CompNet Systems

Bugaimili ngurra (Bugai’s homeland) This is Bugai’s Country- her ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) Read more…

Bugaimili ngurra (Bugai’s homeland) This is Bugai’s Country- her ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) Read more…

Bugaimili ngurra (Bugai’s homeland) This is Bugai’s Country- her ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) Read more…

Bugaimili ngurra (Bugai’s homeland) This is Bugai’s Country- her ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) Read more…

Bugaimili ngurra (Bugai’s homeland) This is Bugai’s Country- her ‘ngurra’ (home Country, camp). People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) Read more…

Untitled This work portrays an area known to the artist, painted here 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 Read more…

Untitled “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 Read more…

Untitled This work portrays an area known to the artist, painted here 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 Read more…

Wantili (Warntili, Canning Stock Route Well 25) “Bugai always tells about Wantili (Warntili, Canning Stock Route Well 25) because she grew up around Wantili. Her family would travel between Wantili, Kaalpa, Juntu-juntu, Raarki, and Wuranu Wells along the Canning Stock Route. She paints around Wantili. She saw whitefellas there for Read more…