Papulankutja Artists

---

---

Kungkarrangkalpa (Seven Sisters)

‘Kungkarrangkalpa’ (The Seven Sisters or Pleaides) is significant Tjukurrpa (dreamtime). Its origins you may be familiar with in astronomy and its connection to ‘Wati Nyiru’ (Magic Man or Orion).  The roots of this dreaming stems across indigenous groups around the world. The Australian Aboriginal songline is one part to the whole dreaming which can be traced all around the world. The ladies of the Ngaanyatjarra Lands depict their significant chapter and understanding of the journey of the sisters. The different versions of this story depend on where you live and the significance’s of local Tjukurrpa places.

Nyiru fell in love with the sisters but he was of the wrong skin group to marry, but he still pursued them on their journey. The sisters travel across the land to escape Nyiru’s unwanted attentions, but he is persistent and always finds them. There are significant land forms which can be sited today that evidence this dreaming. As Nyiru is chasing the sisters he tries to catch them by using magic to turn into the most tempting kampurarrpa (bush tomato) and the most beautiful Yirli (wild fig tree), for them to eat and camp under. However, the sisters are knowledgeable of his magic and too clever for Nyiru who they outwit again and again. They go hungry and run through the night rather than be caught by him. As the journey continues, Nyiru gets so frustrated at the wit of the sisters that he uses his magic to make the oldest sister sick to try and get closer to her. The other sisters rescue the big sister and nurse her back to health. It is said he also captures the youngest sister, but with the help of the oldest sister, she escapes back to her sisters who are waiting for her. Eventually, the sisters fly into the sky to escape Nyiru, forming the constellation. Nyiru felt lonely, longing for the sisters who were so far away. Nyiru used his magic to go to the sky, forever in pursuit.

---

---

Yirmangka – Yirmangka ( Bush Medicine)

This is from a series of small works from our main artists depiocting the love of collecting from the bush traditional medicines and tucker.

---

---

Women collecting bush foods

The Anangu people travelled vast desert landscapes, following the seasons for food and shelter, deeply attuned to the rhythms of the land. This resilience and wisdom embedded in traditional bush foods that sustained them across generations.

Maku (Witchety Grubs), with their creamy, nutty flavour, represent survival and the resourcefulness to draw nourishment from deep within tree roots. Kampurarrpa (Desert Raisins), small and tangy, add brightness and essential nutrients to desert diets, thriving under intense sun.

Ipalu (Bush Banana), a climbing vine with crisp, slender fruits, offers fibre and hydration—a refreshing staple in arid climates. Ili (Bush Figs), with their mild sweetness, grow from rugged trees, offering a delicate treat in the harsh terrain.

Through vibrant colours and intricate designs, these bush foods embody the spirit of Ngaanyatjarra culture, each a testament to the land’s gifts and the knowledge passed through generations.

---

---

Multju – Nora’s family’s country

Nora begins her stories with simple lines, drawn on paper, canvas, or etched into the red earth, gradually transforming into rich visual narratives of her homeland, Multju. This area, marked by significant rock-holes. where she was born is  Mulga country and a great place to find Honey Ants. There is a story of a mother and her two children successfully finding these ants, savouring the sweet rewards of their efforts. Through vibrant colours and intricate details, Nora’s art celebrates this story.

---

---

Tjitji kutjarra – Two boys

This is the story of the two boys, though some say it was two brothers or a brother and sister, living around Mantamaru (Jameson). One day they saw the track of a big snake, they followed and eventually caught and ate. Unbeknownst, the brothers they had eaten a spirit or magical snake.

The next day the brothers felt unwell. Any task became hard and their walking slowed down. Gradually they became slower and slower until they reach the top of a hill where no longer able to move they turned to stone.  

Driving east from Jameson (on your left) you can see two lonely up-right rocks, one smaller than the other on the top of a hill which are called Tjitji (child) Kutjarra (two).

---

---

‘Kungkarrangkalpa’ (The Seven Sisters / Pleiades)

‘Kungkarrangkalpa’ (The Seven Sisters / Pleiades) is an important Tjukurrpa (Dreaming) across the Ngaanyatjarra Lands. Many families hold knowledge for different parts of this story, and each community paints its own chapter according to Country and ancestral responsibility.

Angela’s paintings focus on the celestial aspect of the story — the moment the sisters move from the earth into the sky. The star cluster becomes the seven bright forms she paints: six surrounding one, often arranged like a shield pattern. This reflects the way the sisters move together, protect each other, and travel as a tight group while fleeing Wati Nyiru, who appears in the sky as Orion’s Belt.

Nyiru follows the sisters across Country, disguising himself with magic — turning into kampurarrpa (bush tomato), a yirli (wild fig), or even a tree — trying to tempt them. But the sisters see through his tricks, outwit him, and keep running. When the chase becomes too much, they rise into the sky, forming the Pleiades. Nyiru follows them, always behind, never close enough.

