CompNet Systems

111582320498

Cuppa Tea

The traditional lands of the Martu people encompass the Great Sandy Desert and Rudall River regions of Western Australia, and include speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra and Martu Wangka languages. Martumili Artists work in the Newman based gallery and studio spaces, as well as within remote Aboriginal communities Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine), and Warralong. Recognised for their diverse, energetic and unmediated painting styles, their works reflect the dramatic geography and scale of their homelands.

The artists are predominantly painters, working in acrylics and oils, though many also weave baskets from gathered grasses and wool. Popular mediums among younger Martu artists include photography and animation. In this artwork, the process of printmaking has been explored to expand the artist’s creative repertoire. Through workshops in the Newman Studio, Martumili Artists have learnt to translate their designs to linoprint, using a printmaking press to edition their work.

By CompNet Systems, ago

111582320497

Cuppa Tea

The traditional lands of the Martu people encompass the Great Sandy Desert and Rudall River regions of Western Australia, and include speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra and Martu Wangka languages. Martumili Artists work in the Newman based gallery and studio spaces, as well as within remote Aboriginal communities Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine), and Warralong. Recognised for their diverse, energetic and unmediated painting styles, their works reflect the dramatic geography and scale of their homelands.

The artists are predominantly painters, working in acrylics and oils, though many also weave baskets from gathered grasses and wool. Popular mediums among younger Martu artists include photography and animation. In this artwork, the process of printmaking has been explored to expand the artist’s creative repertoire. Through workshops in the Newman Studio, Martumili Artists have learnt to translate their designs to linoprint, using a printmaking press to edition their work.

By CompNet Systems, ago

111982320496

Jarrka (Goanna)

Jarrka is the Burarra word for a species of goanna (Varanus gouldii) which are associated with a site called Ngarla Ji-bama in East Central Arnhem Land. This place is associated with a complex of other sites including: M-bucha, Ji-gurremangunyja and Mu-garlmbarl. The Ancestral being, Jarrka, travelled a long way across Arnhem Land. Many different clans have custodianship over its design and songs associated with it. On the final stage of his journey, Jarrka travelled from Miwirnbi to the south before entering the ground at Ngarla Ji-bama. The depiction of Jarrka therefore implies the artist’s ceremonial and kinship affiliations to clan and country outside of his own clan estates and thus identifies himself and his own clan in the context of a regional kinship network.

By CompNet Systems, ago

111582320495

Cuppa Tea

The traditional lands of the Martu people encompass the Great Sandy Desert and Rudall River regions of Western Australia, and include speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra and Martu Wangka languages. Martumili Artists work in the Newman based gallery and studio spaces, as well as within remote Aboriginal communities Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine), and Warralong. Recognised for their diverse, energetic and unmediated painting styles, their works reflect the dramatic geography and scale of their homelands.

The artists are predominantly painters, working in acrylics and oils, though many also weave baskets from gathered grasses and wool. Popular mediums among younger Martu artists include photography and animation. In this artwork, the process of printmaking has been explored to expand the artist’s creative repertoire. Through workshops in the Newman Studio, Martumili Artists have learnt to translate their designs to linoprint, using a printmaking press to edition their work.

By CompNet Systems, ago

111582320494

Cuppa Tea

The traditional lands of the Martu people encompass the Great Sandy Desert and Rudall River regions of Western Australia, and include speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra and Martu Wangka languages. Martumili Artists work in the Newman based gallery and studio spaces, as well as within remote Aboriginal communities Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine), and Warralong. Recognised for their diverse, energetic and unmediated painting styles, their works reflect the dramatic geography and scale of their homelands.

The artists are predominantly painters, working in acrylics and oils, though many also weave baskets from gathered grasses and wool. Popular mediums among younger Martu artists include photography and animation. In this artwork, the process of printmaking has been explored to expand the artist’s creative repertoire. Through workshops in the Newman Studio, Martumili Artists have learnt to translate their designs to linoprint, using a printmaking press to edition their work.

By CompNet Systems, ago

111982320493

Lorrkon (Hollow Log)

The Lorrkon or bone pole coffin ceremony was the final ceremony in a sequence of mortuary rituals celebrated by the people of Arnhem Land. This ceremony involves the placing of the deceased’s bones into a hollow log which was decorated with painted clan designs and ceremonially placed into the ground where it remained until it slowly decayed over many years.

