Gopu Longtail Tuna
Date2018
Object number00055930
NameFish carving
MediumWood
DimensionsOverall: 250 × 940 × 120 mm
Copyright© Guykuḏa Munuŋgurr
ClassificationsArt
Credit LineAustralian National Maritime Museum Collection
DescriptionCarved wooden sculpture by Guykuḏa Munuŋgurrof a Gopu or Longtail Tuna (Thunnus tonggol).
This work is part of a series begun in 2018. As a Homeland resident living on the coast of a vibrant sea estate which includes estuaries and coral reefs, big rivers and ocean Guykuḏa Munuŋgurr feeds himself and his family with his knowledge of the land. This familiarity allows him to shape these sculptures from memory not from images or life.
HistoryGuykuḏa Munuŋgurr is the only full time artist at his homeland of Garrthalala (Caledon Bay). He has distinguished himself as a completely innovative sculptor who pioneers new materials and techniques. One of the themes that he has pursued is the natural representation of animal species without reference to their sacred identity. This is one such work.
However, for stricter adherents of Yolŋu law the naturalistic representation of totemic species is a sacrilege. Despite his protestations of innocence in representing figurative sculpture of crocodiles (which are related to his mother's clans respectively) he was counselled away from this approach.
SignificanceIn Yolŋu law Rangga or sacred objects are never revealed and their shape can only be guessed at. It is assumed that it was the similarity of these manifestations of totems with such Rangga which caused elders to veto Guykuḏa Munuŋgurr naturalistic representations of species. He specifically disavows any sacredness for these works. They are 'just art' or 'just for fun'.
An area where he has been able to play with form and not attract negative attention is in his representations of fish. This work is part of a series begun in 2018. As a Homeland resident living on the coast of a vibrant sea estate which includes estuaries and coral reefs, big rivers and ocean he feeds himself and his family with his knowledge of the land. This familiarity allows him to shape these sculptures from memory not from images or life.
