December 2025

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Levina Pitjara Morton – My Country

When I paint, I think of the stories my Grandmother Lilly tells me of how she and her family used to live. Where they lived on her country as she was growing up and how they followed their mothers and their grandmothers.

When I go hunting with family for bush tucker and bush medicine it makes me think of Lilly’s stories, the way they used to live off the land, traditionally.
I paint those places my Grandmother tells me about, I paint how I imagine they were and the life they used to lead.

Levina’s fine dot technique requires a lot of time and patience, communicates the pride and passion she has for her paintings and her country.

The community of Ampilatwatja made a conscious decision not to paint altyerr (dreaming stories). The artists paint their country where those stories sit.

By CompNet Systems, ago

220982392937

Kathleen Nanima Rambler – My Fathers Country

I paint the country of my Father and Mother and where they grew up, near Barrow Creek.

This is the painting of my Father’s country, where I grew up. When we would go hunting, we always climbed those hills. We would take the kids hunting too and take photos of the hills.

I use bright colours and beautiful attention to detail expresses the love and joy that I have for the country closest to my heart.

The community of Ampilatwatja made a conscious decision not to paint altyerr (dreaming stories). The artists paint their country where those stories sit.

By CompNet Systems, ago

220982394007

Diane Kemarre Ross – My Country

This is my country, it’s the country around Irrultja. This is where we like to go after big rain. After big rain there, we can go swimming. There is always good hunting on my country. It is good for me to paint my country and it makes me feel good.

The artists of Ampilatwatja made a conscious decision not to paint altyerr (dreaming stories). The artists paint their country where those stories sit.

 

By CompNet Systems, ago

220982394164

Daisy Kemarre Turner – Irrultja, My Country

I was born in Irrultja and I grew up with my mother, father and sister. My mother was the strong painter Rosie Ngwarraye Ross, and my grandmother Biddy Kemarre was a member of the Utopian Batik movement. My sister Margaret Kemarre Ross and my daughters, Rosemary, Desma and Danielle Ngwarraye Turner are all strong artists who paint and live in Ampilatwatja. We all paint the bright and beautiful wild flowers that grow here.

Irrultja is hill country and my mother and father took me hunting, we hunted kangaroo and goanna and cooked them in the fire in the shade of trees. We collected bush tucker and strong bush medicine – Arreth. We loved collecting the small delicious bush tomato and bush medicines to wash our hair and soothe our skin. I loved swimming and playing with my sister as a child.

By CompNet Systems, ago

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Kakan (Black Palm) Dillybag.

Our ancestors used Kakan (Black Palm) dilly bags to carry food when out hunting and gathering or soak bitter yams in creeks before cooking them. They were also used to hold personal items.

When I was a young girl my grandmother would teach me how to make Black Palm dillybags. We used to set up camp with other Kuku Yalanji women at a creek near Helenvale. It is very hard work. The men would help us cutting down the palm trees and separate the crownshaft from the trunk and the leaves. Then the women used to peel away the outer leaves until they felt strong threads they could pull out. They cleaned these threads from pulp with a mussel shell. When we moved away from Helenvale I forgot how to make them. Luckily years later I asked a relative of mine, Wilma Walker, who is great weaver, if she could refresh my memories. From then on I kept making dillybags as long as my health allowed it. I really enjoyed making them.

By CompNet Systems, ago

220982394661

Jessie Ngwarraye Ross – My Country

Jessie’s landscapes beautifully communicate the rich knowledge she possesses of medicinal plants and country, the heart of her culture.
Jessie’s has painted her country, Ampilatwatja. The brightly coloured flowers and small bushes are bush medicine and are still used within the community.


Jessie’s predominant theme in her paintings is ‘strong bush medicine’, demonstrating a deep connection to her country. Her work pays homage to the significance and use of traditional bush medicine, allowing an insight into her community. Yet underneath the iridescent surface, there is an underlying sense that there is more to this landscape than meets the eye. In keeping with the religious laws, Jessie reveals only a small amount of knowledge to the uninitiated.