The log is made from a termite hollowed Stringybark tree (Eucalyptus tetradonta) and is decorated with totemic emblems. The western Arnhem Land version of the Lorrkon ceremony involves the singing of sacred songs to the accompaniment of karlikarli, a pair of sacred boomerangs used as rhythm instruments. During the final evening of the ceremony, dancers decorate themselves with kapok down, or today, cotton wool and conduct much of the final segments of the ceremony in the secrecy of a restricted mens’ camp. The complete ceremony may stretch over a period of two weeks, but on the last night the bones of the deceased, which have been kept in a bark container or today wrapped in cloth and kept in a suitcase are taken out, are painted with red ochre and placed inside the hollow log. This ceremony may take place many years after the person has died.

At first light on the final morning of the Lorrkon ceremony, the men appear, coming out of their secret bush camp carrying the pole towards the women’s camp. The two groups call to each other using distinct ceremonial calls. The women have prepared a hole for the pole to be placed into and when it is stood upright, women in particular kinship relationships to the deceased dance around the pole in a jumping/shuffling motion. The Lorrkon is then often covered with a tarpaulin and left to slowly decay.

By CompNet Systems, ago

111582320492

Cuppa Tea

The traditional lands of the Martu people encompass the Great Sandy Desert and Rudall River regions of Western Australia, and include speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra and Martu Wangka languages. Martumili Artists work in the Newman based gallery and studio spaces, as well as within remote Aboriginal communities Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine), and Warralong. Recognised for their diverse, energetic and unmediated painting styles, their works reflect the dramatic geography and scale of their homelands.

The artists are predominantly painters, working in acrylics and oils, though many also weave baskets from gathered grasses and wool. Popular mediums among younger Martu artists include photography and animation. In this artwork, the process of printmaking has been explored to expand the artist’s creative repertoire. Through workshops in the Newman Studio, Martumili Artists have learnt to translate their designs to linoprint, using a printmaking press to edition their work.

By CompNet Systems, ago

111982320482

Mat

Mats can vary greatly. Artists commonly use a mix of naturally dyed and undyed fibre to create a striking variation of coloured bands. Some artists also incorporate different types of looping to produce different patterns and textured finishes. Each type of mat, fibre bag, basket and dilly bag has its own name in the various languages spoken in the Maningrida region.

By CompNet Systems, ago

111982320463

Lorrkon (Hollow Log)

The Lorrkon or bone pole coffin ceremony was the final ceremony in a sequence of mortuary rituals celebrated by the people of Arnhem Land. This ceremony involves the placing of the deceased’s bones into a hollow log which was decorated with painted clan designs and ceremonially placed into the ground where it remained until it slowly decayed over many years.

The log is made from a termite hollowed Stringybark tree (Eucalyptus tetradonta) and is decorated with totemic emblems. The western Arnhem Land version of the Lorrkon ceremony involves the singing of sacred songs to the accompaniment of karlikarli, a pair of sacred boomerangs used as rhythm instruments. During the final evening of the ceremony, dancers decorate themselves with kapok down, or today, cotton wool and conduct much of the final segments of the ceremony in the secrecy of a restricted mens’ camp. The complete ceremony may stretch over a period of two weeks, but on the last night the bones of the deceased, which have been kept in a bark container or today wrapped in cloth and kept in a suitcase are taken out, are painted with red ochre and placed inside the hollow log. This ceremony may take place many years after the person has died.

At first light on the final morning of the Lorrkon ceremony, the men appear, coming out of their secret bush camp carrying the pole towards the women’s camp. The two groups call to each other using distinct ceremonial calls. The women have prepared a hole for the pole to be placed into and when it is stood upright, women in particular kinship relationships to the deceased dance around the pole in a jumping/shuffling motion. The Lorrkon is then often covered with a tarpaulin and left to slowly decay.

By CompNet Systems, ago

220982320639

My Father’s Country – Rita Pitjara Beasley

“This is my Father’s country.

This place is our hunting place. I always go with my daughters and their children, I show them this place and teach them about the swampy country. We hunt for goannas, bush potato, bush tomato and after the big rain the bush medicine is picked and the roots are dug up to be used.

It is important as my mother taught me this and now I teach my family.”

The community of Ampilatwatja made a conscious decision not to paint ‘altyerr’ dreaming stories. The artists paint their country where those stories belong.

By CompNet Systems, ago