October 2026

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Wanti Yuu (Women, Yeah!) – Sylvia Wilson

“Wanti Yuu (Woman Yeah!) is a story of resilience and of women coming together. It is about the strength of the women in our community who put themselves last and take on a lot. She [Wanti Yuu] is someone who looks after her family, putting the grand kids and everyone around her first. The word Matriarch comes to mind. They are the matriarch of the family. The Boss Lady. Always helping everyone else out and leaving herself to the end. She paints, she teaches us her knowledge, like basket weaving and honey ant collecting. She is the top lore woman and her story of Pujiman (traditional, desert dwelling) is so important. She is a leader of the Martu women and a senior artist. That’s all I can say about these women. These women; you give her the bread if you know what I mean. It’s a true story. Anything in my pockets. Because when you look at her, her stance, her energy and her vibe, you can feel it. You don’t muck around with Wanti Yuu.”

-Silvia Wilson

Wanti Yuu celebrates women’s resilience, matriarchal relationships, and Sylvia’s place in this story.

As Sylvia explains, the work is both a depiction of, and attribute to, the women in her life. “I follow my great grandmother’s guidance and direction in life. These women in my life carry so much on their shoulders, as well as the responsibility and future of our culture.”

 

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Canning Stock Route

“When they were laying out the Canning Stock Route, whitefellas used to get Martu people to show them where the permanent water was. The whitefellas was asking Martu people to show them permanent water, like soaks and rockholes, for a shortcut from Wiluna to Billiluna. When the whitefellas found out where the permanent water was, they made wells in every place and they called it the Canning Stock Route. That was how they went cut-across.”

– Yanjimi Peter Rowlands (dec.)

 

Western Australia’s gold rush, beginning in 1885, created a huge demand for beef from mines located between Halls Creek and Wiluna. At that time, most of Western Australia’s cattle came from the Kimberley, though an infestation of tropical ticks among the East Kimberley herds gave the West Kimberley pastoralists a monopoly on the beef trade — causing prices to soar. A Royal Commission in 1904 proposed the construction of a stock route through Western Australia’s desert country to eliminate the ticks through exposure to its hot, dry conditions, resulting in the near 2000 kilometre Canning Stock Route. The proposal was successful insofar as the eradication of ticks was concerned; however, the establishment of the Canning Stock Route was to have far reaching repercussions for Western Australia’s Aboriginal population. 

The construction of the route by Alfred Canning and his team in 1910 resulted in first contact with Europeans for many Martu then living a pujiman (traditional, desert dwelling) life in the desert. This contact began with Canning’s use of Aboriginal guides to lead him to the sources of water that would be transformed into 48 stock route wells. Acts of cruelty toward these guides included, amongst other things, chaining them at night to prevent their escape and giving them salt water to drink, thereby ensuring their thirst and subsequent necessity to lead the party to water sources.

Following the construction of the Canning Stock Route, Martu encountered Europeans and other Martu working as cattle drovers as they would travel up and down the Stock Route from water source to water source. Increasingly, pujiman followed the route to newly established ration depots, mission and pastoral stations. They were drawn to the route in search of food, by a sense of curiosity, or by loneliness. By the late 1950s and early 1960s, most of the desert family groups had left the desert. Eventually, these factors combined with an extreme and prolonged drought in the 1960s to prompt the few remaining pujiman to move in from the desert. One of the last major migrations of Martu people occurred in 1963, when many of the pujiman born Martumili Artists moved to Jigalong.

Patterns of movement which had defined Aboriginal people’s relationships to Country were forever changed by the Canning Stock Route, but the Martu relationship with Country remains strong through the maintenance of physical and cultural ties to desert life and knowledge.

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Kumpupirntily (Kumpupintily, Lake Disappointment

“Clouds here. It’s dry, no water, but still flowers grow.” 

 – Helen Dale Samson

Kumpupirntily (Kumpupintily, Lake Disappointment) is a stark, flat and unforgiving expanse of blinding salt lake surrounded by sand hills, located in the Little Sandy and Gibson Desert of Western Australia. Kumpupirntily translates to ‘bladder burst’; the lake was formed when the bladder of the Jila Kujarra (Two Snakes) burst here. Jila Kujarra is one of the key Jukurrpa (Dreaming) narratives for the Martu. Though the story belongs to Warnman people, it is shared across the Western Desert with several other language groups. The narrative centres on the travels of two snakes as they are pursued by the Niminjarra, spiritual ancestors of the Warnman people. 

Later in the Jukurrpa period the Ngayurnangalku (cannibal beings) made Kumpupirntily their home, where they continue to remain today. For this reason Kumpupirntily is considered one of the most sacred and dangerous sites of the Western Desert. The Ngayurnangalku are fearsome ancestral cannibal beings said to resemble people in their appearance, except for their fangs and long, curved, knife like fingernails they use to catch and hold their human victims. Coming from Natawalu (Canning Stock Route Well 40) in the north, Mundiwinti (Mundawindi) in the west, and from the Country around Kiwirrkurra in the east, the Ngayurnangalku travelled across the desert, stopping near Puntawarri, at Jilukurru (Killagurra Springs, Canning Stock Route Well 17) and at Kupayura (Savory Creek) before finally reaching Kumpupirntily.

