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Untitled

Martumili Artists work with over three hundred artists from remote Martu Aboriginal communities, including Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine), and Warralong, as well as from the Parnpajinya (Newman) gallery and studio spaces. Known for their diverse, energetic, and unmediated painting styles, their works reflect the dramatic geography and scale of their homelands. Each artist, however, brings a unique approach to their craft.

Younger Martu artists often start painting alongside their parents, grandparents, and extended family, which fosters an organic learning process. This not only involves mastering painting techniques but also understanding specific locations, family histories, traditional ways of life, bush tucker, and Jukurrpa (Dreaming). Over time, with encouragement from their peers, they develop their own distinct styles and explore unique painting techniques and subject matter. In this work the artist brings a contemporary, evolving perspective to their work.

111582402271



Untitled

Martumili Artists work with over three hundred artists from remote Martu Aboriginal communities, including Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine), and Warralong, as well as from the Parnpajinya (Newman) gallery and studio spaces. Known for their diverse, energetic, and unmediated painting styles, their works reflect the dramatic geography and scale of their homelands. Each artist, however, brings a unique approach to their craft.

Younger Martu artists often start painting alongside their parents, grandparents, and extended family, which fosters an organic learning process. This not only involves mastering painting techniques but also understanding specific locations, family histories, traditional ways of life, bush tucker, and Jukurrpa (Dreaming). Over time, with encouragement from their peers, they develop their own distinct styles and explore unique painting techniques and subject matter. In this work the artist brings a contemporary, evolving perspective to their work.

111582402255



Untitled

Martumili Artists work with over three hundred artists from remote Martu Aboriginal communities, including Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine), and Warralong, as well as from the Parnpajinya (Newman) gallery and studio spaces. Known for their diverse, energetic, and unmediated painting styles, their works reflect the dramatic geography and scale of their homelands. Each artist, however, brings a unique approach to their craft.

Younger Martu artists often start painting alongside their parents, grandparents, and extended family, which fosters an organic learning process. This not only involves mastering painting techniques but also understanding specific locations, family histories, traditional ways of life, bush tucker, and Jukurrpa (Dreaming). Over time, with encouragement from their peers, they develop their own distinct styles and explore unique painting techniques and subject matter. In this work the artist brings a contemporary, evolving perspective to their work.

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Untitled

The Western Desert term jila is used interchangeably to describe springs considered to be ‘living’ waters and snakes, both of which play a central role in Martu culture and Jukurrpa (Dreaming).

During the pujiman (traditional, desert dwelling) period, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location of water sources. Of the many permanent springs in Martu Country, very few are ‘living waters’; waters inhabited by jila (powerful ancestral beings). Before they became snakes, these beings were men who made rain, formed the land and introduced cultural practices like ceremonies and ritual songs. Some of the men travelled the desert together, visiting one another, but they all ended their journeys at their chosen spring alone, transformed into a snake. These important springs are named after their jila inhabitant, guarding their waters. 

Some of the jila snakes are known by Martu as quiet and benevolent, others as dangerous and ‘cheeky’. Regardless of the nature of the inhabitant snake, jila sites must be entered respectfully; particular rituals are practiced, such as lighting fires, sweeping the ground with branches, approaching in single file, and calling out to the site’s jila to announce one’s arrival and introduce people who are new to the jila. Those who do not follow these guidelines are in danger of becoming sick, or even being killed.

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Status: Stock


Kaalpa (Kalypa, Canning Stock Route Well 23)

“Kaalpa (Kalypa, Canning Stock Route Well 23) is my grandfather’s Country. There’s a waterhole there, Kaalpa waterhole. It’s my two pops’ Country. They been walking around, hunting around Kaalpa. You can see a yapu (rock), warla (lake), claypans, karru (creek) and tuwa (sandhills) there. It’s on the [Canning] Stock Route, it’s Well 23. One walypala One walypala (whitefella) well, and a real kalyu (water) there, jurnu. The Seven Sisters landed there, Jukurrpa (Dreaming). That man Yurla yapu (hill, stone, rock) there.” [Yurla, who chased the Seven Sisters during the Jukurrpa remains at Kaalpa in the form of a rock]) 

In pujiman (traditional, desert dwelling) days, pujimanpa (desert born people) walking around all this Country. My pops told me about that place, a big flat area, parlkarra (flat country) good for hunting parnajarrpa (goanna), lunki (witchetty grub), lungkurta (blue tongue lizard), wamurla (bush tomato), jinyjiwirrilyi (wild gooseberry). Kaalpa is a busy place for emus getting a drink. 

