111581939900

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Paddy Melons

This painting is part of the Nyina-ya ngurrangka ngampurrpa (stay in your home safely) collection – a body of works by Martu artists in lockdown. From Monday 16th March Martumili Artists closed on-site art-production and retail, as a protective measure in the face of the COVID-19 pandemic. The remote Martu communities of Parnngurr, Punmu, Kunawarritji, Warralong and Jigalong went into lockdown, with access to visitors strictly prohibited to protect community members, and in particular the important elders that call Martu Country home. Martu Artists who found themselves on Country during lockdown had the opportunity for reconnection with their daily art practice, undisturbed by busy contemporary life as Australia, and indeed the world, slowed down in the face of the global pandemic.

 

This collection of artworks showcases the unstoppable determination of Martu Artists in their work, and demonstrates a deep and enduring commitment to art-making as an act of cultural preservation and social connection. Martu elders use paintings as a means to pass on stories of Country, jukurrpa (dreaming), family histories and traditional environmental knowledge to younger family members. To Martu Artists, painting is connection. And in times of isolation and lockdown, they have remained connected to eachother, and to their Country.

 

Depicted in this work are traditional types of bush tucker, their habitats, and their related hunting and gathering methods. During the pujiman (traditional, desert dwelling) 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. Whilst desert life has moved away from mobile hunter-gatherer subsistence throughout the course of the twentieth century, bush tucker continues to be a significant component of the modern Martu diet. Hunting and gathering bush tucker remains equally valuable as an important cultural practice that is passed on intergenerationally. Though hunting and gathering implements have been modernised, methods of harvesting, tracking and the use of fire burning to drive animals from their retreats are still commonly practiced today. 

Typically, animals hunted for their kuwiyi (meat) include kirti-kirti (euro kangaroo) and marlu (plains kangaroo), parnajarrpa (sand goanna), kipara (Australian bustard, bush turkey) and karlaya (emu). Lunki (witchetty grub) and wuukurta (honey ants) are dug from tree and bush trunks, or from underground nests. Popular mayi (plant food) includes minyarra (bush onion), collected from small, grass like plants; root vegetables dug from underground such as kulyu and mata (types of bush potato); and seeds such as kalaru (samphire, salt bush), yuwinyji, and marnkalpa (spinifex species). Jawirli (quondong), wamurla (bush tomatoes), jinyjiwirrily (wild gooseberry), ngaputa (melon), and karlkula (bush banana) are some of the most popular bush fruits. These are often collected in the wantajarra (cool season) and tuulpara (spring) months, along with juri (sweet) botanical gums and wama (nectar), obtained from various plant species. 

Traditional tools used for hunting and gathering bush tucker were carved from wanari (mulga), mulunturu (desert oak), yurungkura (river red gum) and mijarrpa (bloodwoods), and included kurlata (spears), jurna (hitting stick), karli (boomerangs), wana (digging-sticks), piti (timber bowls used for carrying food and water), and jiwa (grinding stones for grinding seeds into flour). While carved objects retain enormous social and ceremonial importance in Martu life, they are no longer used for hunting and gathering.

Categories: Shire of East Pilbara (Martumili Artists)

Name: Amy French

Language: Warnman

Community: Irrungadji (Nullagine)

Biography:

“This Karlamilyi area, big land. That’s a ngurra (home Country, camp) belonging to our old people, Warnman people. We talk for our land, our jila (snake). I grew up in this Country, my Country. This land belongs to our father. In pujiman (traditional, desert dwelling) days I walked around here, used to walk up and down tuwa (sandhill) and back to the main camp belonging to Martu. We are Warnman ladies, painting Kintyre and Karlamilyi. We can share this Country.”

 - Sisters Wurta Amy French and Jatarr Lily Long

 

Wurta is a Warnman woman and custodian of the Karlamilyi (Rudall River) region. She was born in the late 1930’s at Wantili (Warntili, Canning Stock Route Well 25), and is the eldest sister of fellow Martumili Artist Jatarr Lily Long. Before Jatarr was born, Wurta lived in the Karlamily region with her parents. Following Jatarr’s birth the two sisters grew up together further east, in the area surrounding Tiwa (Canning Stock Route Well 26). Tiwa is a water source located east of Parnngurr Aboriginal Community, and just west of a culturally significant group of hills called Partujarrapirri. 

Wurta distinctly remembers one of her first encounters with whitefellas, when a plane flew overhead whilst the sisters were out hunting. Both petrified, they ran away and hid until the plane had passed. Later, her family returned to the Karlamily region for a time, moving between camps located all along the Karlamily River and up to the large salt lake, Nyayartakujarra (Lake Dora). In the late 1940’s Wurta’s family “leave Karlamilyi behind” (Wurta Amy French). Together they travelled on foot for more than 200 kilometres to Jigalong Mission, where a supply of rationed food and water was assured. There they were reunited with family members that had already moved in from the desert. Whilst living at Jigalong, Wurta’s youngest sister Helen Dale Samson was born and Wurta married her promised husband. 

In Jigalong Wurta and Jatarr transitioned to a life as a stockwoman; “In Jigalong people, kids and all used to work there, mustering in station for ration. I stopped in dormitory… with my two sister” (Wurta Amy French). From Jigalong Wurta worked on Bonney Downs Station and several stations around Meekatharra before moving to Irrungadji, Nullagine, where she continues to live with her sister Jatarr, her children and grandchildren.


Wurta and Jatarr paint individually and also collaboratively, primarily depicting their ngurra in Karlamilyi; its animals, plants, waterholes and associated Jukurrpa (Dreaming) stories. Wurta is known for her bold use of colours and surreal landscapes, blending aerial and frontal perspectives. She has exhibited extensively since the inception of Martumili Artists in 2006 in galleries throughout Australia, in Singapore and the USA.

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