Ubirikubiri II, 2007
Print : etching · 140 x 87 cm 55.1 x 34.3 inch
$4,441
4 441 $US
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Shipped from: France
Delivery to: United States , $ 333
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Verified Reviews : 9.6/10
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About the artwork
Type
Print : numbered and limited to 45 copies
1 copy available
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Not Signed
Dimensions ( cm • inch )
140 x 87 cm 55.1 x 34.3 inch Height x Width x Depth
Sold by
Art gallery
Professional art gallery • France
Credentials
Vetted seller since 2013
Description
This legend originated on the Mai Kusa River on the west coast of Papua New Guinea. Following the death of his wife, a man decided to give his daughter a pet to console her. He brought her a puppy which she refused. He then decided to bring her a piglet which she also rejected. You can see these two animals at the bottom of the composition. One day while fishing he found a baby crocodile which he brought home to show his daughter. The animal pleased her very much; she then gave him a name: Ubirikubiri. His father made an enclosure for the crocodile which he adapted to its size as it grew. Once the crocodile reached adult size, the father went to visit friends in another village and forgot to feed the crocodile while there. Ubirikubiri was hungry and very angry that he had been left without food for so long. When the father returned and finally went to feed the crocodile, the latter killed him, destroyed the enclosure and carried the corpse on his back to reach the Mai Kusi river, leaving traces behind him (we see these traces in the center of the composition ). When she returned home the girl saw the destroyed enclosure as well as the traces of a confrontation. She followed the tracks left by Ubirikubiri to the river calling the crocodile to ask him what had happened to his father. When she finally found him she begged the crocodile to give her back her father but he refused and plunged into the river. The moral of this story is that when you take animals from the wild you have to treat them well.
Presentation
Dennis Nona was born in 1973 on the Badu Island. He comes from the Torres Strait, from one of the two ?indigenous? communities in Australia (in the Northern part of the continent).
He is a print artist and a sculptor and, through his art, he tells the legends of his people. He is considered to be one of the best representatives of Australian printmaking. His favorite techniques are the linocut and the aquatint; he uses these techniques because he thinks the texture of the paper, the fabrication techniques and the ink and pigments give strength to the universe he creates.
Dennis Nona reinterprets the patterns of the traditional mask drawings that evoke the legends of the Torres Strait and of Papua New Guinea, so his artworks are veritable ?chanson de gestes?.
His works are unique combinations of traditional totemic representations that often have marine subjects (turtles, fish, lobsters), of invented shapes and characters that seem to come from Hieronymus Bosch?s paintings, and subtle arabesques as a background for these narratives.
Beyond its visual dimesion, the graphic work of Dennis Nona is a ?defense and illustration? of the culture of his native region.
He is a print artist and a sculptor and, through his art, he tells the legends of his people. He is considered to be one of the best representatives of Australian printmaking. His favorite techniques are the linocut and the aquatint; he uses these techniques because he thinks the texture of the paper, the fabrication techniques and the ink and pigments give strength to the universe he creates.
Dennis Nona reinterprets the patterns of the traditional mask drawings that evoke the legends of the Torres Strait and of Papua New Guinea, so his artworks are veritable ?chanson de gestes?.
His works are unique combinations of traditional totemic representations that often have marine subjects (turtles, fish, lobsters), of invented shapes and characters that seem to come from Hieronymus Bosch?s paintings, and subtle arabesques as a background for these narratives.
Beyond its visual dimesion, the graphic work of Dennis Nona is a ?defense and illustration? of the culture of his native region.
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