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“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: Neville Ninyette


I grew up in Kondinin, Wave Rock with family. I’m the youngest of eight. It was wicked there- better than the city anyway! We would catch frogs, make flying foxes, and go kangaroo hunting with the dogs. I moved to Perth when I was 13. That was the worst thing I did- too much for me to do and too many friends. I ended up in trouble after that, spent the next eight to ten years in jail. That’s when I first learnt to paint from a friend of mine, Neville Gable. 

When I got out I went to Adelaide. Met my missus not long after that. We’ve been together about thirty years. We travelled all over Australia, kept out of trouble most of the time!

When I look at art I take bits and pieces from books and my friends to make my own style. I paint a bit of everything, I enjoy it all. I haven’t done it for years- it’s good to get back into it. Time slips away when I'm painting. It’s good painting here in the art centre, meeting new people in a new town.

© the artist / art centre