Alec Mingelmanganu spent his early years at the former Benedictine Mission in Kalumburu, a place where traditional Aboriginal beliefs often came into conflict with the religious practices introduced by missionaries. Despite this, Mingelmanganu maintained his cultural identity, and by the mid-1970s, his artistic abilities were starting to emerge. During a visit to Kalumburu in the mid-1970s, anthropologist Kim Ackerman stumbled upon a discarded Wandjina painting, once used in ceremony, which caught his attention. This painting would later feature in the 1975 Derby Boab Week Art Show, under the intriguing title 'Australian Gothic' (Sotheby’s catalogue, November 1997).
In the late 1970s, Mary Macha, who managed the Aboriginal Traditional Arts outlet in Perth, was at the forefront of promoting Aboriginal art. She initiated workshops to explore using traditional ochres on canvas, a shift from the earlier tradition of painting on bark, which had been prominent in the region since the 1930s. It was in these workshops that Mingelmanganu’s talents became evident, particularly with the works he produced on canvas. His first efforts drew significant attention, quickly marking him as an emerging and highly skilled artist.
The works created for his 1980 solo exhibition in Perth are now considered some of the finest depictions of Wandjina ever produced for public sale. Many of these works are housed in major Australian institutions, including the National Gallery of Australia, the National Gallery of Victoria, and The Berndt Museum of Anthropology.
Mingelmanganu’s artistic style was strongly influenced by traditional rock art he had observed during a journey with anthropologist Ian Crawford. The striking pointed shoulders of his Wandjina figures reflected this inspiration. His desire to work on large canvases, similar to those created by prominent artists in Perth, led him to produce four major works during the final years of his life. Three of these significant pieces were displayed in the Australia Bank building in Perth for many years.
Mingelmanganu’s commitment to portraying the Wandjina through his art echoed the cultural practice of restoring Wandjina rock paintings, an important responsibility for Aboriginal groups in the Kimberley, including Mingelmanganu’s own Woonambal people. The Wandjina, who were believed to control the rains and embody the spirits of the unborn, were traditionally depicted on cave walls. According to Aboriginal belief, these paintings were not created by people but were inherited from the spirits themselves.
Each clan in the Kimberley was connected to its own Wandjina, and these spiritual figures were believed to have traversed the entire region, leaving their mark across the land (Crawford 1968: 31). Mingelmanganu’s paintings are distinct in their composition and scale, often featuring dot patterns that evoke ceremonial body paint. His large-scale works capture a sense of spiritual energy, bringing the ancient Wandjina to life in a modern artistic form. Today, his works are cherished for their cultural and artistic significance, making him one of the most revered interpreters of this ancient tradition.