CompNet Systems

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My Ngurra (Country), Jupurr

“My ngurra (home), Juwaliny — my language. My Country Jukurrpa, Yirnpa, Yimiri, Yulpu, Kupankurlu, Lyinjalung, and Lungkarung. Big one warla — that’s the area where the old people belong, ngurra. They been come here and pass away. We come here, Bidyadanga — mummy, daddy, all here. I came from the desert — I sat down in Jigalong, Punmu, Parnngurr, 33 (Kunawarritji), Newman, and I came back here (Bidyadanga).”
 – Yikartu Bumba

This painting shows the artist’s Country in the Percival Lakes region. Yikartu’s daughter, Bali Bumba, was born in this area when they lived a traditional pujiman (desert-born) life. The painting includes lyinji (claypan), jurnu (waterhole), kurru (river), and a big warla (lake).

This artwork depicts Country in and around the Great Sandy Desert — an immense area stretching from the edges of the Kimberley near Bidyadanga and Eighty Mile Beach, east through Walyarta (Mandora Marsh) and Percival Lakes, and down toward Kulyakartu, Kunawarritji (Well 33) and the Canning Stock Route. It is a vast landscape of dunes, claypans, salt lakes and waterholes.

For many families connected to Bidyadanga, this is ancestral land and holds places and significant sites where the old people lived pujiman (traditional desert-dwelling) lives before travelling to the coast.

The Great Sandy Desert is not empty — it is full of life, memory and movement. Soft sandhills rise and fall like waves, spinifex shimmers in the wind, flowers bloom after rain, and jila (living waterholes) lie hidden beneath the surface. People hunted goanna, bush turkey and small animals, dug for water, gathered bush foods, and camped beside claypans. Families walked long distances between soaks, teaching others how to read the land, follow tracks and travel safely.

In painting, the desert becomes a map of belonging — circles showing water and camps, lines following walking tracks and dunes, and soft patterns recalling plants, sand ridges and the glow of sunsets across wide skies. Colours shift between deep reds, ochres, warm sand tones and the greens that come after rain.

Dimensions: 46 x 61cm

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Kulyakartu

“Kulyakartu is my ancestor ngurra (home) through my grandmother and my great-great-grandfather and grandmother. Going out on Country with Nola and Muuki and hearing their stories of Kulyakartu touched my heart — listening to them talk about travelling through Kulyakartu with their mum and dad.

It was an experience for me to see the Country for the first time and to listen to their stories about travelling through the Great Sandy Desert. When I paint about Kulyakartu, it’s like an image in my mind from when I went there. That’s what I paint — the colours and the surrounding sand dunes around Kulyakartu.

I went on a chopper with Muuki, and now I picture the landscape from the air.”
 – Jenny Butt

This artwork shares the story of Kulyakartu, a vast and peaceful area north-east of the community, on the edge of Nyangumarta and Martu Country. Kulyakartu is a place of wide open skies, long claypans, sandhills and soft grasses that come alive after rain.

Families remember camping there, visiting waterholes, looking for goanna and bush foods, watching birds, and travelling with old people who knew every dune, track and soak. The painting celebrates the beauty and calm of Kulyakartu, often shown through soft lines and dots that follow the movement of water and sand. It honours the knowledge of where to find water, how to move across Country, and the deep belonging felt when returning to ancestral places.

Through this work, the artist invites viewers to feel that stillness and connection — the strength of Country, memory and family.

Dimensions: 46 x 61cm

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Kulyakartu

“I paint about Kulyukartu. It’s my grandmother’s Country. I love painting about that Country. I went on a trip doing fire burning, cleaning the waterholes, and walking around looking where my grandmothers carved the rocks and things. I went with my mum Emily, and SJ (Nuriah Jadai). You turn before 80 Mile Beach and just go straight.

I feel good when I’m there — it feels like home when I paint it. I learnt to paint from my grandfather (Wokka Taylor, dec.). When we went to 33 (Kunawarritji, Well 33) and back to Punmu, we were just watching them. He told me to get a brush, and then he told me to start painting. I think him and Dunjan (Thelma Judson) were painting a big one, and I came to help him. He told me, ‘One day you should go to Kulyukartu,’ and so I went there.”
 – Kiarah Mandijalu-Jadai

This artwork shares the story of Kulyakartu, a vast and peaceful area north-east of the community, on the edge of Nyangumarta and Martu Country. Kulyakartu is a place of wide open skies, long claypans, sandhills and soft grasses that come alive after rain.

Families remember camping there, visiting waterholes, looking for goanna and bush foods, watching birds, and travelling with old people who knew every dune, track and soak. The painting celebrates the beauty and calm of Kulyakartu, often shown through soft lines and dots that follow the movement of water and sand. It honours the knowledge of where to find water, how to move across Country, and the deep belonging felt when returning to ancestral places.

Through this work, the artist invites viewers to feel that stillness and connection — the strength of Country, memory and family.