At Kumpupirntily, the Ngayurnangalku had a meeting to debate whether or not they would continue to live as cannibals, and eventually came to the decision to stop eating people. That night, a female baby cannibal was born. Following protocol, the baby also had to be consulted by the group. She determined that the Ngayurnangalku should continue to eat people. Her decision divided the group, and from this point the group from the east continued to live as ‘bad’ cannibals at Kumpupirntily, while the group from the west became ‘good’, thereafter consuming only animals. 

The cannibal Ngayurnangalku still live beneath the crust of Kumpupirntily lake in an underground world lit by their own sun. They surface only to feed on human flesh, coming in and out of the world we see through a small hill that acts as a gateway between worlds; Yapu Maparnpa (magical hill). Stored with the Ngayurnangalku in their underground world is an arsenal of maparnpa (holding power for sorcery) weapons, as well as deposits of pujurrpa (red ochre) that the Ngayurnangalku use to paint themselves with when they dance.

Several phenomena at Kumpupirntily act as a warning of the imminent appearance of the Ngayurnangalku; still skies, wilany (boomerang-shaped clouds), and the emergence of the parla-parla (type of lizard), smacking their mouths. The vigilance of the Martu as they travel in the Country around Kumpupirntily is so great that several other precautions are followed; fires are not lit, planes and helicopters are not flown directly over the area, and digging in the lake is strongly discouraged. All of these activities are believed to disturb the Ngayurnangalku, causing them to rise from their underground world. 

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Mulla Mulla

“This is the wells along the Canning Stock Route. I’m from Well number 1, that’s where Wiluna is. From Well number 5 through to 15, that is where we had our determination, the Birriliburu [Native Title] determination. The government gave us our land back, so that’s why I’m painting my Country there, to make me proud. We are proud to get our land back, happy.  

When it’s spring that’s when the wildflowers come out on the Canning (stock route). When you go travelling you see flowers everywhere. You see the purple and green mulla mulla, red marlukururrpa (sturt desert pea), and the pink and white desert rose, yellow belly buttons, and blue belly buttons.

I painted the claypans, dried claypans all around, and the waterholes that were turned to wells along the Canning Stock Route. When our ancestors were roaming they knew where to find the water underground when the other water is dry.

We go back on Country and they [the elders] show us where they been walking around. When the waterholes have been destroyed by camels and cattle we clean it up- that’s our job to clean it and look after our Country. Without us it’ll die on us. We need to care for our Country and show the young generation to take over.”

– Roxanne Anderson

 

In this work, Roxanne has depicted several themes relating to her ngurra (home Country), including the historically significant Canning Stock Route, the seasonal blooming of wildflowers, and the significance and care for water sources.

Western Australia’s gold rush, beginning in 1885, created a huge demand for beef from mines located between Halls Creek and Wiluna, which led to the construction of the near 2000 kilometre Canning Stock Route. The construction of the route by Alfred Canning and his team in 1910 resulted in first contact with Europeans for many Martu then living a pujiman (traditional, desert dwelling) life in the desert. This contact began with Canning’s use of Aboriginal guides to lead him to the sources of water that would be transformed into 48 stock route wells. Acts of cruelty toward these guides included, amongst other things, chaining them at night to prevent their escape and giving them salt water to drink, thereby ensuring their thirst and subsequent necessity to lead the party to water sources.

Following the construction of the Canning Stock Route, Martu encountered Europeans and other Martu working as cattle drovers as they would travel up and down the Stock Route from water source to water source. Increasingly, pujiman followed the route to newly established ration depots, mission and pastoral stations. By the late 1950s and early 1960s, most of the desert family groups had left the desert.

Patterns of movement which had defined Aboriginal people’s relationships to Country were forever changed by the Canning Stock Route, but the Martu relationship with Country remains strong through the maintenance of physical and cultural ties to desert life and knowledge.

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. Waterholes are sites that require maintenance, including digging to increase flow, clearing out surrounding growth, and cleaning up after sullying by camels or cattle.

Also depicted in this work are the remarkably diverse flora found through Martu Country. These plants are not only vital as significant food sources, but also celebrated for their aesthetic splendour. In the context of the often harsh and arid environments in which desert flowers bloom, their vibrancy, delicacy, and variation become even more spectacular. 

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Untitled

This site forms part of Blake Wilberforce’s 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.

Blake enjoys painting at night to relax before bed and is family to fellow Martumili Artists Jason Tinker (dec.) and Peter Tinker Pija. As a young child, Blake travelled all the way from Kalgoorlie to Irrungadji, and remembers going gold detecting in the early morning with family before the heat set in.

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 Blake brings a contemporary, evolving perspective to their work.

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Honey Ant Hunting

Wuukurta (honey ants) are found in a variety of arid or semiarid environments, with nests of up to two metres deep and more than two metres across. Wuukurta are a highly sought after bush tucker, known otherwise as ‘bush lollies’ due to their sweet, honey like taste. They are eaten whilst still alive by holding the head and legs between two fingers and biting off the thorax. Martu dig for wuukurta nests through the seasons, but they are known to be especially abundant following the rains.

During the pujiman (traditional, desert dwelling) period, Martu would traverse very large distances annually in small family groups, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. Whilst desert life has moved away from mobile hunter-gatherer subsistence throughout the course of the twentieth century, bush tucker continues to be a significant component of the modern Martu diet. Hunting and gathering bush tucker remains equally valuable as an important cultural practice that is passed on intergenerationally. Though hunting and gathering implements have been modernised, methods of harvesting, tracking and the use of fire burning to drive animals from their retreats are still commonly practiced today.