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Wanti Yuu

How did you get to this style of painting?

“Do you mean, what have I done with my life? (chuckles to herself) To me these paintings are a sense of energy. So if I see someone and they’re happy, I paint a happy vibe. Cos their spirit is happy. And sometimes it’s hard because on the outside they’re real happy but on the inside they’re real sad. Sometimes you do stuff (like a painting) and it adds up later on. But I still don’t know what it means and don’t know where my style comes from because it’s both the path I walk on and the cracks in the dirt. It’s like looking at a landscape but I haven’t been there yet. Maybe I’ll get there one day. I believe things happen for a reason.”

– Sylvia Wilson

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Untitled

Martumili Artists work with over three hundred artists from remote Martu Aboriginal communities, including Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine), and Warralong, as well as from the Parnpajinya (Newman) gallery and studio spaces. Known for their diverse, energetic, and unmediated painting styles, their works reflect the dramatic geography and scale of their homelands. Each artist, however, brings a unique approach to their craft.

Younger Martu artists often start painting alongside their parents, grandparents, and extended family, which fosters an organic learning process. This not only involves mastering painting techniques but also understanding specific locations, family histories, traditional ways of life, bush tucker, and Jukurrpa (Dreaming). Over time, with encouragement from their peers, they develop their own distinct styles and explore unique painting techniques and subject matter. In this work the artist brings a contemporary, evolving perspective to their work.

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Vali Pill Wanti

How did you get to this style of painting?

“Do you mean, what have I done with my life? (chuckles to herself) To me these paintings are a sense of energy. So if I see someone and they’re happy, I paint a happy vibe. Cos their spirit is happy. And sometimes it’s hard because on the outside they’re real happy but on the inside they’re real sad. Sometimes you do stuff (like a painting) and it adds up later on. But I still don’t know what it means and don’t know where my style comes from because it’s both the path I walk on and the cracks in the dirt. It’s like looking at a landscape but I haven’t been there yet. Maybe I’ll get there one day. I believe things happen for a reason.”

– Sylvia Wilson

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Spinifex

“When I went back to County, I thought how beautiful the spinifex was. How the sun glazed against the spinifex. The County that I speak of is Jilukurru, my grandfather’s country.”

– Kathleen Maree Sorenson

Martu Country is dominated by striking permanent tali (sandhills) covered with spinifex, gums, and other trees and shrubs. Spinifex is a pale green, spiky grass that grows in clumps throughout the Central and Western Deserts of Australia. Some varieties yield edible seeds and another contains a resin. 

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Untitled

Martumili Artists work with over three hundred artists from remote Martu Aboriginal communities, including Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine), and Warralong, as well as from the Parnpajinya (Newman) gallery and studio spaces. Known for their diverse, energetic, and unmediated painting styles, their works reflect the dramatic geography and scale of their homelands. Each artist, however, brings a unique approach to their craft.

Younger Martu artists often start painting alongside their parents, grandparents, and extended family, which fosters an organic learning process. This not only involves mastering painting techniques but also understanding specific locations, family histories, traditional ways of life, bush tucker, and Jukurrpa (Dreaming). Over time, with encouragement from their peers, they develop their own distinct styles and explore unique painting techniques and subject matter. In this work the artist brings a contemporary, evolving perspective to their work.

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Untitled

Martumili Artists work with over three hundred artists from remote Martu Aboriginal communities, including Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine), and Warralong, as well as from the Parnpajinya (Newman) gallery and studio spaces. Known for their diverse, energetic, and unmediated painting styles, their works reflect the dramatic geography and scale of their homelands. Each artist, however, brings a unique approach to their craft.

Younger Martu artists often start painting alongside their parents, grandparents, and extended family, which fosters an organic learning process. This not only involves mastering painting techniques but also understanding specific locations, family histories, traditional ways of life, bush tucker, and Jukurrpa (Dreaming). Over time, with encouragement from their peers, they develop their own distinct styles and explore unique painting techniques and subject matter. In this work the artist brings a contemporary, evolving perspective to their work.

