This artwork has the riverbank of Millstream. It’s a tropical oasis where we like to go swimming there, fishing and spending time with family. Along the Riverbank I’ve painted the bush flower medicine called Jammi. It’s used for sores and cuts and scratches. You boil the Jammi leaves up and then bath yourself in the water. You can also use it for air freshener; it smells like eucalyptus. It can open your airways.
This is the site where the Yaburara Tribe used to camp in Murujuga. We ars Yindjibarndi people look after this place now because the Yaburara people are no longer here.
‘Kungkarrangkalpa’ (The Seven Sisters or Pleaides) is significant Tjukurrpa (dreamtime). Its origins you may be familiar with in astronomy and its connection to ‘Wati Nyiru’ (Magic Man or Orion). The roots of this dreaming stems across indigenous groups around the world. The Australian Aboriginal songline is one part to the whole dreaming which can be traced all around the world. The ladies of the Ngaanyatjarra Lands depict their significant chapter and understanding of the journey of the sisters. The different versions of this story depend on where you live and the significance’s of local Tjukurrpa places.
Nyiru fell in love with the sisters but he was of the wrong skin group to marry, but he still pursued them on their journey. The sisters travel across the land to escape Nyiru’s unwanted attentions, but he is persistent and always finds them. There are significant land forms which can be sited today that evidence this dreaming. As Nyiru is chasing the sisters he tries to catch them by using magic to turn into the most tempting kampurarrpa (bush tomato) and the most beautiful Yirli (wild fig tree), for them to eat and camp under. However, the sisters are knowledgeable of his magic and too clever for Nyiru who they outwit again and again. They go hungry and run through the night rather than be caught by him. As the journey continues, Nyiru gets so frustrated at the wit of the sisters that he uses his magic to make the oldest sister sick to try and get closer to her. The other sisters rescue the big sister and nurse her back to health. It is said he also captures the youngest sister, but with the help of the oldest sister, she escapes back to her sisters who are waiting for her. Eventually, the sisters fly into the sky to escape Nyiru, forming the constellation. Nyiru felt lonely, longing for the sisters who were so far away. Nyiru used his magic to go to the sky, forever in pursuit.
This is a site at Murujuga. This is where the office is and we as Yinjibarndi people, we look after this place now.
This line in the middle is the Ngurin River which runs through Roebourne. It is a life recource. There are two tribes on either side. Ngarluma and Yindjibarndi coming together at one Ngurin River.
Namorrorddo is a profane spirit sometimes called a ‘bad angel’ in Aboriginal English.
The Namorrorddo is a yirridjdja moiety being associated with the Yabbadurruwa regional cult ceremony.
Namorrorddo sits upon a rock and is usually painted with long claw like hands and feet. Sometimes spurs protrude from the elbows somewhat like those of a flying fox. Namorrorddo carries light, which emanates from his head. The shooting stars seen at night are Namorrorddo travelling across the night sky.
He whistles an eerie cry, which Aboriginal people say they can hear at night from time to time. Namorrorddo is feared as an evil being who attacks humans by clubbing them with his fighting stick or miyarrul. Namorrorddo is also sometimes depicted carrying bamboo spears and a spear thrower. Namorrorddo is a major dreaming totem for the Kardbam clan. There are a few examples of images of Namorrorddo painted in rock shelters in the Mann and Liverpool Rivers district.
Namorrorddo is a profane spirit sometimes called a ‘bad angel’ in Aboriginal English.
The Namorrorddo is a yirridjdja moiety being associated with the Yabbadurruwa regional cult ceremony.
Namorrorddo sits upon a rock and is usually painted with long claw like hands and feet. Sometimes spurs protrude from the elbows somewhat like those of a flying fox. Namorrorddo carries light, which emanates from his head. The shooting stars seen at night are Namorrorddo travelling across the night sky.
He whistles an eerie cry, which Aboriginal people say they can hear at night from time to time. Namorrorddo is feared as an evil being who attacks humans by clubbing them with his fighting stick or miyarrul. Namorrorddo is also sometimes depicted carrying bamboo spears and a spear thrower. Namorrorddo is a major dreaming totem for the Kardbam clan. There are a few examples of images of Namorrorddo painted in rock shelters in the Mann and Liverpool Rivers district.
The seeds are collected under a tree by laying a tarp on the ground and hitting the tree continuously until most of the seeds have fallen. Once the seeds are collected they are then ground with a mortar and grinding stone.
A number of these grinding stones have been in families for generations. Once seeds are ground, water is added and mixed until a damper like substance is formed and placed under the coals until cooked.
Yalpirakinu is Adrian’s mother’s country. Adrian’s mother is the late Eunice Napangardi, a well known painter herself. His artworks consistently refer to the desert mountains, ridges and trees which are part of Yalpirakinu. Using a restricted colour palette, Adrian’s brushwork is loaded with energy, drama and memories. He is a deliberate and thoughtful painter; reworking, pushing and pulling the image to completion.
Ampilatwatja is my Mothers Country, I come from a long line of artists.
My family still traditionally hunt and gather, I share my love for the land, plants, flowers and trees, with my children and grandchildren.
My paintings are inspired by the changing seasons and I sometimes collect bush medicine plants which I make into tea to drink and bush medicine body lotions. My favourite is aherr-aherr (lemon grass) which I boil up and then use as a body and hair wash, this always makes me feel right and good.
Knowing your country is an important part of living in a remote community like Ampilatwatja. Knowing when and where to go hunting and gathering, knowing where there is ‘soakage’ (where you can dig for water), traveling with family for ceremonies, and maintaining a connection with the land.
“This is my Mothers country, my view of country”
The community of Ampilatwatja made a conscious decision not to paint ‘altyerr’(dreaming stories). The artists paint their country where those stories sit.