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Status: Stock


Many Rivers – Aunty T

Size: A3

“When I started making art, I found it very healing. Art is an expression of how you are. I suppose I like bright colours, it reflects a brighter future. The colours brighten you up. New life and new beginnings. The blue is the deep waters, the red is strength and courage, the pink is new beginnings.” – Tootsie says of her Swirly Works as she fondly calls this body of work. 

About Mum T:

Mum T (dec.) was born at Yarraloola Station near Pannawonica and grew up in Onslow, living at the Old Reserve and the Onslow Hostel. After attending high school at the United Aboriginal Mission Hostel in Derby, she returned to Onslow and worked as a domestic cleaner at the Hostel and later at Yarraloola Station and Nanutarra Station with her extended family. Tootsie has lived in Roebourne since 1970 and is a committed contributor to the Roebourne community. Tootsie is a founding member of Juluwarlu Art Group, is a board member and broadcaster at Ngaarda Media, is involved in song, video and performance arts with Big hART, and holds a Graduate Diploma in Aboriginal Community Development from Curtin University. Tootsie began painting 10 years ago as a means of healing after the death of her son, and depicts Yindjibarndi stories, rivers, plants and seasons.

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Status: Stock


Many Rivers, Aunty D

“When I started making art, I found it very healing. Art is an expression of how you are. I suppose I like bright colours, it reflects a brighter future. The colours brighten you up. New life and new beginnings. The blue is the deep waters, the red is strength and courage, the pink is new beginnings.” – Tootsie says of her Swirly Works as she fondly calls this body of work. 

About Mum T:

Mum T (dec.) was born at Yarraloola Station near Pannawonica and grew up in Onslow, living at the Old Reserve and the Onslow Hostel. After attending high school at the United Aboriginal Mission Hostel in Derby, she returned to Onslow and worked as a domestic cleaner at the Hostel and later at Yarraloola Station and Nanutarra Station with her extended family. Tootsie has lived in Roebourne since 1970 and is a committed contributor to the Roebourne community. Tootsie is a founding member of Juluwarlu Art Group, is a board member and broadcaster at Ngaarda Media, is involved in song, video and performance arts with Big hART, and holds a Graduate Diploma in Aboriginal Community Development from Curtin University. Tootsie began painting 10 years ago as a means of healing after the death of her son, and depicts Yindjibarndi stories, rivers, plants and seasons.

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Status: Stock


Kaalpa (Kalypa, Canning Stock Route Well 23)- Corban Clause Williams

“Kaalpa (Kalypa, Canning Stock Route Well 23) is my grandfather’s Country. There’s a waterhole there, Kaalpa waterhole. It’s my two pops’ Country. They been walking around, hunting around Kaalpa. You can see a yapu (rock), warla (lake), claypans, karru (creek) and tuwa (sandhills) there. It’s on the [Canning] Stock Route, it’s Well 23. One walypala One walypala (whitefella) well, and a real kalyu (water) there, jurnu. The Seven Sisters landed there, Jukurrpa (Dreaming). That man Yurla yapu (hill, stone, rock) there.” [Yurla, who chased the Seven Sisters during the Jukurrpa remains at Kaalpa in the form of a rock]) 

In pujiman (traditional, desert dwelling) days, pujimanpa (desert born people) walking around all this Country. My pops told me about that place, a big flat area, parlkarra (flat country) good for hunting parnajarrpa (goanna), lunki (witchetty grub), lungkurta (blue tongue lizard), wamurla (bush tomato), jinyjiwirrilyi (wild gooseberry). Kaalpa is a busy place for emus getting a drink. 

The old people were telling me “Kaalpa’s your grandfather’s Country, you gotta paint it.” I went [to Kaalpa] for the first time [in 2018] on a Martumili KJ [Kanyirninpa Jukurrpa] trip. We went out there when we were looking for the [Greater] Bilby. They took me and [my sister] Tamisha, they showed us our grandfather’s Country, Well 23. I went out there, had a good look, walked around, and went back to Wantili (Warntili, Canning Stock Route Well 25), Parnngurr, and I started painting it. Now it’s my mind, now I know what Kaalpa looks like. When I went there, I was pukurlpa (happy). It made you open up your spirit, it feels like home.”

 – Corban Clause Williams

Kaalpa is a permanent water source located northeast of Kumpupirntily (Kumpupintily, Lake Disappointment). This site is a place of great cultural significance, and is also known for good hunting. Adjacent to the waterhole is a hill of the same name. The landscape around Kaalpa is parlkarra (flat country), bordered by tali (sandhills) stretching as far as Windy Corner, northeast and towards the border of Western Australia and the Northern Territory. The large and dangerous Jukurrpa (Dreamtime) mosquito and fly beings partially created the landforms in this area and continue to live underground here.