The old people were telling me “Kaalpa’s your grandfather’s Country, you gotta paint it.” I went [to Kaalpa] for the first time [in 2018] on a Martumili KJ [Kanyirninpa Jukurrpa] trip. We went out there when we were looking for the [Greater] Bilby. They took me and [my sister] Tamisha, they showed us our grandfather’s Country, Well 23. I went out there, had a good look, walked around, and went back to Wantili (Warntili, Canning Stock Route Well 25), Parnngurr, and I started painting it. Now it’s my mind, now I know what Kaalpa looks like. When I went there, I was pukurlpa (happy). It made you open up your spirit, it feels like home.”

 – Corban Clause Williams

Kaalpa is a permanent water source located northeast of Kumpupirntily (Kumpupintily, Lake Disappointment). This site is a place of great cultural significance, and is also known for good hunting. Adjacent to the waterhole is a hill of the same name. The landscape around Kaalpa is parlkarra (flat country), bordered by tali (sandhills) stretching as far as Windy Corner, northeast and towards the border of Western Australia and the Northern Territory. The large and dangerous Jukurrpa (Dreamtime) mosquito and fly beings partially created the landforms in this area and continue to live underground here.

Kaalpa also features in the Minyipuru (Jakulyukulyu, Seven Sisters) Jukurrpa, a central creation narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. At Kaalpa the Minyipuru met a group of men; it was the first time either group had seen members of the opposite sex. The men tried to grab the women, but the Minyipuru chased them, hitting them with their digging sticks and leaving them lying there as they continued travelling east.

Relayed in song, dance, stories and paintings, Minyipuru serves as a creation narrative, a source of information relating to the physical properties of the land, and an embodiment of Aboriginal cultural laws. Beginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following the women as they walk, dance, and even fly from waterhole to waterhole. As they travel the women camp, sing, wash, dance and gather food, leaving markers in the landscape and creating landforms that remain to this day, such as groupings of rocks and trees, grinding stones and seeds. During the entirety of their journey the women are pursued by a lustful old man, Yurla, although interactions with other animals, groups of men, and spirit beings are also chronicled in the narrative.

The intersection of the Canning Stock Route with Kaalpa also made this a site of early contact with Europeans for many Martu then living a pujiman life in the desert. Following the route’s construction, Martu encountered Europeans and other Martu working as cattle drovers as they would travel up and down the Stock Route from water source to water source. Increasingly, pujimanpa followed the route to newly established ration depots, mission and pastoral stations. They were drawn to the route in search of food, by a sense of curiosity, or by loneliness. By the late 1950s and early 1960s, most of the desert family groups had left the desert. Eventually, these factors combined with an extreme and prolonged drought in the 1960s to prompt the few remaining pujimanpa to move in from the desert.

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Savoury Creek

Martumili Artists work with over three hundred artists from remote Martu Aboriginal communities, including Punmu, Parnngurr, Kunawarritji, Jigalong, Irrungadji (Nullagine), and Warralong, as well as from the Parnpajinya (Newman) gallery and studio spaces. Known for their diverse, energetic, and unmediated painting styles, their works reflect the dramatic geography and scale of their homelands. Each artist, however, brings a unique approach to their craft.

Younger Martu artists often start painting alongside their parents, grandparents, and extended family, which fosters an organic learning process. This not only involves mastering painting techniques but also understanding specific locations, family histories, traditional ways of life, bush tucker, and Jukurrpa (Dreaming). Over time, with encouragement from their peers, they develop their own distinct styles and explore unique painting techniques and subject matter. In this work the artist brings a contemporary, evolving perspective to their work.

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Wanti Yuu

“Wanti Yuu (Woman Yeah!) is a story of resilience and of women coming together. It is about the strength of the women in our community who put themselves last and take on a lot. She [Wanti Yuu] is someone who looks after her family, putting the grand kids and everyone around her first. The word Matriarch comes to mind. They are the matriarch of the family. The Boss Lady. Always helping everyone else out and leaving herself to the end. She paints, she teaches us her knowledge, like basket weaving and honey ant collecting. She is the top lore woman and her story of Pujiman (traditional, desert dwelling) is so important. She is a leader of the Martu women and a senior artist. That’s all I can say about these women. These women; you give her the bread if you know what I mean. It’s a true story. Anything in my pockets. Because when you look at her, her stance, her energy and her vibe, you can feel it. You don’t muck around with Wanti Yuu.”

