I went to this Cave when I was a young boy. My grandmother took me here and this painting is the story of her and her mother and father travelling through the Bungle Bungles, the Jalaloo area, Blue Hole near the limestones. They camped and did art in the Caves.
Mundabunn (Paperbark Spring) is located in Purnululu (the Bungle Bungles). This is where Joomena’s mother was born.
JB Fisher often paints subjects related to the Sugar Bag story, a story he has inherited. Sugarbags, or Gulka as it is locally known, are the native honeys found in the bush surrounding Ramingining.
In this painting, JB paints the spoons made from natural materials that people use to eat scoop up the honey and eat it.
Sugarbag story is related to the Mewal place, a significant area represented by the special shaped rock, situated in JB Fisher’s Father’s Country, just outside of Ramingining Community in north east Arnhem Land.
The community of Ampilatwatja made a conscious decision not to paint ‘altyerr’ dreaming stories, the artists paint their country where those stories sit.
This painting shows the layered landscape of Alyawarr, Central Australia. 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.”
In memory of my late beloved mother- Mary Thomas
In this painting Mary is showing different Cultures and tribes coming together, White people and Aboriginal people all coming together at the Bungle Bungles.
The community of Ampilatwatja made a conscious decision not to paint ‘altyerr’ dreaming stories. The artists paint their country where those stories sit. Antarrengeny is Edie’s country and also her Father’s.
In this painting Edie depicts Antarrengeny, “when there has been no rain and the land shimmers like jewels. It is the open flat country, after a bushfire, when only the young grasses and the trees are growing and where there is good hunting.”
Edie has a strong connection to Antarrengeny. She gave birth to two of her daughters ‘out bush’ on this land. It is her country and she loves it dearly.
Aunty Lena is one of Warmuns most famous artists. She often painted Barramundi dreaming which is portrayed in the background of this portrait. Peter painted this painting of her in remembrance and with great respect.
The community of Ampilatwatja made a conscious decision not to paint ‘altyerr’ dreaming stories, the artists paint their country where those stories sit.
This painting shows the layered landscape of Alyawarr, Central Australia. 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.”
I was born in the bush at Ammaroo Station, along the Sandover. I have never seen the ocean or a big city. My mother and father were strong healthy people who taught me and my younger sister Rita traditional way to hunt for Kangaroo, Goanna and Porcupine. We know how to gather bush tucker (secrets of the earth) and bush medicine plants. My mother used grinding stones to make seed damper.
When I paint I think about good memories, being a young girl and walking through the land. My mother made paint from two stones and showed us ceremony painting and how to sing and dance for ceremonies. I still sing and dance and collect the bush medicines, I like to make tea from the small purple flowers of Arreth (hill fuchsia).
Painting bush medicine stories is important because it helps to maintain a strong knowledge and culture for the community.