Dimensions: 46 x 61cm

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My Ngurra (Country), Jupurr

“My ngurra (home), Juwaliny — my language. My Country Jukurrpa, Yirnpa, Yimiri, Yulpu, Kupankurlu, Lyinjalung, and Lungkarung. Big one warla — that’s the area where the old people belong, ngurra. They been come here and pass away. We come here, Bidyadanga — mummy, daddy, all here. I came from the desert — I sat down in Jigalong, Punmu, Parnngurr, 33 (Kunawarritji), Newman, and I came back here (Bidyadanga).”
 – Yikartu Bumba

This painting shows the artist’s Country in the Percival Lakes region. Yikartu’s daughter, Bali Bumba, was born in this area when they lived a traditional pujiman (desert-born) life. The painting includes lyinji (claypan), jurnu (waterhole), kurru (river), and a big warla (lake).

This artwork depicts Country in and around the Great Sandy Desert — an immense area stretching from the edges of the Kimberley near Bidyadanga and Eighty Mile Beach, east through Walyarta (Mandora Marsh) and Percival Lakes, and down toward Kulyakartu, Kunawarritji (Well 33) and the Canning Stock Route. It is a vast landscape of dunes, claypans, salt lakes and waterholes.

For many families connected to Bidyadanga, this is ancestral land and holds places and significant sites where the old people lived pujiman (traditional desert-dwelling) lives before travelling to the coast.

The Great Sandy Desert is not empty — it is full of life, memory and movement. Soft sandhills rise and fall like waves, spinifex shimmers in the wind, flowers bloom after rain, and jila (living waterholes) lie hidden beneath the surface. People hunted goanna, bush turkey and small animals, dug for water, gathered bush foods, and camped beside claypans. Families walked long distances between soaks, teaching others how to read the land, follow tracks and travel safely.

In painting, the desert becomes a map of belonging — circles showing water and camps, lines following walking tracks and dunes, and soft patterns recalling plants, sand ridges and the glow of sunsets across wide skies. Colours shift between deep reds, ochres, warm sand tones and the greens that come after rain.

Dimensions: 46 x 61cm

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Seasons

Tracey Thomas

Seasons or Spinifex – Tracey Thomas

“Yellow is for the fruits when they’re ripe, and blue is for the water.
This time I’m going to do one for the hot time – like red and orangey colour for the burning.”

– Tracey Thomas

This artwork reflects the changing seasons across Country, showing how life shifts with the dry and wet. In Bidyadanga and the surrounding desert and coastal lands, the rhythm of the year guides movement, gathering, hunting, and time spent with family on Country.

As the dry season arrives, the land opens up again — red dunes, salt flats, and long beaches shining in the heat. Winds change, tides get bigger, and rangers burn Country to look after it, clearing grass, making space for new growth, and keeping the land healthy. Bush turkeys, goannas, fish, stingray, turtle, and shellfish are hunted, and families camp, share stories, and travel between desert and coast.

When the wet season return, big clouds roll in, storms build over the sea, and lightning cracks across the land. Country comes alive — water fills the waterholes and claypans, flowers and grasses grow, and birds, bush foods, and animals become abundant.

Through colour, pattern, and rhythm, the artist captures the cycle of seasons and the knowledge passed down — knowing when to gather certain foods, when animals are fat, when storms are coming, and how to care for Country through fire and everyday living. The work celebrates the constant relationship between people, weather, land, and sea, honouring the strength and continuity of cultural life.

Dimensions: 46 x 61cm

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Mangala Country

“I paint Mangala Country because my family are Mangala people, and they were the last bush people to come out from the bush. This place I paint is Mangala Country, where my mum and family drank water in these places. They camped around, hunting and gathering food around this Country — Matuku and Pikarangu. That’s what inspired me to paint Country, to see Country with my old people. That’s my story.”
 – Lindsay Bal Bal

This artwork honours Mangala Country and the families who carry its stories — walking, camping, hunting and gathering across desert edges, river systems and claypans. It remembers old people moving between soaks and sandhills, and later travelling to La Grange Mission (now Bidyadanga), keeping language, law and family strong.

Patterns trace tracks of animals and people; dots and lines follow water after rain; maps, camps, soaks and sandhills. The work also reflects the way caring for Country continues today — through ranger work and community leadership that bring together cultural knowledge and science to look after land and water.

Dimensions: 46 x 61cm

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Seasons

“Rain, dry, hot, cold. In the wet season everything goes green. When we were young we would go hunting for goanna and turkey. You go fishing in the river — you can catch barramundi when the river is running from the rain. They call it Warrampa, in Looma side.

Dry season, Lulga season. Hot season. After the water has settled you can go swimming. Catch the same thing. And jarrumpa (cherabin, giant freshwater prawn).

The flowers come out after the rain, between the hot and cold.”
– Rose (Glenys) Butt

This artwork reflects the changing seasons across Country, showing how life shifts with the dry and wet. In Bidyadanga and the surrounding desert and coastal lands, the rhythm of the year guides movement, gathering, hunting, and time spent with family on Country.