-Silvia Wilson

Wanti Yuu celebrates women’s resilience, matriarchal relationships, and Sylvia’s place in this story.

As Sylvia explains, the work is both a depiction of, and attribute to, the women in her life. “I follow my great grandmother’s guidance and direction in life. These women in my life carry so much on their shoulders, as well as the responsibility and future of our culture.”

 

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Wanti Yuu

“Wanti Yuu (Woman Yeah!) is a story of resilience and of women coming together. It is about the strength of the women in our community who put themselves last and take on a lot. She [Wanti Yuu] is someone who looks after her family, putting the grand kids and everyone around her first. The word Matriarch comes to mind. They are the matriarch of the family. The Boss Lady. Always helping everyone else out and leaving herself to the end. She paints, she teaches us her knowledge, like basket weaving and honey ant collecting. She is the top lore woman and her story of Pujiman (traditional, desert dwelling) is so important. She is a leader of the Martu women and a senior artist. That’s all I can say about these women. These women; you give her the bread if you know what I mean. It’s a true story. Anything in my pockets. Because when you look at her, her stance, her energy and her vibe, you can feel it. You don’t muck around with Wanti Yuu.”

-Silvia Wilson

Wanti Yuu celebrates women’s resilience, matriarchal relationships, and Sylvia’s place in this story.

As Sylvia explains, the work is both a depiction of, and attribute to, the women in her life. “I follow my great grandmother’s guidance and direction in life. These women in my life carry so much on their shoulders, as well as the responsibility and future of our culture.”

 

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Ngurra (home Country, camp)

“Ngurra (home Country, camp) is a very special Country- where we grew up. We go mostly out on Country and camp out. We go swimming and looking for honey on the trees. We would hunt turkey, emu, kangaroo, look for bardi (witchetty grub), honey ants, yellow berries. It’s an outstation. We call it home. We grew up there. Good memories of that place.” 

– Roxanne Newberry 

The Western Desert term ‘ngurra’ is hugely versatile in application. Broadly denoting birthplace and belonging, ngurra can refer to a body of water, a camp site, a large area of Country, or even a modern house. 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. This knowledge is traditionally passed intergenerationally through family connections. Country for Martu is full of memory; not just the memory of their own movement through it, but also of their family. As summarised by Ngalangka Nola Taylor, “painting the ngurra, they do it to remember their connections.” 

Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical characteristics of that place, has today become an important means of cultural maintenance. Physical maintenance of one’s ngurra, like cultural maintenance, ensures a site’s wellbeing, and is a responsibility of the people belonging to that area.

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Bush Tucker

Depicted in this work are traditional types of bush tucker, their habitats, and their related hunting and gathering methods. During the pujiman (traditional, desert dwelling) period, Martu would traverse very large distances annually in small family groups, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. Whilst desert life has moved away from mobile hunter-gatherer subsistence throughout the course of the twentieth century, bush tucker continues to be a significant component of the modern Martu diet. Hunting and gathering bush tucker remains equally valuable as an important cultural practice that is passed on intergenerationally. Though hunting and gathering implements have been modernised, methods of harvesting, tracking and the use of fire burning to drive animals from their retreats are still commonly practiced today. 

Typically, animals hunted for their kuwiyi (meat) include kirti-kirti (euro kangaroo) and marlu (plains kangaroo), parnajarrpa (sand goanna), kipara (Australian bustard, bush turkey) and karlaya (emu). Lunki (witchetty grub) and wuukurta (honey ants) are dug from tree and bush trunks, or from underground nests. Popular mayi (plant food) includes minyarra (bush onion), collected from small, grass like plants; root vegetables dug from underground such as kulyu and mata (types of bush potato); and seeds such as kalaru (samphire, salt bush), yuwinyji, and marnkalpa (spinifex species). Jawirli (quondong), wamurla (bush tomatoes), jinyjiwirrily (wild gooseberry), ngaputa (melon), and karlkula (bush banana) are some of the most popular bush fruits. These are often collected in the wantajarra (cool season) and tuulpara (spring) months, along with juri (sweet) botanical gums and wama (nectar), obtained from various plant species. 

Traditional tools used for hunting and gathering bush tucker were carved from wanari (mulga), mulunturu (desert oak), yurungkura (river red gum) and mijarrpa (bloodwoods), and included kurlata (spears), jurna (hitting stick), karli (boomerangs), wana (digging-sticks), piti (timber bowls used for carrying food and water), and jiwa (grinding stones for grinding seeds into flour). While carved objects retain enormous social and ceremonial importance in Martu life, they are no longer used for hunting and gathering.