Kaalpa also features in the Minyipuru (Jakulyukulyu, Seven Sisters) Jukurrpa, a central creation narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. At Kaalpa the Minyipuru met a group of men; it was the first time either group had seen members of the opposite sex. The men tried to grab the women, but the Minyipuru chased them, hitting them with their digging sticks and leaving them lying there as they continued travelling east.

Relayed in song, dance, stories and paintings, Minyipuru serves as a creation narrative, a source of information relating to the physical properties of the land, and an embodiment of Aboriginal cultural laws. Beginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following the 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.

The intersection of the Canning Stock Route with Kaalpa also made this a site of early contact with Europeans for many Martu then living a pujiman life in the desert. Following the route’s construction, Martu encountered Europeans and other Martu working as cattle drovers as they would travel up and down the Stock Route from water source to water source. Increasingly, pujimanpa followed the route to newly established ration depots, mission and pastoral stations. They were drawn to the route in search of food, by a sense of curiosity, or by loneliness. By the late 1950s and early 1960s, most of the desert family groups had left the desert. Eventually, these factors combined with an extreme and prolonged drought in the 1960s to prompt the few remaining pujimanpa to move in from the desert.

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Status: Stock


Family Lines Screen print

Family Lines was part of a small series of work I produced earlier this year called Cultural Echoes. Using abstracted forms and mark making of traditional linear and xx-ray styles of Victorian, south-east Yorta Yorta peoples. It speaks to the interconnectedness of our many mobs but also the ways in which we see and understand this new world we live in. All my work often draws on my own lived experiences and my own understandings of the relational and the colonial. A never-ending dance, a dance I’ve been doing from my very existence.

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Status: Stock


Man-galagun (Crab Creek) on Birch Linen – Martha Lee

Lengths of handprinted screen printed fabric on linen (birch) fabric 135cm wide

The base fabric is ‘natural’ colour and it is a three-colour print with orange, black and white details.

Martha says of this design “Man-galagun (Crab Creek) Country is where our family used to take us to when we were small. It is everyone’s favourite fishing spot. People gather there and catch up with one another yelling out- ‘Aye, you get any fish? Did you catch any langga (catfish), walgawalga (salmon) gungunbiny (grunter) or any wangaja (mud crab)?!’ Then we all sit down around the fire and cook up our beautiful feed that we just caught and drink smokey tea from the fire, sharing our catch with everyone. Country always gives us plenty of nagula mayi (seafood).

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Xmas/Christmas decoration ball, Watiya Tjuta in blue/organge/yellow/black

In this design Mitjili Napurrula depicts her fathers Tjukurrpa, the ceremonial spear straightening in Uwalkari country (Gibson desert region). The Watiya Tjuta (Acacia Trees) are the trees that are used to make these spears. Uwalkari country is abundant with Watiya Tjuta, as well as sand hills and other plants. Mitjili paints the motif of the Watiya Tjuta, carrying on the recurring motif as her mother used to draw in the sand. Her mother passed on this Dreaming to her.

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Honeycomb Christmas ball – Puli Puli – 7.6cm

Keturah depicts the puli puli (rocks) at two different sites: the landscapes at Haasts Bluff and also Karrkurrutintja (Lake McDonald). Keturah depicts her childhood memories of both places.
“The sand hills I paint are my mother’s story and the rocks I paint are my own story. My paintings are about my story and my mother’s. When I look at my paintings I feel happy. My Grandmother used to say to me when I was younger: “One day you will paint.”

11564004646


Status: Stock


Come and colour with Bula’bula Arts

Come and colour with Bula’bula Arts artists. This book features 16 Yolgnu drawings and stories to colour in at home.

Bula’bula artists embody the traditional knowledge of the Yolgnu Nation. Their stories are passed on from ancestors and in doing so. Yolgnu recreate and identify with the sacred ceremonial objects which connect Yolngu to each other, to their past, their creative beings and to their Country. 

This Artwork embodies traditional ritual knowledge of the Yolŋu Community of Ramingining. It was created with the consent of the custodians of the Community. Dealing with any part of this artwork for any purpose that has not been authorised by the custodians is a serious breach of the customary laws of the Yolŋu Community. For enquiries regarding permitted uses of this Artwork, contact Bula’bula Arts.

 

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Status: Stock


Waterhole Ceramic Earrings

The artwork by Alice Nampitjinpa featured on these earrings is about a rockhole at Taalalpi West of Kintore, the artist’s country.

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Status: Stock


Puli Puli Heart Ornament

Keturah depicts the puli puli (rocks) at two different sites: the landscapes at Haasts Bluff and also Karrkurrutintja (Lake McDonald). Keturah depicts her childhood memories of both places.
“The sand hills I paint are my mother’s story and the rocks I paint are my own story. My paintings are about my story and my mother’s. When I look at my paintings I feel happy. My Grandmother used to say to me when I was younger: “One day you will paint.”