Charlie Djurritjini

 Alternative Spelling:  Charlie Djurritjini Juritjini, Djurrtjini, Djurrutjini                 
 Date of Birth:          14 / 6 / 1952
 Region:                 Ramingining    
 Area:                   Central Arnhem Land, NT 
 Outstation              Muty'ka,   
 Country:                Balingura
 Language:               Ganalbingu 
 Language: Group:        Yolngu
 Social Affiliations:    Yirritja moiety, Bulany subsection
 Local Group:            Gurrumba Gurrumba 

Subjects and Themes:

Charlie Djurritjini totems are Barnda (long-necked tortoise), Djamandarr (wild taro), Njalknjalk (freshwater herring) from country near Gatji. geese and nests, Karr – spider, Arafura Wetlands story, water pythons, bamboo shoots, bustard or plains turkey, long neck tortoise, fresh water catfish, Lungkurr’ma spirit with fire, flying fox, Mewal dhuwa honey spirit, black headed python

Collections Held:

Artbank, Sydney.

Campbelltown City Art Gallery.

National Gallery of Victoria, Melbourne.

The Holmes a Court Collection, Perth.

Aboriginal Art Museum, The Netherlands.
Art Gallery of Western Australia, Perth.
National Gallery of Australia, Canberra.
Queensland Art Gallery, Brisbane.

Gold Coast City Art Gallery, Surfers Paradise, Queensland. 
Milingimbi Collection, MECA, Milingimbi Educational and Cultural Assn. 
Museum of Contemporary Art, Ramingining Collection, Sydney. 

Individual Exhibitions:       

1990, Charlie Djurritjini, Shades of Ochre, Darwin, NT

Group Exhibitions:

2005 – Gamanuggu Ganalbingu, Indigenart, Fremantle, WA; Yaku Yindi: Big names from Ramingining NT,             Hogarth Galleries, Sydney.
1993 – The Tenth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the NT, Darwin.
1992/3 – New Tracks Old Land: An Exhibition of Contemporary Prints from Aboriginal Australia, touring USA    and Australia.
1992 – Art of the Spirit, Gold Coast City Art Gallery, Surfers Paradise, Queensland.
1991 – Flash Pictures, National Gallery of Australia; The Eighth National Aboriginal Art Award Exhibition,             Museum and Art Gallery of the Northern Territory, Darwin.
1990 – Balance 1990: views, visions, influences, Queensland Art Gallery, Brisbane.; Ramingining Art,             Birukmarri Gallery, Fremantle.; The Seventh National Aboriginal Art Award Exhibition, Museum and Art       Gallery of the Northern Territory, Darwin.
1988 – Sydney Biennale – Aboriginal Memorial, Pier One, Sydney; The Fifth National Aboriginal Art Award             Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; ANCAAA and Boomalli,             Boomalli Aboriginal Artists Ko-operative, Sydney;
1986 – Sydney Biennale – Ramingining Performance Group [dancer], Art Gallery of New South Wales, Sydney.
1984 – Aboriginal Art, Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra; Objects &         Representations from Ramingining, Power Institute [now MCA], Sydney.
1982 – Aboriginal Art at the Top, Museum and Art Gallery of the Northern Territory, Darwin.

Selected Bibliography:

Altman, J., and Cook, P., 1982, Aboriginal Art at the Top, exhib. cat., 

Maningrida Literature Production Centre, Maningrida.; 

1988, ANCAAA and Boomalli, exhib. cat., Boomalli Aboriginal Artists 

Ko-operative, Sydney. (C) ;

Wallace, D., Desmond, M., Caruana, W., 1991, Flash Pictures, exhib.

cat., National Gallery of Australia, Canberra.

Charlie Djurritjini 

Biographical notes: (Not for publication)     

Notes from Bulabula Arts:

Charlie Djurritjini country is Mutuyka-Balingura. Moved to Ramingining in 1984. Djurritjini was born near a place called Muty’ka’ (a Dabi and Ganalbingu place) in the bush in the Arafura Swamp: “I can still paint from Balinggura, that Bari (crocodile) one. I have the same mother and father as my elder brother George Milpurrurru. My other brothers and sisters, Jimmy Djelminy and Dorothy Djukulul are from a different mother. Turkey Djipurru is my father’s brother; my second father. Clara Wubugwubuk, his daughter, is like my sister.

My two ‘ full ‘ sisters (from the same mother and father) are Djunginy and Djuttarra. When I was a little boy I went to Milingimbi, to the mission school. That Balanda Allan Fidock taught me with the help of Charlie Mayntjarri and Baluka. I went to school with Bobby Bununggurr and lived in a single men’s camp with him and other people from Milingimbi. I went back to Nangalala for my dapi (initiation). This was about the time that they made the first corrugated iron shed there, the store. Malcolm Douglas and David worked there then. (1965). Me and Jimmy Djamunba and Peter Girrirrkirrirr were cut (initiated) together. After, when I went back to Milingimbi my mother died and was buried at Nangalala. When I was about 14 and had left school, I worked as a labourer making a road and clearing the airstrip. We were paid a little money; 50cents or $1-2 a week. Then I went to Nangalala. About then, before I was married, I went to Maningrida. This was when I went to my first Gunapipi ceremony. There wasn’t a road then – we went by M.A.F. plane from Nangalala airstrip me, Richard Bandalil, and Clancy (deceased). David Bond was at Maningrida then land still is now. I worked with a Balanda mechanic called Roger at the Council workshop. Then after that with an electrician called Rod Small for the housing section. Ramingining wasn’t built then. Back at Nangalala I worked with a Mr. Joyner. I met Alice (Lolup) my wife at Nangalala. I worked with Mr. Shepherd as a mechanic’s assistant. At Ramingining I worked with Ray Fry and lived at the ‘Tank ‘. One time when I was living at Beswick (his wife comes from there) I worked with Arthur, an Englishman, the mechanic. My father and my elder brother taught me to paint. I’d watch George, then my father.

I like painting – paint for one year then rest, maybe next year paint. To paint, I think (for) myself. My father told me already see, – like my place (land) – so I paint my own things. I learn my culture and about my land by painting. I watch my elder brother, George Milpurrurru, to learn, to learn something about ceremony. My father told me everything before he died. These paintings are for Balanda and Yolngu. These paintings are to show Balanda what my culture is. To show where my country, and Dreaming is from and where my culture comes from. I only paint from [about] one place, Muty’ka’ – that’s my country. These pictures come from my head – I think about my culture.

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