Art Centre notes: The bag is made of natural raffia / cotton. It is made using a traditional ‘one twist’ method. It has a thin / thick plaited strap and long tassles underneath. The strap is adjustable / open / closed at the end. It has long tassles above and/or below. The dyes are commercial and colour fast.
359709482283680
Art Centre notes: The bag is made of natural raffia / cotton. It is made using a traditional ‘one twist’ method. It has a thin / thick plaited strap and long tassles underneath. The strap is adjustable / open / closed at the end. It has long tassles above and/or below. The dyes are commercial and colour fast.
359709482283676
Art Centre notes: The bag is made of natural raffia / cotton. It is made using a traditional ‘one twist’ method. It has a thin / thick plaited strap and long tassles underneath. The strap is adjustable / open / closed at the end. It has long tassles above and/or below. The dyes are commercial and colour fast.
359709482283673
Art Centre notes: The bag is made of natural raffia / cotton. It is made using a traditional ‘one twist’ method. It has a thin / thick plaited strap and long tassles underneath. The strap is adjustable / open / closed at the end. It has long tassles above and/or below. The dyes are commercial and colour fast.
359709482283665
Art Centre notes: The bag is made of natural raffia / cotton. It is made using a traditional ‘one twist’ method. It has a thin / thick plaited strap and long tassles underneath. The strap is adjustable / open / closed at the end. It has long tassles above and/or below. The dyes are commercial and colour fast.
359709482283664
Art Centre notes: The bag is made of natural raffia / cotton It is made using a traditional ‘one twist’ method. The dyes are commercial and colour fast.
11151031737
Untitled
This work portrays an area known intimately to the artist, painted here in exquisite detail from memory. During the pujiman (traditional, desert dwelling) era one’s survival depended on their intimate knowledge of the location of resources; thus physical elements of Country, such as sources of kapi (water), tali (sandhills), and different varieties of warta (trees, vegetation) were carefully observed and remembered. Today, this relationship with Country remains equally strong, despite the movement of Martu out of the desert and into remote Aboriginal Communities, towns and cities.
Also visible may be traces of life cycles based around kalyu (rain, water) and waru (fire). A thousands of year old practice, fire burning continues to be carried out as both an aid for hunting and a means of land management today. As the Martu travelled and hunted they would burn tracts of land, ensuring plant and animal biodiversity and reducing the risk of unmanageable, spontaneous bush fires. The patchwork nature of regrowth is visible in many landscape works, with each of the five distinctive phases of fire burning visually described with respect to the cycle of burning and regrowth.
Finally, metaphysical information relating to a location may also be recorded; jukurrpa (dreaming) narratives chronicle the creation of physical landmarks, and can be referenced through depictions of ceremonial sites, songlines, and markers left in the land.
11151032195
Tuwa around Kunawarritji
Pija was born in the desert, near Kunawarritji Community (also known as Well 33 on the Canning Stock Route). This artwork illustrates the sandhills and the vegetation that grows in the desert around Kunawarritji.
11151032194
Tuwa around Kunawarritji
Pija was born in the desert, near Kunawarritji Community (also known as Well 33 on the Canning Stock Route). This artwork illustrates the sandhills and the vegetation that grows in the desert around Kunawarritji.
11151032189
Tuwa around Kunawarritji
Pija was born in the desert, near Kunawarritji Community (also known as Well 33 on the Canning Stock Route). This artwork illustrates the sandhills and the vegetation that grows in the desert around Kunawarritji.