Published by on


This work portrays an area known intimately to the artist, painted here in exquisite detail from memory. During the pujiman (traditional, desert dwelling) era 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), and different varieties of warta (trees, vegetation) were carefully observed and remembered. Today, this relationship with Country remains equally strong, despite the movement of Martu out of the desert and into remote Aboriginal Communities, towns and cities.

Also visible may be traces of life cycles based around kalyu (rain, water) and waru (fire). 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 visible 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. 

Name: Brianna Booth

Language: Manyjilyjarra

Community: Parnngurr


I was born in Port Hedland and grew up in Parnngurr Community with family.

Mostly I grew up with my grandmother and learnt how to hunt. She taught me to respect myself and others. She was telling me all the dream stories when I was young. I was watching my other grandmother Ngamaru paint and learned from her, asking her about them. She told me about her Country around and through the Canning Stock Route. 

I like to paint Parnngurr Country all over Martu Country.

© the artist / art centre