Images(2)

Baddagulli-Barrumundi

Date2016

Object number00054942

NameSculpture

MediumAluminium frame, recycled aluminium cans, silver foil covered foam, reflectors, glue, rivets

DimensionsOverall: 3360 × 890 × 40 mm

ClassificationsArt

Credit LineANMM Collection

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DescriptionA three dimensional sculpture by Doris Kinjun referred to as Baddagulli-Barrumundi. The shape is similar to a giant squid sitting on a pole, with the body covered in metal scales. Referencing the impact of cyclone Yasi on food sources and cooking with fire. "Fishing has gone really quiet now, you don’t here the fish chopping like you used to. Since cyclone Yasi we don’t get the prawns anymore and there seems to be more fish in the saltwater than in the fresh. You put the stones down and light a fire, then scrape away the fire and put down the ginger and barramundi, cover it with ginger leaf and scrape the sand back over it. Put the charcoal back on top and light a small fire." Artist’s statement, Doris Kinjun, Gulnay Traditional OwnerHistoryThe form and imagery of the Bagu with Jiman artwork has its origins in the sky. A mystical spirit of fire, would throw the jiman (firesticks) across the sky and a trail of fire would follow. The Bagu is an important tool, it tells the story of culture about fire and water. Things we need for basic survival. They tell the story of water, where there is life there is water. Based on the traditional fire making implements of the Girringun rainforest Aboriginal people, the artists have created artworks to evoke the spirit of the old people. Traditionally, the firesticks were made up of two parts, the Bagu (body) and Jiman (sticks). Bagu is normally made from the boogadilla (milky pine tree) and Jiman are made from mudja (wild guava tree) or jiman. The Bagu form was founded in the shape of a man, and a spirit design was created with traditional clays and the ochre colours are magera yellow, jillan, black with wallaby blood and garba white. In 2009 the Bagu figure was seized upon as the perfect cultural symbol to carry the stories and customs. While there were occasional exceptions to the rule, making the traditional Bagu was normally a male preserve. A group discussion between artists and community elders saw permission granted for ther Bagu to take new form in the hands of artists of both sexes.SignificanceThis sculpture by Doris Kinjun provides a contemporary view of Aboriginal culture and their connection to their saltwater and freshwater environment, their cultural stories and need to address environmental issues affecting their waterways and way of life.

Water management is a significant issue facing the traditional land owners of Queensland. The reference to Bagu, a fire making tool, alludes to the charcoal from the bush burns and land management which would also purify the water, but how can that work today with our waterways full of rubbish and debris. The Bagu's belly is now full of rubbish so it no longer has the ability to purify.