 w cm sheet 113.0 h x 76.4 w cm
Acknowledgement: Gift of Nigel Lendon 1999
Accession No: NGA 99.126
  • Gift to the National Gallery of Australia, from Nigel Lendon, Canberra, October 1999.

In July 1997, five artists from Australia and the Southeast Asia region participated in a collaborative project The Meeting of Waters, the first Australasian Print Project, held at the Northern Territory University. As a culmination of the project the artists Djalu Gurruwiwi and his wife Dhopia Yunupingu (from north-east Arnhem Land), Ardiyanto Pranata (Indonesia), Yuan Mor’O Ocampo (the Philippines) and Peter Adsett (Northen Territory) decided to collaborate to produce this print Gapu, tubig, air, water. By the time they had agreed to work on this print, each was aware of their adopted kinship relationships to the Indigenous artists, and responded accordingly in the construction of this image.

In the bottom horizontal section, Moro’O Ocampo consulted with his classificatory mother Dhopia on the form, colour and structure of his imagery of quail and crocodile eggs. Ardiyanto’s section (right-hand panel) stresses his own traditional cultural roots in batik, and the wider cultural ties within the region. Peter Adsett’s section (left-hand panel) refers to the stream which flows between the two waterholes where he lives at Humpty Doo, and to the waterlily leaves Djalu had seen there. In the top horizontal section, Dhopia completed the cycle by painting her own Yirritja motifs of larrakitj, the hollow log coffin, with djirrikitj, the quail, who lays her eggs inside, and wan’kurra, the bandicoot, who is looking for ngatha or food. Djalu’s central image is part of the story of his ancestor Bol’ngu, the Thunderman, who sends down djambuwal (the waterspout), which created a freshwater waterhole in the ocean.

Nigel Lendon 2002.

Text © National Gallery of Australia, Canberra 2010
From: Anne Gray (ed), Australian art in the National Gallery of Australia, National Gallery of Australia, Canberra, 2002