111582333307

Published by CompNet Systems on October 24, 2024

Untitled

This work portrays an area known to the artist, painted here 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.

Categories: Shire of East Pilbara (Martumili Artists)

Name: Owen John Biljabu

Language: Manyjilyjarra

Community: Punmu

Biography:

“I was born in Newman, but then we moved to Jigalong when I was a baby. We moved out from there to all the other communities when I was a kid. I lived in Punmu, Parnngurr, Kunawarritji. Went to school there, that’s where I grew up, all the communities. I always go back between them, Jigalong, Parngurr, Punmu, because I got family in those communities.

Long time ago, a school teacher, he was an old man, ‘Big Mac’ we called him and his brother was ‘Old Mac’, he saw me doing some drawing and came to me and said “You know, if you’re interested in art I’ll show you something.” He went to the computer room in Punmu and typed in an artist’s name- Albert Namatjira. That was the first time I saw his paintings. My teacher told me “This man is not alive today, he’s from way back.” I was thinking - that’s impossible for a man of his time! Seeing his paintings made me think, if he can do it, I’ll try it. I started landscape first, but I didn’t do really good ones. My uncle Jason Tinker he knew how to do landscape. He taught me how to mix all the colour and how to see the distance properly. I was painting landscapes for a long time because that’s what my uncle was doing, so I had to learn with him.

The first portrait I did was drawing my teacher, just for fun without her looking during the classes. She didn’t know till I showed her the drawing- she felt good when I showed her, she was happy. That gave me a little bit of feeling- confidence. Then I went to Jigalong – that’s when all the old people had started painting in 2006 [with the inception of Martumili Artists]. I was with them, I was the only young fella. We was painting in the oval, in the sun. Made a colour, put it on the ground and paint right there. I was doing faces, skies. I was just looking at people and trying to paint them without a photo.

I left it for a while, maybe ten, eleven years. I thought it was wasting time, painting portraits and all that. I thought no one’s interested in art, portraits, but then someone in the family told me “You’re the only one in the tribe doing a realistic portrait.” I never seen it that way before. Just that one word made me go back to painting. I never knew anyone was watching, especially everyone here, the whole town was talking about it, the Martu and a few white people. I painted myself first, just to see if I could still do it. Then I painted Bamba [Corban Clause Williams], then Peter Tinker. I asked them if I could paint. Now people ask me to paint them.

I feel good. I feel like, it’s hard to explain. Every time I come here [ to the Martumili Artists gallery], first thing I go do is to look at my paintings on the wall. I feel proud for myself, ‘cause before I was wasting time, but I see not only am I making a difference for me, but young people too. They wanna do something too.”

- Owen Biljabu

© the artist / art centre