The community of Ampilatwatja made a conscious decision not to paint altyerr (dreaming stories). The artists paint their country where those stories sit.

By CompNet Systems, ago

377815582394760

Kulyakartu

“I paint about Kulyukartu. It’s my grandmother’s Country. I love painting about that Country. I went on a trip doing fire burning, cleaning the waterholes, and walking around looking where my grandmothers carved the rocks and things. I went with my mum Emily, and SJ (Nuriah Jadai). You turn before 80 Mile Beach and just go straight.

I feel good when I’m there — it feels like home when I paint it. I learnt to paint from my grandfather (Wokka Taylor, dec.). When we went to 33 (Kunawarritji, Well 33) and back to Punmu, we were just watching them. He told me to get a brush, and then he told me to start painting. I think him and Dunjan (Thelma Judson) were painting a big one, and I came to help him. He told me, ‘One day you should go to Kulyukartu,’ and so I went there.”
 – Kiarah Mandijalu-Jadai

This artwork shares the story of Kulyakartu, a vast and peaceful area north-east of the community, on the edge of Nyangumarta and Martu Country. Kulyakartu is a place of wide open skies, long claypans, sandhills and soft grasses that come alive after rain.

Families remember camping there, visiting waterholes, looking for goanna and bush foods, watching birds, and travelling with old people who knew every dune, track and soak. The painting celebrates the beauty and calm of Kulyakartu, often shown through soft lines and dots that follow the movement of water and sand. It honours the knowledge of where to find water, how to move across Country, and the deep belonging felt when returning to ancestral places.

Through this work, the artist invites viewers to feel that stillness and connection — the strength of Country, memory and family.

By CompNet Systems, ago

377815582394725

Kulyakartu

“I paint about Kulyukartu. It’s my grandmother’s Country. I love painting about that Country. I went on a trip doing fire burning, cleaning the waterholes, and walking around looking where my grandmothers carved the rocks and things. I went with my mum Emily, and SJ (Nuriah Jadai). You turn before 80 Mile Beach and just go straight.

I feel good when I’m there — it feels like home when I paint it. I learnt to paint from my grandfather (Wokka Taylor, dec.). When we went to 33 (Kunawarritji, Well 33) and back to Punmu, we were just watching them. He told me to get a brush, and then he told me to start painting. I think him and Dunjan (Thelma Judson) were painting a big one, and I came to help him. He told me, ‘One day you should go to Kulyukartu,’ and so I went there.”
 – Kiarah Mandijalu-Jadai

This artwork shares the story of Kulyakartu, a vast and peaceful area north-east of the community, on the edge of Nyangumarta and Martu Country. Kulyakartu is a place of wide open skies, long claypans, sandhills and soft grasses that come alive after rain.

Families remember camping there, visiting waterholes, looking for goanna and bush foods, watching birds, and travelling with old people who knew every dune, track and soak. The painting celebrates the beauty and calm of Kulyakartu, often shown through soft lines and dots that follow the movement of water and sand. It honours the knowledge of where to find water, how to move across Country, and the deep belonging felt when returning to ancestral places.

Through this work, the artist invites viewers to feel that stillness and connection — the strength of Country, memory and family.

By CompNet Systems, ago

111982395285

Mimih Spirit

The mimih spirit exists in a realm that runs parallel to and mirrors many facets of human life, demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience. Whether shown in a national or international context these works communicate and exist in a particular space that is cross-cultural and simultaneously particular to the Arnhem region.

The mimih sits within a complex pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists, or apprentices, employ the mimih as an important exercise for the practice of the rarrk technique, as it could be achieved on a smaller surface area before being attempted in larger scale on pieces of bark. The mimih serves a purpose for those young artists first learning to carve in a social space of sharing and innovating. The initial mimih manifestation was a large form that almost mirrored the anatomy of a human and at this stage the sculptures have been likened to mokuy carvings visible in eastern Arnhem Land. Contemporaneously, mimih are depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that mimih spirits are notable for in their interaction with bininj (humans). The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design.

