Fly Dreaming
Fly chased the insect everyway and the insect went straight into the limestone hill and the Fly followed and they both got stuck. Till today you can see the white coloured rock that turns into the egg from the fly.
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The Whole World in My Hand
Overlooking the universe millions and trillions of miles away captured by James Webb’s telescope my expressionism.
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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.
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Kimberly Bloom
After fire you can see all the wild flowers come out. You can see it from above in a bird’s eye view. They grow everywhere around the country, especially the flat country, not as much on the hills. They grow anywhere there has been fire, when you travel through the Kimberley Country you can see it everywhere, as far as the eye can see.
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Karlkula (Bush Banana)
Karlkula (bush banana, silky pear or native pear) is a vine found throughout the dry regions of Western Australia and Central Australia. From November to April, and following rains, the plant produces fruit. When young, the green fruit is eaten raw. Older fruits are cooked and the seeds eaten.
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 remain 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.
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My Life Story
I grew up at Manora Station with my mother and father. My mother worked in the homestead as a domestic and my father used to hunt foxes and dingos away from killing the sheep. My parents never received wages, only clothes and food. Everyone had to work at the station including the kids which wasn’t fair because we needed to go to school but it was too far. They sent teachers to come and pick up children (Indigenous teachers) to go La Grange Mission from Nita Downs, Anna Plains and Menora Wallal Downs for schooling. One day I didn’t want to go to work so the station hand reported that to the station manager, he then spoke to me and my mother and told us to leave so we walked to the turnoff where we got a lift to Sandfire. The next day we walked to Anna Plains but at one of the windmills on the way there got a lift the rest of the way, then continued on to La Grange Mission.
111582392051
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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Paji to Pirrkili
Paji is a soak and hill located east of Nyayartakujarra (Lake Dora). Paji features as an important site in Jila Kujarra (Two Snakes) one of the key Jukurrpa (Dreaming) narratives for the Martu. Though the story belongs to Warnman people, it is shared across the Western Desert with several other language groups. The narrative centres on the travels of two snakes as they are pursued by the Niminjarra, spiritual ancestors of the Warnman people.
The Jila Kujarra were chased by the Niminjarra to Paji. The Niminjarra believed the snakes had hidden in a cave north of Paji, and tried to smoke them out. Here the Jila Kujarra eluded their pursuers by escaping under the lake at Paji and at the same time creating many small decoy snakes to lead the Niminjarra astray. Meanwhile, from a nearby hill, two Pukurti (initiates with bundled hair) prophesied that the Niminjarra would kill the Jila Kujarra. The Pukurti tracked the Jila Kujarra through to Nyayartakujarra, where they speared the snakes in the head to hold them down while they returned to Paji to summon the Niminjarra. The Niminjarra made a fire and cooked the snakes at the site of Kumpupirntily (Kumpupintily, Lake Disappointment), but when the Niminjarra cut down the length of the Jila Kujarra, the snake’s bladders were pierced, causing an explosion of scalding hot urine in which the Niminjarra all perished and became black rocks at the site. At the same time, the urine of the Jila Kujarra formed the vast salt lake, Kumpupirntily, which translates to ‘bladder burst’. The spirits of the Jila Kujarra rose and continued to travel to their mother at Nyayartakujarra, where they remain to this day.
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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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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.