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Untitled

“When Martu paint, it’s like a map. Martu draw story on the ground and on the canvas, and all the circle and line there are the hunting areas and different waters and tracks where people used to walk, and [some you] can’t cross, like boundaries. So nowadays you see a colourful painting and wonder what it is, but that’s how Martu tell story long ago. It’s not just a lovely painting, it’s a story and a songline and a history and everything that goes with it.” 

– Ngalangka Nola Taylor and Joshua Booth

This work portrays an area of Country that can be interpreted in multiple ways. Firstly, the image may be read as an aerial representation of a particular location known to the artist- either land that they or their family travelled, from the pujiman (traditional, desert dwelling) era to now. During the pujiman period, Martu would traverse very large distances annually in small family groups, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. At this time, one’s survival depended on their intimate knowledge of the location of resources; thus physical elements of Country, such as sources of kapi (water), tali (sandhills), different varieties of warta (trees, vegetation), ngarrini (camps), and jina (tracks) are typically recorded with the use of a use of a system of iconographic forms universally shared across the desert. 

An additional layer of meaning in the work relates to more intangible concepts; life cycles based around kalyu (rain, water) and waru (fire) are also often evident. A thousands of year old practice, fire burning continues to be carried out as both an aid for hunting and a means of land management today. As the Martu travelled and hunted they would burn tracts of land, ensuring plant and animal biodiversity and reducing the risk of unmanageable, spontaneous bush fires. The patchwork nature of regrowth is evident in many landscape works, with each of the five distinctive phases of fire burning visually described with respect to the cycle of burning and regrowth.  

Finally, metaphysical information relating to a location may also be recorded; Jukurrpa (Dreaming) narratives chronicle the creation of physical landmarks, and can be referenced through depictions of ceremonial sites, songlines, and markers left in the land. Very often, however, information relating to Jukurrpa is censored by omission, or alternatively painted over with dotted patterns.

Name: Corban Clause Williams


Language: Manyjilyjarra



Biography:

"My name is Corban Clause Williams. I was born in Newman hospital. Mum, Dad, Nanna and Pop lived in Jigalong before, but they moved into town before I was born. I’m one of seven children. I grew up in Newman- this is my home. I like to travel but I worry about home. When I was younger I went to Newman Primary School and Newman Senior High School.

My Nanna and Pop used to take us out hunting for bush tucker. I’d help them make a fire and tea. Me and Pop would go out to the swamp area between Newman and Kumarina. Nan, Pop, Mum and Dad would tell funny stories about our family and make me laugh.

I work teaching Cultural Awareness with KJ (Kanyirninpa Jukurrpa, ranger organisation) teaching Cultural Awareness, and help the YMCA with youth programs. I work at Martumili too, helping to sell the paintings and get the canvas ready. With Martumili I travelled too. Gold Coast was my first big trip and [I've been to] Perth, Adelaide and Sydney. 

I'm [also] a Martumili artist. I come to Martumili to paint about my Country, where my grandfather walked around and collected food, and visited the same rockholes I do. I paint to keep my culture and stories and share with others. Sometimes I paint with my nanna Jakayu [Biljabu]. I learn from her a little bit. My skin name is Milangka and Kaalpa (Kalypa, Canning Stock Route Well 23) is my grandfather Country. I was really happy to go see my grandfather's Country- pukurlpa (happy). When I paint I feel like its home. Doing it on the canvas,  feel like I'm standing there back at home."

Corban Clause Williams


© the artist / art centre