Untitled This is Mayiwalku’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 Kumpaya’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…
Yarnkarl My Mum and my Dad, they passed now, but when they alive they been showing me what, where, to paint. Showing me the places they been growin’ ‘im up and visiting. These our family places. – Damien Miller Yarnkarl is a claypan, creek 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 (rage) Curtis Taylor is a Martu artist and filmmaker who grew up between Aboriginal communities Bidyadanga in the Kimberley and Parnngurr in the Pilbara. He comes from a strong lineage of cultural and artistic leaders, including his grandparents Wokka Taylor (dec.) and Kanu (Karnu) Nancy Taylor (dec.), and his 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…
Wildflowers in the Bush This work depicts the remarkably diverse flora found through Martu Country. These plants are not only vital as significant food sources, but also celebrated for their aesthetic splendour. In the context of the often harsh and arid environments in which desert flowers bloom, their vibrancy, delicacy, and Read more…
Untitled This work portrays an area known to the artist, painted here from memory. During the pujiman (traditional, desert dwelling) era one’s survival depended on their intimate knowledge of the location of resources; thus physical elements of Country, such as sources of kapi (water), tali (sandhills), and different varieties of Read more…
Wantili “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 a large round jurnu (soak) and linyji (claypan) near Well 25 on the Read more…
Wantili “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 a large round jurnu (soak) and linyji (claypan) near Well 25 on the Read more…