Freddy is painting his grandfather’s country in far west South Australia. He depicts kulata tjuta (many spears) travelling through the sky to catch wati wanampi (snake man). Those wati wanampi are moving fast through the sky. There was one woman waiting there with a baby and she said there was a wati who was nearby hiding in a bush, ready to duck down and go and then throw those spears.
Freddy is painting his grandfather’s country in far west South Australia. He depicts kulata tjuta (many spears) travelling through the sky to catch wati wanampi (snake man). Those wati wanampi are moving fast through the sky. There was one woman waiting there with a baby and she said there was a wati who was nearby hiding in a bush, ready to duck down and go and then throw those spears.
For the Pitjantjatjara people living in the desert, knowledge of their water sources was critical to their survival. This resulted in an intimate understanding of the landscape which continues today. Water is an essential element in the desert. These rock holes were particularly important during the dry season when most of the water holes and creeks dried up. Deep familiarity with the topography of their country and the way rain would interact with the land ensured constant sources of water could be found. Knowledge of rock hole sites is passed on from generation to generation and revered by all Anangu (people).
Tjukula means rock-holes, which are found with surprising frequency in the Musgrave Ranges and country around Ernabella. Between visits, Anangu would use a construction of rocks and spinifex to guard these important water sources from spoilage by feral and stock animals such as cattle, camels, horses and donkeys.
There were two sisters who married two brothers and they all lived together. One day the women went wandering and they went such a long way that they forgot about their husbands. Back at the camp, the two husbands were thinking, ‘Where are our wives?’ and they decided to go looking for them. One brother said to the other, ‘What should we become to go looking for them?’ and the other brother said ‘Why don’t we become Rainbow Serpents?’ And they travelled in the sky looking down for their wives. Finally they see them hunting for carpet snakes and they put something in the hole where the women were digging. The women find it and then dig another hole and once again the men have put something in there. And this is how the men lure the women back to Piltati where the men make the sisters transform into Wanampi, swallow them and keep .them in their throats. All four of them live together in the waterhole and still live there today.
Kungkarangkalpa means the Seven Sisters. This is an extensive creation story that relates to the Pleiades constellation in the southern hemisphere. The story traverses Australia taking on different forms, however local women are privy to the part of the story which takes place in the country near Ernabella. For this part of the story, the man called Nyiru is chasing the sisters as he wants to sleep with the oldest sister. All the younger sisters are deeply afraid of him. As Nyiru is chasing the sisters, he tries to catch them by using magic to turn himself into the most tempting bush tomatoes for the sisters to eat and the most beautiful ili (fig) tree for the sisters to camp under. However, the sisters are aware of his magic and go hungry and run through the night rather than be caught by Nyiru. Eventually, to escape Nyiru, the sisters fly into the sky where they turn into stars and form the constellation.
Artists use this title when they are depicting their Country. It might be a representation of a particular place or of different aspects of that area. The artist uses a combination of colour and design to indicate variations in the landscape. Inspiration is drawn from all elements of Country and might include bush tucker, water holes, meeting places, rock formation, birds or animals.
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.
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.
How did you get to this style of painting?
“Do you mean, what have I done with my life? (chuckles to herself) To me these paintings are a sense of energy. So if I see someone and they’re happy, I paint a happy vibe. Cos their spirit is happy. And sometimes it’s hard because on the outside they’re real happy but on the inside they’re real sad. Sometimes you do stuff (like a painting) and it adds up later on. But I still don’t know what it means and don’t know where my style comes from because it’s both the path I walk on and the cracks in the dirt. It’s like looking at a landscape but I haven’t been there yet. Maybe I’ll get there one day. I believe things happen for a reason.”
– Sylvia Wilson
Bark paintings have a long cultural tradition, believed to extend back many thousands of years. In northern Australia, the walls of bark shelters in the Kimberley and Arnhem Land may well have been painted to convey and illustrate stories in the same way that rock shelters were. Bark painters in the Maningrida region invoke customary practices and experiment with visual forms. Their paintings merge the natural and spiritual worlds, the secular and sacred, and embody and evoke ancestral presence.The subject matter of some works on bark express or focus on djang, the power of country itself; others the ancestral activities that created it or inhabit it: the powerful Rainbow Serpent Ngalyod, female water spirits including Yawkyawk and jin-Merdewa, and spirit beings such as Namorrorddo and Wangarra. Some paintings feature geometric designs inspired by body painting. Spirit figures such as the long thin Mimih spirits said to live in the rock country are also frequently depicted, as are animals hunted as game, including kangaroo and barramundi.
The process of making a bark painting begins with the artist choosing a suitable tree (stringybark gum tree, Eucalyptus tetrodonta), in the wet season when the sap is rising and the bark is fairly supple and easy to grip. After finding a section of bark that is free of knots and termite damage, cuts are made top and bottom and, after some encouragement by tugging and prying, a hollow open cylinder of bark is removed. The rough outer bark is stripped off and the bark sheet is trimmed and placed over a fire, inner side downwards, to drive out moisture, including the sap. The bark sheet, pliable from its steaming session, is next placed on the ground and trodden on to flatten it out. Heavy weights are placed on it as it cools to ensure that it doesn’t curl or warp.
Artists use a rich palette of colours derived from natural pigments that can be sourced from their clan estates. The reds, purples, pinks and yellows come from ochres (forms of iron oxide or limonite). Black generally comes from charcoal, and white is from pipeclay. All of these earth pigments are strongly associated with djang. The pipeclay used to create the brilliant white paint, for example, is said to be the faeces of the powerful Rainbow Serpent (Ngalyod in the Kuninjku language) and the spirit essence of the Mardayin ceremony.
Sometimes natural fixatives are mixed in to bind the pigments: wax, yolk of eggs, resins and the sap of orchid plants. Today PVA glue is more commonly used as a binding agent for the pigments. The tool that an artist uses to apply colour to the bark depends on the style of painting and available resources. It may be a feather, or a brush made from a few strands of straight human hair. Cyperus javanicus, a tough sedge grass, may be used to make the slim reed brush required to execute the fine rarrk designs.