December 2025

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Ngalkodjek Yawkyawk

This artwork depicts the Ngalkodjek Yawkyawk of Barrihdjowkkeng country.

“This story is very old. That old man [my father Crusoe Kuningbal] when he was alive, told that story to me, to all of us. He told us about the yawkyawk (mermaid) spirit women called Ngalkodjek who lives in the billabong on my country. He told us how they call out loudly, how they call out as they walk along.

That is what they do, calling out. They walked around eating bush foods like those little bush yams. They would pound the yams into a pulp and eat them. That is their traditional food which they eat.

When they walk down from the bush, they follow a set path that belongs to them and they walk along calling out. That is their path which they take. It is an old traditional route.

They placed a woman’s breast into the country. That rock was not there originally, but it was a woman’s breast. It is the breast of those women.

They put that djang [sacred place] there, and then at the time when non-Aboriginal people arrived in the region, then the breast turned to stone. Now it has turned solid into rock.”

– Owen Yalandja

By CompNet Systems, ago

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Gomarla (Egret bird)

The artist has carved the ‘Gomarla’, which in the Burarra word for Egret. This bird is native to the country of Yilan, which is the coastal region North West of Maningrida Community. 

People use feathers from gomarla to make ceremonial regalia for Yirrichinga. Many Yirrichinga groups own manikay ‘song’ for gomarla.

Gomarla mun-baparrurr Gopungorra. Jin-gubatbatcha jin-banga jiny-yorkiya. Gomarla waykin makukuya mu-guyinda.

The egret belongs to the Gopungorra clan. It always eats grasshoppers. The egret is high in a nest (builds its nest in the tree).

By CompNet Systems, ago

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Yawkyawk dja Wayuk (young woman spirit and waterlily)

Deborah Wurrkidj is a Kuninjku artist from the Kurulk clan whose country lies around the outstation of Mumeka in central Arnhem Land. This image depicts a female water spirit, or Yawkyawk, from a creek in the rock country near Yikkarakal. The Yawkyawk is a story of the Duwa moiety that Deborah learnt to paint from her father.

Yawkyawk are water spirits (mermaids) and also young women. This design is Yawkyawk in the billabong near Yikkarakal. Yawkyawk move like women, the one on the left is the old woman and on the right is the young woman. They are mother and daughter. Sometimes you can hear Yawkyawk talking at night. My grandmother told me a story that they heard those Yawkyawk and when they looked out with their torch at night, all the women saw the Yawkyawk tails flapping and disappearing in the water. The water is very cold in that billabong and the sand is soft, you might fall down there in the mud. There are also wayuk (water lilies) in this design, and other grasses. Sometimes when they are cold, the Yawkyawk get out of the water to lie in the sun, but when they hear our footsteps they quickly jump back in.When were were on the outstation our elders would tell us this story of the Yawkyawk. They look after my place. They also give a baby to you. – Deborah Wurrkidj

 

By CompNet Systems, ago

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Djenj (fish) and mandjabu (fishtrap)

This fabric was created using the linocut fabric printing technique, which has been refined at Bábbarra Women’s Centre since it was introduced in the mid-1990s.

The Lino tile is carved by the artist at Bábbarra Designs. It is printed on fabric by hand using a variety of colours and layers. The linocut technique ensures each textile is a one-off, limited edition piece.

The fabric is colour-safe and can be thrown into a washing machine. Repeated use will soften the fabric, and some fading will occur over time. 

Bábbarra Women’s Centre supports the economic independence of Indigenous women in the Arnhem Land community of Maningrida, Northern Territory, Australia. Designs created by the women at Bábbarra reflect strong cultural knowledge, which is passed down to younger generations through their textile design practice.

‘Themes in our artwork almost exclusively come from our Country and cultural connection. Our deep relationship with the land and seas of our customary clan estates strongly defines and governs the social, cultural, spiritual and territorial aspects of our lives.’

Bábbarra Designs Artist Statement

By CompNet Systems, ago

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Alana Ngwarraye Holmes – My Country

I was born in Ali Curung, my father was Cigarette George, he was a drover and my Mother is Edie Kemarre Holmes.  My mother taught me to paint, I watched her when I was small, she is an important artist who was involved in the Utopia Batik movement and now paints at Ampilatwatja.  I spent my childhood around Murray Downs.

My paintings are influenced by my Fathers country. I was taught to hunt bush tucker, sugar bags, Kangaroo and Goanna when I was little.

I travel to my Mothers country on Antarrengeny outstation and I teach my kids and grandchildren to go hunting. 

