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Mungili

“No one goes there and sees that landscape. Only two, Mr and Mrs [refers to footsteps in painting]. They was walking to see if the water was in there. Walking on the creek sand, they see the colours and walk down to the water hole and dig where the waters been left. Dig the creek sand where there is still water. Little huts where they sit; move when it dries out. Leave remembrance behind. When the water fills up again; come back.

When the creek sand is still moist you can see the colours. You can see many colours – lovely colours come out. I do that in my mind [when painting], go and think about the rock colours there.

Different plants, water runs, and different plants are growing, different seeds. When it rains, all year round, when its overflowing. It’s all connected. The orange sand connects to one waterhole full of water, then flowing through the creek sand. This side down [pointing to one rock hole]; and it’s a bit up [pointing to another rock hole].

I was swimming there. Yeah, we go visit them a long time [ago]. We drink it, rainwater from the rain. Big waterhole. It’s a fresh water, when the rain comes, fills it up. One for swimming and another rock hole for drinking. 3 rock holes; another is special.”

– Marlene Anderson

In this work Marlene depicts a waterhole and rock hole located in Mungili, the small outstation community located just off the Eagle Highway in Western Australia, approximately 430 kilometres northeast of Wiluna and 250 kilometres north of Warburton. Marlene grew up in Mungili, and as such it forms a significant part of her ‘ngurra’ (home Country, camp). Typically Marlene depicts this site with a central large circular form that represents the main waterhole, surrounded by smaller circular forms representing satellite water bodies.

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.

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Woven Mat

Yolŋu weavers of Arnhem Land create utilitarian, ceremonial, and decorative pieces using naturally sourced materials. This mat is made from young Pandanus spiralis leaves, harvested with a wooden hook, stripped of prickles, and dried to create strong, resilient fibres. These fibres are then twisted, coiled, or woven using traditional techniques to produce both functional and decorative mats.

Bula’bula weavers exclusively use natural dyes, derived from locally sourced roots, leaves and grasses. These pigments are extracted and infused into pandanus fibres by boiling over an open fire, producing the rich, vibrant colours characteristic of contemporary Yolŋu weavings.

Traditionally, Nganiyal (conical mats) functioned as insect screens when erected and as seating mats when folded, playing an important role in both daily life and ceremonial practices. Today, Yolŋu artists create a variety of shapes, including flat, round, and oblong mats. These non-traditional styles and the use of bright colours became more common after Missionaries began commissioning pieces in this style.

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Puliki Horn Fish

Painted on this puliki (bull) horn are two freshwater fish.

Djilpin Arts is a not for profit Aboriginal Corporation that promotes the maintenance, development and transmission of traditional cultural knowledge systems.

For two decades, Djilpin Arts has been working on country with kin and culture, across generations. Our activities are rich in spirit, bringing, healing to the community and linking traditional knowledge with modern enterprise. Our Centre features galleries, museum collection and award winning accommodation for visitors.

Meet local people and artists, learn about traditional life and culture, browse and buy artworks, stay with us and experience seasonal cultural events, tours and immersions.

All artworks are made by local artists living in the community. Artwork reflects the traditional songs and stories that have been passed down through the generations with a contemporary edge: from paintings, prints, fibre art, carvings and dijeridu together to contemporary design prducts and fine woven wire jewellery.

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JB Fisher – Narrgi’ṉarrgi (possum- sugar glider)

JB paints stories from his Dhuwa homeland in northeast Arnhem Land. Stories are passed on either paternally or maternally, and JB would have learnt these stories from his ancestors. The cross-hatching style is a traditional painting style of this area and can represent elements such as water, air and wind.

His paintings often feature totemic animals of the fresh waters of north east Arnhem Land.

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JB Fisher – Wangye (yams)

JB Fisher paints stories from his Dhuwa homeland in north east Arnhem Land. Stories are passed on either paternally or maternally, and JB would have learnt these stories from his ancestors. The cross-hatching style is a traditional painting style of this area and can represent elements such as water, air and wind.

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JB Fisher – Wuldulbal/badju (bream)

JB paints stories from his Dhuwa homeland in northeast Arnhem Land. Stories are passed on either paternally or maternally, and JB would have learnt these stories from his ancestors. The cross-hatching style is a traditional painting style of this area and can represent elements such as water, air and wind.

JB’s paintings often feature totemic animals of the fresh waters of north east Arnhem Land.

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Dhabara

This painting depicts Dhabara, stone spears, moving toward each other. 

Djilpin Arts is a not for profit Aboriginal Corporation that promotes the maintenance, development and transmission of traditional cultural knowledge systems.

For two decades, Djilpin Arts has been working on country with kin and culture, across generations. Our activities are rich in spirit, bringing, healing to the community and linking traditional knowledge with modern enterprise. Our Centre features galleries, museum collection and award winning accommodation for visitors.

Meet local people and artists, learn about traditional life and culture, browse and buy artworks, stay with us and experience seasonal cultural events, tours and immersions.

All artworks are made by local artists living in the community. Artwork reflects the traditional songs and stories that have been passed down through the generations with a contemporary edge: from paintings, prints, fibre art, carvings and dijeridu together to contemporary design prducts and fine woven wire jewellery.

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Handwoven Dragonfly

Fibre Art is an ancient Aboriginal women’s craft that is still made today using the same techniques as their ancestors. Making fibre art is labour intensive and much care and fine needlework is required to ensure the finished object is both functional and beautiful. Fibre art from Ghunmarn Culture Centre includes dilly bags, floor mats, bush fans, woven creatures found in the landscape, plants such as yams (bush potato), baskets, place mats, and spirit figures such as mermaids and Mukuys. Natural pandanus fibre (Mukarra), is used to make much of the fibre art produced by the artists of Djilpin Arts. Women collect the pandanus by pulling from the top of the pandanus tree, then stripping and drying the leaves before they are dyed with natural bush colour collected from the Beswick surrounds.

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Handwoven Dragonfly

Fibre Art is an ancient Aboriginal women’s craft that is still made today using the same techniques as their ancestors. Making fibre art is labour intensive and much care and fine needlework is required to ensure the finished object is both functional and beautiful. Fibre art from Ghunmarn Culture Centre includes dilly bags, floor mats, bush fans, woven creatures found in the landscape, plants such as yams (bush potato), baskets, place mats, and spirit figures such as mermaids and Mukuys. Natural pandanus fibre (Mukarra), is used to make much of the fibre art produced by the artists of Djilpin Arts. Women collect the pandanus by pulling from the top of the pandanus tree, then stripping and drying the leaves before they are dyed with natural bush colour collected from the Beswick surrounds.

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Handwoven Dragonfly

Fibre Art is an ancient Aboriginal women’s craft that is still made today using the same techniques as their ancestors. Making fibre art is labour intensive and much care and fine needlework is required to ensure the finished object is both functional and beautiful. Fibre art from Ghunmarn Culture Centre includes dilly bags, floor mats, bush fans, woven creatures found in the landscape, plants such as yams (bush potato), baskets, place mats, and spirit figures such as mermaids and Mukuys. Natural pandanus fibre (Mukarra), is used to make much of the fibre art produced by the artists of Djilpin Arts. Women collect the pandanus by pulling from the top of the pandanus tree, then stripping and drying the leaves before they are dyed with natural bush colour collected from the Beswick surrounds.