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Warraburnburn

In Burarra and Gun-nartpa languages the figure represented in this artwork is generally known as a wangarra ‘ghost spirit’. For the Warrawarra clan ghost spirits have their own particular characteristics and their own name – Warraburnburn.

The Warraburnburn and the closely related Galabarrbarr spirit (owned by the Balkarranga clan) are also manikay song topics.  The spirits are related to each other as maternal grandparent and grandchild, just as the people of Warrawarra and Balkarranga are. The dancing of the two ghost spirit figures forms the finale performance for funerals, and is the final goodbye to a deceased family member.

In many ways the Warraburnburn and Galabarrbarr ghost spirits are like people. They emerge from the patches of jungle on Warrawarra and Balkarranga country in the late afternoon and go hunting in family groups of men, women and children. They stay in contact with each other by calling out as the men hunt for fish and the women walk with their dillybags looking for vegetable food. 

The ghost spirits are associated closely with white ochre and artists commonly paint the bodies of carved figures in white. Different types of ghost spirit wear different patterns. Warraburnburn is decorated with uniform white dots while others are painted white all over. Some ghost spirits are shown with a design painted on their chest infilled with rarrk ‘cross-hatching’, the same designs that are painted onto japi an-guyinda ‘male initiations’. 

They also have supernatural characteristics including superhuman size (jarra anbaykarda ‘super tall’). They know the country intimately – some are malevolent towards humans and will lead people astray, taking them to unfamiliar and dangerous places. These malevolent spirits are likened to an-muburda ‘sorcerers’ and can conduct dangerous rituals that cause harm to people. Others are benign and will lead humans back to familiar paths and their own camps.

 

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Puli Puli – Rocks

Keturah depicts the puli puli (rocks) at two different sites. She paints the landscapes at Haasts Bluff where she grew up and also at Karrkurrutintja (Lake Mcdonald in Pintupi), located west of Kintore along the Western Australia/Northern Territory border. Karrkurrutintja country is an important site of the Pilkati (snake) Tjukurrpa (dreaming) of Kaniya Kutjarra (two carpet snakes, two brothers, two Tjangalas). This story was passed town to her from her grandmother Narputta Nangala Jugadai, who was born there. Narputta was passed down this story from her father, Talaku Tjampitjinpa. Both Keturah’ss grandmother and mother, Molly Jugadai painted this same country. Narputta was one of the founding members of Ikuntji Artists, and has been painting since the beginning of the desert painting movement in the 1970’s. Keturah’s grandmother and mother have since passed away, with Keturah being the only remaining daughter in this lineage of artist to still be painting this story.

Keturah has been inspired by the painting legacy and tutorage from her grandmother and mother, though has developed a distinctive style over her practice. Keturah uses different colours and hues to depict the ways the puli puli change colours with the weather, especially at sunrise and sunset.

 “The sand hills I paint are my mother’s story and the rocks I paint are my own story. My paintings are about my story and my mother’s… I like to paint; painting helps me forget my troubles. I paint every day. My Grandmother used to say to me when I was younger: “One day you will paint.”

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Yalpirakinu

Yalpirakinu is Adrian’s mother’s country. Adrian’s mother is the late Eunice Napangardi, a well known painter herself. His artworks consistently refer to the desert mountains, ridges and trees which are part of Yalpirakinu. Using a restricted colour palette, Adrian’s  brushwork is loaded with energy, drama and memories. He is a deliberate and thoughtful painter; reworking, pushing and pulling the image to completion.

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Yalpirakinu

Yalpirakinu is Adrian’s mother’s country. Adrian’s mother is the late Eunice Napangardi, a well known painter herself. His artworks consistently refer to the desert mountains, ridges and trees which are part of Yalpirakinu. Using a restricted colour palette, Adrian’s  brushwork is loaded with energy, drama and memories. He is a deliberate and thoughtful painter; reworking, pushing and pulling the image to completion.

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Yalpirakinu

Yalpirakinu is Adrian’s mother’s country. Adrian’s mother is the late Eunice Napangardi, a well known painter herself. His artworks consistently refer to the desert mountains, ridges and trees which are part of Yalpirakinu. Using a restricted colour palette, Adrian’s  brushwork is loaded with energy, drama and memories. He is a deliberate and thoughtful painter; reworking, pushing and pulling the image to completion.

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The glow of the sunset

A combination of blooming flowers and a sunset often creates a peaceful and serene atmosphere, inviting moments of reflection and appreciation for nature.

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Kakan (Black Palm) Basket Weaving

This design shows how the bottom part of a black palm basket is woven. My grandmothers and aunties used to make them. They cut off the young palm leaves in the centre, stripped and scrapped them. Then they would put the strips in freshwater to make them soft and keep them straight for weaving.