Saraeva Napangardi Marshall, Mina Mina Dreaming - Ngalyipi, 30x30cm

• Aboriginal Artist - Saraeva Napangardi Marshall
• Community - Yuendumu
• Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation
• Catalogue number - 3054/23
• Materials - Acrylic on stretched canvas
• Size(cm) - H530 W30 D3.5
• Postage variants - Artwork posted stretched and ready to hang
• Orientation - Painted from all sides and OK to hang as wished

This ‘Jukurrpa’ (Dreaming) comes from Mina Mina, a very important women’s Dreaming site far to the west of Yuendumu near Lake Mackay and the WA border. The ‘kirda’ (owners) of this Dreaming are Napangardi/Napanangka women and Japangardi/Japanangka men; the area is sacred to Napangardi and Napanangka women. There are a number of ‘mulju’ (water soakages) and a ‘maluri’ (clay pan) at Mina Mina.

In the Dreamtime, ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out of the ground. The women collected the digging sticks and then travelled on to the east, dancing, digging for bush tucker, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]), and creating many places as they went. ‘Ngalyipi’ is a rope-like creeper that grows up the trunks and limbs of trees, including ‘kurrkara’ (desert oak [Allocasuarina decaisneana]). It is used as a ceremonial wrap and as a strap to carry ‘parraja’ (coolamons) and ‘ngami’ (water carriers). ‘Ngalyipi’ is also used to tie around the forehead to cure headaches, and to bind cuts.

The women stopped at Karntakurlangu, Janyinki, Parapurnta, Kimayi, and Munyuparntiparnti, sites spanning from the west to the east of Yuendumu. When they stopped, the women dug for bush foods like ‘jintiparnta’ (desert truffle [Elderia arenivaga]). The Dreaming track eventually took them far beyond Warlpiri country. The track passed through Coniston in Anmatyerre country to the east, and then went on to Alcoota and Aileron far to the northeast of Yuendumu and eventually on into Queensland.

In Warlpiri paintings, traditional iconography is used to represent the Jukurrpa and other elements. In many paintings of this Jukurrpa, sinuous lines are used to represent the ‘ngalyipi’ (snake vine). Concentric circles are often used to represent the ‘jintiparnta’ (desert truffles) that the women have collected, while straight lines can be used to depict the ‘karlangu’ (digging sticks).

Saraeva Napaljarri Marshall was born on the 24 December 1996 to Julie Nangala Robertson (a Warlukurlangu Artist) and Nigel Japanangka Marshall. She is the grand-daughter of the well-known Telstra Award-winning artist, Dorothy Napangardi (Dec 2013).  Although born in Adelaide Hospital, Saraeva has spent her whole life in Yuendumu, a remote Aboriginal community 290 kms north-west of Alice Springs, in the Northern Territory of Australia.

Saraeva attends the local school and hopes to complete her secondary school studies in 2014. Once completed she would like to continue her studies in the visual arts and become a well known artist like her Mother and Grandmother. Although Saraeva has been painting from an early age with her mother and grandmother, she has been painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu, since 2013. She paints her Grandmother’s Mina Mina Jukurrpa (Mina Mina Dreaming). Her grandmother would paint and tell her about the important women’s dreaming site, about the ancestral women travelling and dancing and performing ceremonies and creating the country as they travelled. These stories have been passed down through the generations for millennia. To depict her traditional Jukurrpa, Saraeva uses a wide range of colours and traditional iconography while developing a contemporary style.

When Saraeva is not studying or painting she likes to go hunting with her family for goanna and bush tucker.

All paintings come with a certificate of authenticity provided by the community-run Aboriginal Art Centre, not us, which is the gold standard for ethical purchasing and documentation.

We take great pride in offering high-quality, authentic Aboriginal Art pieces to you and in addition to our 120-day returns(they don't come back), we are pleased to offer a lifetime money-back authenticity guarantee to all customers who purchase Aboriginal Art from us, both past and present.

This guarantee covers any disrepute or wrongdoing in association with the authenticity of any Aboriginal artwork ever sold by ART ARK®. We understand that purchasing authentic Aboriginal Art is important to you, and we want to provide you with peace of mind in knowing that you are getting what you expect.

We take the authenticity of Aboriginal Art seriously and are committed to providing you with high-quality and genuine works of art. If at any time you have any concerns whatsoever about the authenticity of any art piece, please do not hesitate to contact us and we will investigate further. If we find any wrongdoing or disrepute in regards to the provenance or authenticity of any artwork sold by us we will promptly provide a full refund to you at any time in the future, be it in one year, or in ten!

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All of our Desert Paintings, with the exception of the Stretched Desert Paintings Collection, are sent rolled.

Sending paintings rolled is the best option for their safe arrival and allows us to include free shipping, provide timely service, and maintain consistent and transparent pricing relating to the prices set by each Aboriginal Art centre.

The size of the painting listed relates to the painted surface. There is also a painted edge(2cm) and additional canvas for stretching.

A local framer will easily stretch the work for you at a nominal cost. Framers are everywhere and there is likely one just up the road. We recommend choosing one with good reviews and if you call ahead you will generally get a better-quoted price than if you turn up, painting in hand.

Please find further details and examples relating to framing here: https://artark.com.au/pages/how-to-frame-your-aboriginal-art