As the dry season arrives, the land opens up again — red dunes, salt flats, and long beaches shining in the heat. Winds change, tides get bigger, and rangers burn Country to look after it, clearing grass, making space for new growth, and keeping the land healthy. Bush turkeys, goannas, fish, stingray, turtle, and shellfish are hunted, and families camp, share stories, and travel between desert and coast.

When the wet season return, big clouds roll in, storms build over the sea, and lightning cracks across the land. Country comes alive — water fills the waterholes and claypans, flowers and grasses grow, and birds, bush foods, and animals become abundant.

Through colour, pattern, and rhythm, the artist captures the cycle of seasons and the knowledge passed down — knowing when to gather certain foods, when animals are fat, when storms are coming, and how to care for Country through fire and everyday living. The work celebrates the constant relationship between people, weather, land, and sea, honouring the strength and continuity of cultural life.

Dimensions: 61 x 91cm

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Wili (My Grandfather’s Country)

“This painting shows my Grandfather’s Country (Wili), where they used to walk around in circles searching for bush tucker and water from the waterholes. When our ancestors came out from the Canning Stock Route, they used to see big mob of sand dunes and flowers. This painting is about waterholes and the red desert sand. The different colours represent the wildflowers, the brown is the sand dunes and the circles are the waterholes.”
 – Bibianna Tumbler

This artwork depicts Country in and around the Great Sandy Desert — an immense area stretching from the edges of the Kimberley near Bidyadanga and Eighty Mile Beach, east through Walyarta (Mandora Marsh) and Percival Lakes, and down toward Kulyakartu, Kunawarritji (Well 33) and the Canning Stock Route. It is a vast landscape of dunes, claypans, salt lakes and waterholes.

For many families connected to Bidyadanga, this is ancestral land and holds places and significant sites where the old people lived pujiman (traditional desert-dwelling) lives before travelling to the coast.

The Great Sandy Desert is not empty — it is full of life, memory and movement. Soft sandhills rise and fall like waves, spinifex shimmers in the wind, flowers bloom after rain, and jila (living waterholes) lie hidden beneath the surface. People hunted goanna, bush turkey and small animals, dug for water, gathered bush foods, and camped beside claypans. Families walked long distances between soaks, teaching others how to read the land, follow tracks and travel safely.

In painting, the desert becomes a map of belonging — circles showing water and camps, lines following walking tracks and dunes, and soft patterns recalling plants, sand ridges and the glow of sunsets across wide skies. Colours shift between deep reds, ochres, warm sand tones and the greens that come after rain.

Dimensions: 61 x 91cm

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Kulyakartu

“I paint about Kulyukartu. It’s my grandmother’s Country. I love painting about that Country. I went on a trip doing fire burning, cleaning the waterholes, and walking around looking where my grandmothers carved the rocks and things. I went with my mum Emily, and SJ (Nuriah Jadai). You turn before 80 Mile Beach and just go straight.

I feel good when I’m there — it feels like home when I paint it. I learnt to paint from my grandfather (Wokka Taylor, dec.). When we went to 33 (Kunawarritji, Well 33) and back to Punmu, we were just watching them. He told me to get a brush, and then he told me to start painting. I think him and Dunjan (Thelma Judson) were painting a big one, and I came to help him. He told me, ‘One day you should go to Kulyukartu,’ and so I went there.”
 – Kiarah Mandijalu-Jadai

This artwork shares the story of Kulyakartu, a vast and peaceful area north-east of the community, on the edge of Nyangumarta and Martu Country. Kulyakartu is a place of wide open skies, long claypans, sandhills and soft grasses that come alive after rain.

Families remember camping there, visiting waterholes, looking for goanna and bush foods, watching birds, and travelling with old people who knew every dune, track and soak. The painting celebrates the beauty and calm of Kulyakartu, often shown through soft lines and dots that follow the movement of water and sand. It honours the knowledge of where to find water, how to move across Country, and the deep belonging felt when returning to ancestral places.

Through this work, the artist invites viewers to feel that stillness and connection — the strength of Country, memory and family.

Dimensions: 61 x 91cm

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Bush Medicine

“This is a painting about bush medicine. It’s been boiled up. You boil it up and it turns into a burgundy sort of colour. Smells like eucalyptus. It is used for sores, rash, any skin condition. It’s a white gum tree.”
– Georgina Walbidi

This artwork honours the plants and practices of bush medicine — the healing Country provides, the old-people’s knowledge, and the living connection between land and body.

The artist reflects on the medicines found across Country: bark that soothes, leaves for infusions, roots dug after the rains, plants that grow in shade, and wood burnt down to ash for healing. These works often come from memories of learning and walking with elders — watching, smelling, collecting, and preparing medicine with care.

It reminds us that caring for Country is caring for ourselves. Gathering medicine is a cultural act — a moment of respect, listening, and moving gently on Country. This knowledge has been passed down across generations and must continue to be held, practised, and shared.

The painting invites the viewer into gratitude — for the plants, for the Country, for the knowledge keepers, and for the ongoing practice of looking after all life

Dimensions: 61 x 91cm