Angela expresses this story using bold, high-contrast colours and strong circular forms. Her shield-like shapes represent the sisters’ strength and unity, while the central star often marks the eldest sister — the one the others protect along the journey. Through her palette and composition, Angela brings the energy, movement, and brightness of the sky-world into her canvas.

This painting is a contemporary interpretation of a cultural story carried across generations, connecting sky, Country, and ancestral memory.

---

---

Wati Kutjarra – Janet Forbes

This is the story of two powerful magicians who came to the Ngaanyatjarra Lands from far away to the west;

‘These two men are always together, always camping together. They do all sorts of tricks when they travel across the lands as they stop from place to place. When they reached ‘Wirtapi Wara’ (Long Black or Blackstone Range) they argued about which way to go around. One went around the south side and the other the north side.

At a distance it seemed they didn’t recognise each other or perhaps they were just pretending not to recognise each other! It is also said that at Papulankutja they tricked each other by changing their appearance at the same time so they had no chance to recognise each other. The name Papulankutja comes from the Ngaanyatjarra word meaning, ‘to stare without recognising each other’.

‘They usually took the form of goanna but they could turn into other animals as well. Finally, when they got to Kaltukatjara (Docker River) they had become so arrogant that without realising they walked straight into some local men’s business even though they were warned by the local women. The goanna men led themselves blindly to their fate”.

---

---

Minyma Kutjarra – (Two Sisters)

‘Minyma Kutjara’ (Two Ladies), is a popularly depicted story by women from the Ngaanyatjarra Lands. The painting has different chapters depending on where the artist is from and the inherited story of their ancestors.  we see the ladies sitting together at their camp situated among the sand hills. They are surrounded by an abundance of desert flowers and fruits. The painting is a reflection on the lush nature of the land that was so many years ago. When there is rain coming to the lands it makes everyone so pleased as it indicates good foraging and hunting.

---

---

Kungkarrangkalpa (Seven Sisters)

‘Kungkarrangkalpa’ (The Seven Sisters or Pleaides) is significant Tjukurrpa (dreamtime). Its origins you may be familiar with in astronomy and its connection to ‘Wati Nyiru’ (Magic Man or Orion).  The roots of this dreaming stems across indigenous groups around the world. The Australian Aboriginal songline is one part to the whole dreaming which can be traced all around the world. The ladies of the Ngaanyatjarra Lands depict their significant chapter and understanding of the journey of the sisters. The different versions of this story depend on where you live and the significance’s of local Tjukurrpa places.

Nyiru fell in love with the sisters but he was of the wrong skin group to marry, but he still pursued them on their journey. The sisters travel across the land to escape Nyiru’s unwanted attentions, but he is persistent and always finds them. There are significant land forms which can be sited today that evidence this dreaming. As Nyiru is chasing the sisters he tries to catch them by using magic to turn into the most tempting kampurarrpa (bush tomato) and the most beautiful Yirli (wild fig tree), for them to eat and camp under. However, the sisters are knowledgeable of his magic and too clever for Nyiru who they outwit again and again. They go hungry and run through the night rather than be caught by him. As the journey continues, Nyiru gets so frustrated at the wit of the sisters that he uses his magic to make the oldest sister sick to try and get closer to her. The other sisters rescue the big sister and nurse her back to health. It is said he also captures the youngest sister, but with the help of the oldest sister, she escapes back to her sisters who are waiting for her. Eventually, the sisters fly into the sky to escape Nyiru, forming the constellation. Nyiru felt lonely, longing for the sisters who were so far away. Nyiru used his magic to go to the sky, forever in pursuit.

---

---

‘Kungkarrangkalpa’ (The Seven Sisters / Pleiades) – Angela Lyons

‘Kungkarrangkalpa’ (The Seven Sisters / Pleiades) is an important Tjukurrpa (Dreaming) across the Ngaanyatjarra Lands. Many families hold knowledge for different parts of this story, and each community paints its own chapter according to Country and ancestral responsibility.

Angela’s paintings focus on the celestial aspect of the story — the moment the sisters move from the earth into the sky. The star cluster becomes the seven bright forms she paints: six surrounding one, often arranged like a shield pattern. This reflects the way the sisters move together, protect each other, and travel as a tight group while fleeing Wati Nyiru, who appears in the sky as Orion’s Belt.

Nyiru follows the sisters across Country, disguising himself with magic — turning into kampurarrpa (bush tomato), a yirli (wild fig), or even a tree — trying to tempt them. But the sisters see through his tricks, outwit him, and keep running. When the chase becomes too much, they rise into the sky, forming the Pleiades. Nyiru follows them, always behind, never close enough.

Angela expresses this story using bold, high-contrast colours and strong circular forms. Her shield-like shapes represent the sisters’ strength and unity, while the central star often marks the eldest sister — the one the others protect along the journey. Through her palette and composition, Angela brings the energy, movement, and brightness of the sky-world into her canvas.

This painting is a contemporary interpretation of a cultural story carried across generations, connecting sky, Country, and ancestral memory.