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Kumpupirntily (Kumpupintily, Lake Disappointment)

“That’s Kumpupirntily- Lake Disappointment. The cannibals live underneath the lake there. It’s a salt lake. That’s all the ladies sitting around the lake, sitting around the claypans in the lake. That’s our Country; mine and Yunkurra’s [Billy Atkins’] Country.”

– Judith Anya Samson

Kumpupirntily lies within Anya’s ngurra (home Country, camp) through her family. This a stark, flat and unforgiving expanse of blinding salt lake is surrounded by sand hills, and located in the Little Sandy and Gibson Desert of Western Australia. Kumpupirntily translates to ‘bladder burst’; the lake was formed when the bladder of the Jila Kujarra (Two Snakes) burst here. Jila Kujarra is one of the key Jukurrpa (Dreaming) narratives for the Martu. Though the story belongs to Warnman people, it is shared across the Western Desert with several other language groups. The narrative centres on the travels of two snakes as they are pursued by the Niminjarra, spiritual ancestors of the Warnman people. 

Later in the Jukurrpa period the Ngayurnangalku (ancestral cannibal beings) made Kumpupirntily their home, where they continue to remain today. For this reason Kumpupirntily is considered one of the most sacred and dangerous sites of the Western Desert. The Ngayurnangalku are fearsome ancestral cannibal beings said to resemble people in their appearance, except for their fangs and long curved knife like fingernails they use to catch and hold their human victims. 

At Kumpupirntily, the Ngayurnangalku had a meeting to debate whether or not they would continue to live as cannibals, and eventually came to the decision to stop eating people. That night, a female baby cannibal was born. Following protocol, the baby also had to be consulted by the group. She determined that the Ngayurnangalku should continue to eat people. Her decision divided the group, and from this point the group from the east continued to live as ‘bad’ cannibals at Kumpupirntily, while the group from the west became ‘good’, thereafter consuming only animals. 

The cannibal Ngayurnangalku still live beneath the crust of Kumpupirntily lake in an underground world lit by their own sun. They surface only to feed on human flesh, coming in and out of the world we see through a small hill that acts as a gateway between worlds; Yapu Maparnpa (magical hill). Stored with the Ngayurnangalku in their underground world is an arsenal of maparnpa (holding power for sorcery) weapons, as well as deposits of pujurrpa (red ochre) that the Ngayurnangalku use to paint themselves with when they dance.

Several phenomena at Kumpupirntily act as a warning of the imminent appearance of the Ngayurnangalku; still skies, wilany (boomerang-shaped clouds), and the emergence of the parla-parla (type of lizard), smacking their mouths. The vigilance of the Martu as they travel in the Country around Kumpupirntily is so great that several other precautions are followed; fires are not lit, planes and helicopters are not flown directly over the area, and digging in the lake is strongly discouraged. All of these activities are believed to disturb the Ngayurnangalku, causing them to rise from their underground world.

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Tuwa (Sandhills)

‘’Went with Martumili. Old Jigalong. Judith’s nanna Country, where Judith nanna was born. Went from old Jigalong to Jigalong to right through Parnngurr, Camped the night and then Judith’s pop went to pick him up. His name is Mr Rowlands and I call him brother. He showing me where my nanna’s Country started from Parnngurr towards Lake Disappointment. We camped the night. Judith’s nanna was getting cheeky bossing him (Mr Rowland) around; “we not married anymore that’s why I left him.” Between Lake Disappointment and Durba Springs (Pinpi) there were these beautiful rolling sand hills, we winding through them over top, we stopped half way and I looked out to the sunset saw all the glistening spinifex. The orange from the sunset lit the sand dunes up. When I do the Tuwa paintings I think of that day.’’

