"[5] Bardayal “Lofty” Nadjamerrek, who was otherwise known as Wamud Namok, was born around 1926 in the upper Mann River region of Western Arnhem Land to his father, Yanjorluk.

With the influence of his father's teachings, Nadjamerrek translated his knowledge into the practice of bark paintings, beginning his work in the public domain in 1969.

[8] He spent years of his apprenticeship observing the craft of his father and other men in his community paint on the rocky shelters and outcrops with natural ochres and pigments.

His work investigates the connection between humans and nature, as well as ancient traditions while reflecting his Country and heritage and often illustrating stories which carry deep cultural significance.

[9] He created his first rock art painting around the age of 13, at a place called Kundjorlomdjorlom, under the close observance of his father, Nanjorluk, an accomplished rock-art artist.

[7] This outstation attracted various kinds of people from other parts of Australia and the world, including anthropologists, linguists, botanists, ecologists, and art historians,[6] who came to learn more about the vast landscape of Arnhem Land.

The area borders on Kakadu National Park, a world heritage reserve famous for the countless rock art sites that date back at least twenty thousand years.

He established himself as a master painter, using a single parallel line hatching technique not commonly used by Western Arnhem Land artists.

For instance, one of his best known pieces, Nygalod-The Rainbow Serpent, a large mural, depicts Ngalyod as a combination of animals with the body of a snake, the head of a crocodile, and the tail of a fish, with water lilies on its back.

[11] In 2005, reproductions of Nadjamerrek's work, Kangaroo began appearing online with a statement claiming that upon successful sales, royalties would be paid to the artist.

The case was ultimately resolved after Bardayal's passing, but was found in favor of the artist because the seller was taking advantage of his limited English ability.

He was highly influenced by various styles, including his father's and relatives’ artworks and those more ancient from the Kunwinjku people rock art and “mimih” spirits.

Bardayal painted using natural pigments and ochres, traditional stylistic elements of Aboriginal art, on a few different mediums, including Eucalyptus bark, paper, and canvas.

Bardayal's style of painting portrays these images in a narrative way creating a dynamic tension and feeling of movement captured in time.

[4] Many of his bark paintings depict different animal species from western Arnhem Land, including crocodiles, birds, kangaroos, fish, and turtles.

[6] Nadjamerrek spent the last few years of his life retired from formal painting, yet still active in his community and practicing his craft with younger members of his clan.

Similar to many well-known western Arnhem Land artists, Nadjamerrek taught one of his son's how to paint by a traditional informal apprenticeship.

[16] In 2008, Nadjamerrek had retired from painting, but his final works were included in the exhibition Continuity: Culture, Country and Family at Mossenson Galleries in Melbourne.