I like to get busy on painting, it feels 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

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Linyji (Claypan)

“This linyji (claypan) story, it’s about when the old people used to be living in the desert, a long, long time ago- thousands of years ago. They used to make a hole in the linyjii for the wilyki (seed), using the wind to separate the seed [from the husk; winnowing]. Also, when we used to be sick, old people used to wet the parna (sand/soil/earth) with the kapi (water), [then] mix it and use on burns. For headaches, they put it on the kata (head). Like a Band-Aid, or Panadol – pujiman (traditional, desert dwelling) way!“

– Kuru Gladys Bidu

This work depicts a linyji (claypan) within the artists’ ngurra (home Country, camp), typically represented with circular forms. Claypans were visited more often during the wet seasons as they filled with water. As Kuru here describes, besides being a valuable water source, claypans were also ingeniously utilized for the removal of husks from seeds before consumption. Additionally, the clay itself was applied topically for its healing properties, aiding in the treatment of burns and soothing headaches.

During the pujiman (traditional, desert dwelling) period, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known through real life experience and the recounting of Jukurrpa (Dreaming) narratives by name, location, quality and seasonal availability. This encyclopedic knowledge extends even to the nature and movement of arterial waterways, and 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.

By CompNet Systems, ago

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Rudall River

This is Jatarr’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. 

Jatarr’s ngurra encompasses the Country that she and her family walked in the pujiman (traditional, desert-dwelling) era. At this time Jatarr travelled nomadically with her own and other family groups. The Country they traversed encompassed an enormous tract of land, all around the Karlamily (Rudall River) region and through to Tiwa (Canning Stock Route Well 26) .

Jatarr was born at Jartarrangara. She grew up, walked and hunted primarily around Pangkartal, Yalpalpa, Walirrlirri, Yanytikuji, Wartararra, Tintinmarran, Pulikati, Pimurlu, Raarki (Canning Stock Route Well 27), and Tiwa. Her family continued to live nomadically before eventually deciding to move to Jigalong Mission along with many other relatives following an extreme and prolonged drought in the 1960s. 

Portrayed in this work are features of Jatarr’s ngurra, such as the hills, gorges and valleys, warta (trees, vegetation), and the individually named water sources she and her family 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.

By CompNet Systems, ago

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Pitu (Separation Well)

“I paint Pitu because my father come[s] from Pitu and all the rest of the family, they belong to there. Family hear the stories all the time from Jakayu [Biljabu]. It’s their connection to that place. All the old people were walking through that area, aunty Jakayu was born there. It’s a sad story, hers. We [went] there… to see it again. It’s a long, long way from Punmu. All the other family [saw] where their family is from and where they belong to.”


–       Kuru Gladys Bidu


Pitu (Separation Well) forms part of Kuru’s ngurra (home Country, camp) through her father. It is a significant cultural site and large soak located yulparirra (south) of Wuranu (Canning Stock Route Well 29) and Kulilu rockhole and soak. As a site where fresh water was available all year, Pitu was an important camp and a meeting place for Kartujarra and Manyjilyjarra people during the pujiman (traditional, desert dwelling) era. At this time, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known by name, location, quality and seasonal availability through real life experience and the recounting of Jukurrpa (Dreaming) narratives. 


Soaks, or soakwaters, derive their name from the manner in which their waters generally seep into the sand from below stores, sometimes as part of an ephemeral river or creek. Soaks were an especially important source of water during the pujiman era, being the most dependable water source in times of drought. Water was obtained from soaks by scooping away the sand with a piti (timber bowls used for carrying food and water) until clear water gathered at the base of the hole, sometimes at a depth of several metres. Pitu is also surrounded by shrubs that need to be cleared to access its waters.

By CompNet Systems, ago

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Mungili

“Mungili rock hole. Big rock hole, big Country. I never see that place. My mother born [there], her and her grandmother walk through there, they tell me story [for that place]. Mother born there in the Country Mungili, walking through the bush. There is a camping spot, camping in bush – bush, bush, bush. [Points at painting] This is the lake Country and goes through there.”

– Matthew Mintern Smith

In this work Matthew depicts a claypan located in Mungili, the small outstation community situated just off the Eagle Highway in Western Australia. Mungili lies approximately 430 kilometres northeast of Wiluna and 250 kilometres north of Warburton. Mungili is ngurra (home (home Country, camp) for Matthew through his mother and grandmother. He typically depicts the site with a central large circular form that represents the main claypan, surrounded by smaller circular forms symbolising satellite water bodies.

The Western Desert term ‘ngurra’ is hugely versatile in application. Broadly denoting birthplace and belonging, ngurra can refer to a body of water, a camp site, a large area of Country, or even a modern house. 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. This knowledge is traditionally passed intergenerationally through family connections. Country for Martu is full of memory; not just the memory of their own movement through it, but also of their family. As summarised by Ngalangka Nola Taylor, “painting the ngurra, they do it to remember their connections.” 

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. Physical maintenance of one’s ngurra, like cultural maintenance, ensures a site’s wellbeing, and is a responsibility of the people belonging to that area.  

By CompNet Systems, ago

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Dreamtime

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.

By CompNet Systems, ago