A leading figure engaging the spirit in visual storytelling was Crusoe Kuningbal, a Kuninjku man, who while traveling was familiarised with carving styles from the east of Arnhem at the mission in Milingimbi pre-dating World War II. The connection and development of art forms informed by cross cultural dialogues within northern Aboriginal language groups is notable. The mimih became a valued inclusion in performance and public ceremony by Kuninjku people like Kuningbal. At times these ceremonies were performed for extended language groups in the local region. 

Now a familiar and broadly depicted figure of iconography, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture. Variation in the creation of mimih acts as an indication of the individualism of each artist and their stylistic markers. Additionally significant to note is that in the space of the past thirty years the mimih has begun being produced by multiple language groups residing in the Maningrida area including the traditional owners of Maningrida, the Ndjébbana, speaking Kunibidji as well as Gurrgoni people who have strong ties to Kuninjku. 

________
*Maningrida Arts & Culture acknowledge the work of many academic and non-academic voices when writing on this topic, it is important to note Luke Taylor, who’s broad research has informed this text.

By CompNet Systems, ago

111982395283

Mimih Spirit

The mimih spirit exists in a realm that runs parallel to and mirrors many facets of human life, demonstrating the deep sense of time and place understood by Aboriginal and Torres Strait Islander people. Such spirits feature importantly in relation to Aboriginal spirituality, cosmology, social and moral tales as well as ritual. As is true with the multiple mediums employed by artists of West Arnhem Land, the development of artistic style and form is in line with an awareness by the artist that the work produced is predominantly made for a broader audience. Whether shown in a national or international context these works communicate and exist in a particular space that is cross-cultural and simultaneously particular to the Arnhem region.

The mimih sits within a complex pedagogical and religious body of knowledge which links Kuninjku people to their distinctive escarpment homelands. Young Kuninjku artists, or apprentices, employ the mimih as an important exercise for the practice of the rarrk technique, as it could be achieved on a smaller surface area before being attempted in larger scale on pieces of bark. The mimih serves a purpose for those young artists first learning to carve in a social space of sharing and innovating. The initial mimih manifestation was a large form that almost mirrored the anatomy of a human and at this stage the sculptures have been likened to mokuy carvings visible in eastern Arnhem Land. Contemporaneously, mimih are depicted in a refined, slender, even emaciated form with a broad range of facial expressions giving both individual character to, and denoting the potential volatility and humour that mimih spirits are notable for in their interaction with bininj (humans). The sculptures are frequently carved from the thin trunks of softwoods such as kapok (bombax ceiba or cottonwood) kurrajong, beach hibiscus or leichardt and are painted with earth pigments for their colouring and design.

A leading figure engaging the spirit in visual storytelling was Crusoe Kuningbal, a Kuninjku man, who while traveling was familiarised with carving styles from the east of Arnhem at the mission in Milingimbi pre-dating World War II. The connection and development of art forms informed by cross cultural dialogues within northern Aboriginal language groups is notable. The mimih became a valued inclusion in performance and public ceremony by Kuninjku people like Kuningbal. At times these ceremonies were performed for extended language groups in the local region. 

Now a familiar and broadly depicted figure of iconography, it is important to acknowledge the development of this quite recent sculptural tradition. The depiction of this particular spirit being, once used as an addition to the sharing of song cycles and ceremony, has since been elevated to a prominent form and subject of contemporary sculpture. Variation in the creation of mimih acts as an indication of the individualism of each artist and their stylistic markers. Additionally significant to note is that in the space of the past thirty years the mimih has begun being produced by multiple language groups residing in the Maningrida area including the traditional owners of Maningrida, the Ndjébbana, speaking Kunibidji as well as Gurrgoni people who have strong ties to Kuninjku. 

________
*Maningrida Arts & Culture acknowledge the work of many academic and non-academic voices when writing on this topic, it is important to note Luke Taylor, who’s broad research has informed this text.

By CompNet Systems, ago