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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: Peter Bumba


I was born in Broome, and lived in Bidyadanga community all my life. Bidyadanga is 180 kilometres out of Broome on the coast. It was La Grange Mission before. All the families came from the bush. They picked up my parents in Wirnpa when the government was doing long range missile testing in the desert in the 1960’s. My sister is Yuwali- she was separated from our parents and went to Jigalong. My dad was walking out in the desert somewhere. He was blind then, blind from the explosion that he saw. My mum belongs to Joanna Springs area. Everybody walked from Joanna Springs, they walked on to Anna Plains Station and Fraser Downs. From there they went to Bidyadanga, and my family settled there with a lot of other families. They’ve been in Bidyadanga ever since. It was good growing up in Bidyadanga- good fishing and good hunting. It’s a good place by the sea!

My mother is Yikartu Bumba [Martumili Artist]. She’s been painting in Bidyadanga and Punmu, painting for my whole life. I wasn’t interested when I was younger, but I’ve started painting now. I’m now living in Newman, and I want to do more painting. I’ve started working with Martumili Artists now too.

© the artist / art centre