– Kathleen Sorensen

The traditional lands of the Martu people encompass the Great Sandy Desert and Rudall River regions of Western Australia, an enormous tract dominated by distinctive red tali, or tuwa (sandhills). These sandhills present an unforgiving landscape; sparse vegetation covers a seemingly never ending expanse of dunes, and yet these lands and the location of resources within them was known intimately by its pujiman (traditional, desert dwelling) inhabitants. At this time, Martu traversed very large distances annually in small family groups, moving from water source to water source through the harsh desert landscape with incredible stamina and resourcefulness. Travel was often undertaken at night, and when travelling during the day, Martu wore yakipiri (woven bark sandals) to protect their feet from the hot desert sand.

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Marapinti (Marrapinti)

“Marapinti, close to Kiwirkurra. That’s my auntie’s ngurra (home Country, camp), her Jukurrpa (Dreaming). Most of that area is sandhill, with a big rock on the side. Very sacred place- no man can go. That’s a woman’s place. The Seven Sisters were there. They still there, they stayed after the Dreamtime. They always dance there, women meeting together. They used to dance like this [motions hands up and down]. There’s a tunnel inside the rocks, and bush tucker [from the Dreamtime] all around there inside, and two women- twins.

Sometimes I go dancing with my daughter there, with the other girls for culture, for learning. The old ladies have to go too- they boss for that Country. Sometimes we go for ranger trips too.”

– Daphne Larry

 

Marapinti is a rockhole located west of Kiwirrkurra in Western Australia’s Gibson Desert. The site is surrounded by many small rockholes and caves. Marapinti is an important site in the Minyipuru (Kanaputa, Jakulyukulyu, Seven Sisters) Jukurrpa (Dreaming). Minyipuru is a key creation narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. Beginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following a group of women as they walk, dance, and even fly from waterhole to waterhole. As they travel the women camp, sing, wash, dance and gather food, leaving markers in the landscape and creating landforms that remain to this day, such as groupings of rocks and trees, grinding stones and seeds. During the entirety of their journey the women are pursued by a lustful old man, Yurla, although interactions with other animals, groups of men, and spirit beings are also chronicled in the narrative.

Marapinti is the easternmost point visited by the Minyipuru in their journey across Martu Country. As they travelled, singing and dancing towards Pintupi Country, the Minyipuru created waters and landforms. On reaching Marapinti they performed ceremonies and pierced their septum with nose bones, a practice also known as marapinti. Today the Minyipuru can be seen at Marapinti as a group of rocks, sitting up like women.

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Karlamilyi

Karlamilyi (Rudall River region) and its surrounds are Warnman Country, located in the very heart of the Martu homelands. The region is situated southwest of the Great Sandy Desert and northeast of the Little Sandy Desert. Spanning through the region is the epic Karlamilyi River, which runs north into Nyayartakujarra (Ngayarta Kujarra, Lake Dora), a large salt lake. The Broadhurst and Fingoon Ranges extend diagonally across the river’s path. The landscape is striking for its abundance of gorges and valleys carved by ice age glaciers, rugged cliffs, red tali (sand dunes), grasslands, sandstone and quartz rocky outcrops, and salt lakes. 

Across the whole region are hundreds of water sources; including waterholes, creeks, soaks, lakes, pools and rockholes. Lining the rivers are coolabah, walyji (river gum), yulbah (bats wing coral tree), and several species of acacia and hakea. Jalkuran (paperbark), kurrulyu/ mijarrpa (bloodwood) and jawirli (quandong) are found in the region’s valleys, and wikirrpa (desert oaks) and grasses in the sandplains. The area is abundant with bird species, jila (snakes), maruntu (goannas), red kangaroos and warlpaju (rock wallabies). The region is also home to remote aboriginal communities Punmu and Parnngurr.

According to two of the central Martu Jukurrpa (Dreaming) narratives, the Karlamilyi River and its surrounds were created by the ancestral beings Jila Kujarra (Two Snakes) and the Wati Kujarra (Two Goanna Men) as they travelled across the lands.