April 2022

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This is Mitutu’s Country- her ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical characteristics of that place, has today become an important means of cultural maintenance. Mitutu’s ngurra encompasses her birthplace, Yirajarra soak, located close to Lake Auld and just north of Tiwa (Canning Stock Route Well 26), and the Country that her family walked in the pujiman (traditional, desert-dwelling) era, around the Karlamilyi (Rudall River) region.

Portrayed in this work are features of Mitutu’s family’s ngurra, such as the gorges and rivers, dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources they camped at. Rock holes, waterholes, soaks and springs were all extremely important sites for Martu people during the pujiman period, and are generally depicted with circular forms. 

The encyclopaedic knowledge of the location, quality and seasonal availability of the hundreds of water bodies found in one’s Country sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. As they travelled and hunted they would also burn areas of Country, generating a greater diversity of plant and animal life.

Untitled

This painting portrays physical elements of Martu Country, such as the dominant tali (sandhills), warta (trees, vegetation), and water sources. Rock holes, waterholes, soaks and springs were all extremely important sites for Martu people during the pujiman (nomadic bush) era, with many important jukurrpa (dreamtime stories) chronicling the creation of these landmarks. In the past the Martu lived nomadically, moving from water source to water source, and hunting and gathering bush tucker as they went. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water. As they travelled and hunted they would also burn areas of country creating a larger diversity of plant and animal life.

Untitled

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. 

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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.

Untitled

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. 

Untitled

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.