I still hunt my Grand Mothers country for goanna, bush medicine and yams.
I hunt all year round, hunting and walking through the country makes me happy. When I look at the distant hills I can feel my grandmother. Bush flowers are everywhere.
Painting and printing my grandmother’s country reminds about those times.
Dimensions: 30 x 30 cm Lino Print – Charcoal S/H 300gsm
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.
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*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.
This is the soakage (place to dig to find water) after the bushfire, made by a lightning strike. It burnt the grass down, then the rain came and the grass grows sweet and new. The kangaroos come out for the new grass, so we can go hunting for kangaroos and goannas, it is easy hunting because the land is bare of bush and we can see them
Dimensions: 122 x 76 cm Acrylic on Heavy Weight Linen
‘This painting is about the way women hunt Wardapi – that sand goanna. He digs holes in the dunes, makes his nest deep inside. Many of the holes all join up. Women hunt Wardapi in the dunes by digging out the holes. Sometimes cover one, and Wardapi runs out other one. Need to hunt him together. Find all the holes. Dig them at the same time. Someone going to get him that way.’
The Wardapi Jukurrpa [Varanus Gouldii Goanna] belongs to the Spencer Sisters. It comes from Yarripilangku [aka Yinyiripalangu], south-west of Yuendumu. A group of Warlpiri Karnta [women] are sitting down in a circle when a Japangardi Wati [man] from Puturlu [Mt Theo], called Wamaru came upon them. He wants to take one of them, named Yurlkurinyi, of Nungarrayi skin, which is the wrong skin for him. He takes the Nungarrayi woman up a hill, where they make love. In response, the earth on top of the hill turns to Ngunjungunju [white ochre], and yellow and red ochre. The yellow is for Karnta and the red for Wati. The ochre is used by Warlpiri people for love magic and ceremonial decoration. The Wati turns all the Karnta and himself into Wardapi, aka Varanus Gouldii goannas. This Jukurrpa belongs to the Napaljarri/Japaljarri and Nungarrayi /Jungarrayi subsections, and the Japanangka/Napanangka, Japangardi/Napangardi subsections of Puturlu. The women are often represented by ‘U’ shapes. Concentric circles may illustrate Wardapi holes, or their droppings left behind them, and Wardapi tracks are usually represented by ‘W’ shapes and wavy lines.
Dimensions: 405 x 405 mm
‘This painting is about the way women hunt Wardapi – that sand goanna. He digs holes in the dunes, makes his nest deep inside. Many of the holes all join up. Women hunt Wardapi in the dunes by digging out the holes. Sometimes cover one, and Wardapi runs out other one. Need to hunt him together. Find all the holes. Dig them at the same time. Someone going to get him that way.’
The Wardapi Jukurrpa [Varanus Gouldii Goanna] belongs to the Spencer Sisters. It comes from Yarripilangku [aka Yinyiripalangu], south-west of Yuendumu. A group of Warlpiri Karnta [women] are sitting down in a circle when a Japangardi Wati [man] from Puturlu [Mt Theo], called Wamaru came upon them. He wants to take one of them, named Yurlkurinyi, of Nungarrayi skin, which is the wrong skin for him. He takes the Nungarrayi woman up a hill, where they make love. In response, the earth on top of the hill turns to Ngunjungunju [white ochre], and yellow and red ochre. The yellow is for Karnta and the red for Wati. The ochre is used by Warlpiri people for love magic and ceremonial decoration. The Wati turns all the Karnta and himself into Wardapi, aka Varanus Gouldii goannas. This Jukurrpa belongs to the Napaljarri/Japaljarri and Nungarrayi /Jungarrayi subsections, and the Japanangka/Napanangka, Japangardi/Napangardi subsections of Puturlu. The women are often represented by ‘U’ shapes. Concentric circles may illustrate Wardapi holes, or their droppings left behind them, and Wardapi tracks are usually represented by ‘W’ shapes and wavy lines.
Dimensions: 610 x 610 mm
‘This is Petermann Range near Kaltukatjara – that’s Docker River [Community]. Puta Puta, Tjunti, Muliati. This is my father’s Country’.
Carbiene’s father was Snowy McDonald. He, like many other Pintupi-Pitjantjatjara people eventually moved east and north to refuges such as the Lutheran Mission at Ernabella, and Areyonga, during difficult drought times about 60-70 years ago. Some even ended up in Papunya once it opened as a Government Reserve in the early 1960s, as was the case of Carbiene’s father.
The shapes Carbiene paints represent an abstracted form of a series of important waterholes through the Petermann Ranges. Some of these sacred places now also have small Family Outstations or Homelands established nearby. For example, Tjunti is the name of a family outstation named for a soakage where the Hull River cuts through the Petermann Ranges. This is where Lasseter took refuge during his ill-fated expedition in search of gold. The cave he was found in near Tjunti is called Kuḻpi Tjuntinya (now commonly called Lasseter’s Cave in English).
The Petermann Ranges have now been designated an area of Conservation significance and the government work closely with local families in managing the area.
Carbiene is a Papunya Tjupi artist, having joined Papunya Tjupi Art Centre in 2018 and launching his career along with a cohort of emerging young male artists. Papunya is 250km West of Alice Springs, and when Carbiene visits Alice Springs he paints with Tangentyere Artists. Tangentyere Artists and Papunya Tjupi have a good working relationship, with several artists from each art centre coming from the same families. Tangentyere Artists’ figurative painter Betty Conway is Carbiene’s Aunty and Carbiene stops at Betty’s when in town.
Dimensions: 305 x 610 mm
‘This painting is about the way women hunt Wardapi – that sand goanna. He digs holes in the dunes, makes his nest deep inside. Many of the holes all join up. Women hunt Wardapi in the dunes by digging out the holes. Sometimes cover one, and Wardapi runs out other one. Need to hunt him together. Find all the holes. Dig them at the same time. Someone going to get him that way.’
The Wardapi Jukurrpa [Varanus Gouldii Goanna] belongs to the Spencer Sisters. It comes from Yarripilangku [aka Yinyiripalangu], south-west of Yuendumu. A group of Warlpiri Karnta [women] are sitting down in a circle when a Japangardi Wati [man] from Puturlu [Mt Theo], called Wamaru came upon them. He wants to take one of them, named Yurlkurinyi, of Nungarrayi skin, which is the wrong skin for him. He takes the Nungarrayi woman up a hill, where they make love. In response, the earth on top of the hill turns to Ngunjungunju [white ochre], and yellow and red ochre. The yellow is for Karnta and the red for Wati. The ochre is used by Warlpiri people for love magic and ceremonial decoration. The Wati turns all the Karnta and himself into Wardapi, aka Varanus Gouldii goannas. This Jukurrpa belongs to the Napaljarri/Japaljarri and Nungarrayi /Jungarrayi subsections, and the Japanangka/Napanangka, Japangardi/Napangardi subsections of Puturlu. The women are often represented by ‘U’ shapes. Concentric circles may illustrate Wardapi holes, or their droppings left behind them, and Wardapi tracks are usually represented by ‘W’ shapes and wavy lines.
Dimensions: 610 x 610 mm
Jesus’s birthday on Christmas day.
Dimensions: 305 x 305 mm
My house in Titjikala. they re all the wildflowers, hills and clouds around my house.
Dimensions: 405 x 405 mm
Walking across my land to look for bush flowers and goanna. I bring home to make medicine for my family and cook the goanna for dinner. Goanna is my favourite to eat.
Dimensions: 30 x 30 cm Lino Print S/H 250gsm