Wakal (Freshwater Prawn)
Wakal are small freshwater prawns. They can be found in streams and creeks where they hide under rocks. We use them as bait when fishing up-stream and in deep waterholes.
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Tali / Sand dune
This design is inspired by the red sand dunes that are found throughout the central desert. There is a large red sand dune near Ernabella named Wamikata which is a popular place for looking for maku (witchetty grubs) and for teaching Milpatjunanyi (telling stories in the sand) to children.
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Minyma Kutjara (Two Women Near Ernabella)
There are many stories about the two sisters (Minyma Kutjara). This part of the story is siginificant to the women of Ernabella. There was a gathering of minyma mingkiri (mouse women) at a hill called Yunanpa, which is near Ngarutjara (to the north of Ernabella). They are all collecting bushfoods together when the two sisters decide to go travelling. They travel to several water places to the north and east of Ernabella including Alalka. They keep going until they get to Wamitjara, a waterhole near Kenmore park. Here they come across a man sleeping. They hit him over the head with their wana (digging stick) and knock him unconscious. Then they tie up his arms and legs and head towards Alice Springs, carrying him between them. They sing and dance sacred women’s stories all the way. They leave him at Stuart’s Well, and continue on to Alice Springs to meet up with a large group of women.
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The Ngaanyatjarra Lands
‘The Ngaanyatjarra Lands’, Craig Morrison is predominantly a landscape artist depicting vibrant scenes from across the Ngaanyatjarra Lands. Craig is a self taught landscape painter taking inspiration from the Hermannsburg movement. Craig’s paintings are a celebration of the seasonal changes which bring vast site of sandhills and hills in the summer and lush foliage coming into spring. Craig enjoys exploring the lands, studying the elements of his environment with close detail. He is a great role model for younger male artists in the community.
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Cultural Healing and Family Gathering
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Bluen Pool
“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.
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Ngujay (Freshwater Turtle)
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Ngujay (Freshwater Turtle)
