111581949710

Published by on



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: Judith Anya Samson


Language: Putijarra


Community: Jigalong


Biography:

"My name is Judith Samson. My skin [group] is Milangka and I speak Martu Wangka. I was born in Hedland, Port Hedland seaside, but I moved to Jigalong community with my nanna [Dadda Samson (dec.)] and my pop. Then we moved to desert, to Puntawarri, [Canning Stock Route] Well 17. I was still a young girl, still crawling in the desert. It was nice there. Some other families lived there with us. We had some farm, some vegetables. We went schooling in Puntawarri at the school, learning ‘two way’ [refers to teaching in both Martu Wangka and English, with a focus on local cultural and ecological knowledge]. We used to go and get some parnajarrpa (goanna) and turkey. We had a Toyota truck. We been go hunting at the desert. Some people there still, but they gotta build some new houses and then we going back to [live in] Puntawarri.

My nanna’s sister had a house here in Newman, so we used to come and visit. I did high school here in Newman. Now I move between Jigalong and Newman. My nanna [was] living in Jigalong, so I still go visit there.

I started to do painting here at Martumili when I was a young girl. I been help my nanna painting, we were painting Puntawarri one. My nanna was teach me to paint. I like to do some painting. I paint the Canning Stock Route, [and Canning Stock Route] Well 17 at Puntawarri. My favourite thing is going out to Country, and go back to Jigalong and Puntawarri, and to do some painting about Country. Painting helps me be strong. My family and my culture is feeling proud. I feel happy when I paint- pukurlpa. Happy! I also like playing softball. We play for Jigalong, Western Desert. I also like to dance and listen to music.

I work with Martumili now. I come to work and wash all the paint, put all the tubs in the colour and wash all the brushes. I help sell the paintings, and photograph and catalogue them. I went to America, Fremantle, the Gold Coast, Sydney,  and Alice Springs with Martumili. I like to work at Martumili- happy, pukurlpa (happy). I also work for KJ (Kanyirninpa Jukurrpa ranger group) mob in Jigalong too."

- Judith Anya Samson

 

Judith is the granddaughter of Dadda Samson and Yanjimi (Peter) Rowlands, both of whom were highly regarded Martumili artists. She was born in Port Hedland and has lived most of her life in Jigalong. Judith was raised by her grandparents Dadda and Yanjimi, as her parents passed away when she was very young. As Judith describes, she was taught to paint by her grandmother Dadda, who passed stories to her for painting. Judith also spent much time travelling with Dadda to her country around the Puntawarri and the Rabbit Proof Fence areas, both subject of many of her paintings.

Judith has exhibited in most Martumili Artists' exhibitions in recent years. Her work has been acquired by the Art Gallery of Queensland (GOMA) and the National Museum of Australia.


© the artist / art centre