Shire of East Pilbara (Martumili Artists)

Bankia Hill (lock up)

Linyji (claypan) This work depicts a linyji (claypan) within the artists’ ngurra (home Country, camp), typically represented with circular forms. Claypans were visited more often during the wet seasons as they filled with water.  During the pujiman (traditional, desert dwelling) period, knowledge of water sources was critical for survival, and Read more…

Nyurnma (Freshly Burnt Country) 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 Read more…

Wantili (Warntili, Canning Stock Route Well 25) – Lynette Rowlands “That’s my jamu (grandfather) and nanna’s Country. I always go on a ranger trip there with my mum, Thelma Judson, and my little baby brothers, Junior and Jamie Rowlands.” – Lynette Rowlands Wantili (Warntili, Canning Stock Route Well 25) is Read more…

Untitled “When Martu paint, it’s like a map. Martu draw story on the ground and on the canvas, and all the circle and line there are the hunting areas and different waters and tracks where people used to walk, and [some you] can’t cross, like boundaries. So nowadays you see Read more…

Untitled This is Lorna’s Country- her ‘ngurra’ (home Country, camp). 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. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical Read more…

Untitled This is Lorna’s Country- her ‘ngurra’ (home Country, camp). 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. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical Read more…

Untitled “When Martu paint, it’s like a map. Martu draw story on the ground and on the canvas, and all the circle and line there are the hunting areas and different waters and tracks where people used to walk, and [some you] can’t cross, like boundaries. So nowadays you see Read more…

Untitled “When Martu paint, it’s like a map. Martu draw story on the ground and on the canvas, and all the circle and line there are the hunting areas and different waters and tracks where people used to walk, and [some you] can’t cross, like boundaries. So nowadays you see Read more…

Untitled Most often explored in Doreen’s works are the motifs of her everyday modern Aboriginal community life; the animals hunted and plants gathered for bush tucker, the cars and aeroplanes used to travel to the cities and remote communities she regularly moves between, and depictions of the Country itself.  Collectively Read more…