In this painting the artist represents the billabong country on either side of Moonoomoorrem – the Keep River. Binjin is her mother’s traditional country and Jarnem is her uncle’s country. Only the billabongs are shown here and not the river that flows through the country.
Fish traps are placed into the river to face the oncoming fish. The woven tunnel traps the fish and prevents their escape. The traps are tapered so when they are submerged in the water, the water pressure wedges them into place. Traditionally, the fish traps are operated at night time.
“This is the waru-waru, the yukarri warta (green shoots and young plants). After the waru (fire) the mirrka (bush tucker) grows up. After the burning. you get all the animals coming to that place ”
Martu artists paint Country in all it’s different seasonal stages. Important to Martu, and to Martu Country, is the practice of waru (fire burning); a practice that assists with hunting, regenerates growth, and encourages greater diversity in plant and animal life. When Martu Country burns, mosaic fire scars are left on the Country, and patches of regeneration form a kind of mosaic pattern across the land. This is called nyurnma – burnt Country. Waru is typically burnt in small, controlled areas, leaving a defined patchwork pattern of nyurnma in the land, across tali (sand hills), linyji (clay pans), parulyukurru (spinifex country) and pila (sandy plains). This patterning is clearly visible in Ngamaru’s works, where she paints fire from an aerial perspective.
Bathi are woven from the split leaves of the Screw Palm (Pandanus Spiralis). Coil weaving was introduced to Arnhem Land in the 1930s. It was adapted from techniques used by Indigenous women throughout South East Australia.
The red sap is good medicine to treat skin sores. It is crushed and boiled in water to make it soft, then rubbed on the sore to help with healing. It is also mixed with ochre for painting. The wood is good for fires and produces coals that last a long time. It is also good for making message sticks. The bark burns to a fine white ash that is mixed with chewing tobacco.
When I go hunting for Echidna around the sandhills of Ampilatwatja I always spot the wild flowers and honey flowers. We tap the Bankias against our hand and get the honey, it is sweet to taste.
After the rain and bushfires all the new flowers pop up around me. My favourite time of the year is winter when it is cooler to walk and hunt.
The community of Ampilatwatja made a conscious decision not to paint ‘altyerr’ dreaming stories. The artists paint their country where those stories sit.
I paint my Great Grandmothers country around Canteen Creek. Long time ago she hunted around this soakage in this country. When I paint, I paint that country, the soakage the bushflowers the sandhills and the distant mountains. I hunt this country now.
The community of Ampilatwatja made a conscious decision not to paint ‘altyerr’ dreaming stories. The artists paint their country where those stories sit.
I paint the country of my Father and Mother and where they grew up, near Barrow Creek.
“This is the painting of my Father’s country, where I grew up. When we would go hunting, we always climbed those hills. We would take the kids hunting too and take photos of the hills.”
I use bright colours and beautiful attention to detail expresses the love and joy that I have for the country closest to my heart.
The community of Ampilatwatja made a conscious decision not to paint ‘altyerr’ dreaming stories, the artists paint their country where those stories sit.
Alec was born at McDonald Downs Station. He grew up there with his family living traditionally on the land. Alec did not attend school, he moved between different communities with his family.
Knowing your country is an important part of living in a remote community like Ampilatwatja. Knowing when and where to go hunting and gathering, knowing where there is ‘soakage’ (where you can dig for water), travelling with family for ceremonies, and maintaining a connection with the land.
“This is my country, my view of country.”
“Before my father died, he told me and my sister, that if we ever painted, he wanted us to paint his dreaming. His dreaming is the seed dreaming, from his country. I paint that story, it’s important. That’s why i always paint the seed dreaming.”- Lulu Teece
Lulu has a strong passion for bush medicine and provides the community with traditional bush medicine that she makes through facilities provided by the clinic.
This painting is a strong depiction of connection to culture, family and country.