I paint my Mother’s country. I travelled all around my country with my mother when I was child, my mother showed me the bush medicine and bush tucker.
The community of Ampilatwatja made a conscious decision not to paint altyerr (dreaming stories). The artists paint their country where those stories sit.
This is my country out in Utopia an outstation called Soapy Bore it’s my Father’s country, there’s big soakage, hills, bush medicine and bush tucker. All my family paint, my grandmother, my mother and aunties. I like to paint, I think about my country, the colours and my family who have gone.
The community of Ampilatwatja made a conscious decision not to paint altyerr (dreaming stories). The artists paint their country where those stories sit.
Minnie is the daughter of Annie Kemarre, her joyous, colourful, patterned paintings depict local bush medicine and bush flower plants and are distinctly her own style
“Bush medicine plants are used for healing on the body and for drinking. We make this by grinding the plants with a rock, we use the juice and the fibre of the plant.
We collect bush medicine plants when we are out hunting. Different kinds of plants grow during different seasons.
There are lots of different medicines, we know what their stories are, we learnt them from our parents and we teach these stories to our children.”
Bush medicine knowledge is still strong in Ampilatwatja, it continues to be passed down to the younger generations and is widely used.
When the women go hunting they often gather bush medicine. The plants depicted here are found in the country around Ampilatwatja, they are used for soothing skin infections and to make a drink to help with colds and coughs.
Painting bush medicine stories is important because it helps to maintain a strong knowledge and culture for the community.
This is my mothers country, Tijamburra, we go hunting there for wild onions, goannas, echidnas and sugarbag honey in the trees. I like to hunt there, there’s water all year round. Even if it doesn’t look like there is, we follow the bird tracks to know where to dig and we find water.
From living here in the remote community of Ampilatwatja, going hunting out bush and traveling for family and ceremonies Eileen knows this land, her country.
The community of Ampilatwatja made a conscious decision not to paint altyerr (dreaming stories). The artists paint their country where those stories sit.
The Pilbara is a land of many Beautiful colours Its beauty blends into the mother earth and against the red,purple hills in the distance in time and season the yellow Wattles, Mulla and Sturt pea take its toll as the country comes alive with the wild flowers watered by the rain and heavy due during the night. Land and our country also tells a wonderful story about our ancestor’s they walk and lived on the land always gathering food such as fish from the river, hunting kangaroo’s, emu and tracking goanna’s also gathering bush fruits and medicine.
I like country music, and stock camp paintings, my paintings are all about those stock camp life, the horses, cattle, dogs and the music, I listen and play country today. It’s the life that I grew up around in a stock camp. I used to watch the old fellas mustering and breaking in horses. It was a great upbringing, disciplined and with strong family connections.
Hunting was the most important thing and we had to hunt to provide for our families. There was no technology in those times. Sometimes I paint cars, Holdens, Fords, and Valiants when they are new and when they are rusty. Meeting new people and sharing stories is what I like.
“When I was young, [I would] walk around, play around, slide around on the mud. [At Mungili, there’s a] Big one [claypan] and little ones on the side. And the white gums, [where] we would get witchetty grubs”
– Marlene Anderson
In this work Marlene depicts a claypan located in Mungili, the small outstation community situated just off the Eagle Highway in Western Australia. Mungili lies 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 claypan, surrounded by smaller circular forms symbolising 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.
“This is a rockhole- people coming this side and people coming round this [other] side, coming to that waterhole.
This painting is about every rockhole in Moolyella, where I used to work… We would walk and get some water from the rockholes and go away back home- get that water from these rockholes when we were working. My father and mother’s surname was Mulialla, they were named after that place.”
– Lorna Linmurra
This work depicts a waterhole in the area around Moolyella, an area close to Marble Bar that was mined for tin from 1898. Industrial production ceased by 1921, and from the late 1920’s several Aboriginals families, including Lorna’s, began working the mine. Tin and other minerals were retrieved from claypans and dry river beds using a yandy (dish used for winnowing seed).
Moolyella forms part of Lorna’s ngurra (home Country, camp), and as she describes in her account, each of the many water sources around the area were well known to herself and her family.
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.
“When Martu paint, it’s like a map. Martu draw story on the ground and on the canvas, and all the circle and line there are the hunting areas and different waters and tracks where people used to walk, and [some you] can’t cross, like boundaries. So nowadays you see a colourful painting and wonder what it is, but that’s how Martu tell story long ago. It’s not just a lovely painting, it’s a story and a songline and a history and everything that goes with it.”
– Ngalangka Nola Taylor and Joshua Booth
This work portrays an area of Country that can be interpreted in multiple ways. Firstly, the image may be read as an aerial representation of a particular location known to the artist- either land that they or their family travelled, from the pujiman (traditional, desert dwelling) era to now. During the pujiman 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. At this time, 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), different varieties of warta (trees, vegetation), ngarrini (camps), and jina (tracks) are typically recorded with the use of a use of a system of iconographic forms universally shared across the desert.
An additional layer of meaning in the work relates to more intangible concepts; life cycles based around kalyu (rain, water) and waru (fire) are also often evident. 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 evident 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. Very often, however, information relating to Jukurrpa is censored by omission, or alternatively painted over with dotted patterns.