111582145088



Strong Women Legacy

Though Martumili Artists are most well known as a painting group, several individuals forming part of their rising generation have begun to explore photography as an artistic medium. Inspired and informed by their forebears, these artists represent familiar themes of tradition, culture, and Country in exciting and experimental ways.

Photography has provided a perfect means of documenting the contemporary Aboriginal experience; living across remote Aboriginal communities and urban environments. Through the photographers lens we are afforded a compelling and intimate insight into the remote community life that is unknown to the vast majority of Australian and international viewers, as well as to new modes of engagement with traditional lands.

111582145084



Smokey Skies

Though Martumili Artists are most well known as a painting group, several individuals forming part of their rising generation have begun to explore photography as an artistic medium. Inspired and informed by their forebears, these artists represent familiar themes of tradition, culture, and Country in exciting and experimental ways.

Photography has provided a perfect means of documenting the contemporary Aboriginal experience; living across remote Aboriginal communities and urban environments. Through the photographers lens we are afforded a compelling and intimate insight into the remote community life that is unknown to the vast majority of Australian and international viewers, as well as to new modes of engagement with traditional lands.

111582145083



Smokey Skies

Though Martumili Artists are most well known as a painting group, several individuals forming part of their rising generation have begun to explore photography as an artistic medium. Inspired and informed by their forebears, these artists represent familiar themes of tradition, culture, and Country in exciting and experimental ways.

Photography has provided a perfect means of documenting the contemporary Aboriginal experience; living across remote Aboriginal communities and urban environments. Through the photographers lens we are afforded a compelling and intimate insight into the remote community life that is unknown to the vast majority of Australian and international viewers, as well as to new modes of engagement with traditional lands.

111582145082



Smokey Skies

Though Martumili Artists are most well known as a painting group, several individuals forming part of their rising generation have begun to explore photography as an artistic medium. Inspired and informed by their forebears, these artists represent familiar themes of tradition, culture, and Country in exciting and experimental ways.

Photography has provided a perfect means of documenting the contemporary Aboriginal experience; living across remote Aboriginal communities and urban environments. Through the photographers lens we are afforded a compelling and intimate insight into the remote community life that is unknown to the vast majority of Australian and international viewers, as well as to new modes of engagement with traditional lands.

111582145078



Gold Nugget

Though Martumili Artists are most well known as a painting group, several individuals forming part of their rising generation have begun to explore photography as an artistic medium. Inspired and informed by their forebears, these artists represent familiar themes of tradition, culture, and Country in exciting and experimental ways.

Photography has provided a perfect means of documenting the contemporary Aboriginal experience; living across remote Aboriginal communities and urban environments. Through the photographers lens we are afforded a compelling and intimate insight into the remote community life that is unknown to the vast majority of Australian and international viewers, as well as to new modes of engagement with traditional lands.

111582145077



Gold Nugget

Though Martumili Artists are most well known as a painting group, several individuals forming part of their rising generation have begun to explore photography as an artistic medium. Inspired and informed by their forebears, these artists represent familiar themes of tradition, culture, and Country in exciting and experimental ways.

Photography has provided a perfect means of documenting the contemporary Aboriginal experience; living across remote Aboriginal communities and urban environments. Through the photographers lens we are afforded a compelling and intimate insight into the remote community life that is unknown to the vast majority of Australian and international viewers, as well as to new modes of engagement with traditional lands.

111582145076



Gold Nugget

Though Martumili Artists are most well known as a painting group, several individuals forming part of their rising generation have begun to explore photography as an artistic medium. Inspired and informed by their forebears, these artists represent familiar themes of tradition, culture, and Country in exciting and experimental ways.

Photography has provided a perfect means of documenting the contemporary Aboriginal experience; living across remote Aboriginal communities and urban environments. Through the photographers lens we are afforded a compelling and intimate insight into the remote community life that is unknown to the vast majority of Australian and international viewers, as well as to new modes of engagement with traditional lands.

111582144921



Ranger trip

“On the ranger trip we took all the kid and camped halfway. The kids and all of us enjoyed camped out in the bush”

-Noreen Kadibil, 2022.

 

This work portrays an area known intimately to the artist, painted here in exquisite detail 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 warta (trees, vegetation) were carefully observed and remembered. Today, this relationship with Country remains equally strong, despite the movement of Martu out of the desert and into remote Aboriginal Communities, towns and cities.

Also visible may be traces of life cycles based around kalyu (rain, water) and waru (fire). A thousands of year old practice, fire burning continues to be carried out as both an aid for hunting and a means of land management today. As the Martu travelled and hunted they would burn tracts of land, ensuring plant and animal biodiversity and reducing the risk of unmanageable, spontaneous bush fires. The patchwork nature of regrowth is visible in many landscape works, with each of the five distinctive phases of fire burning visually described with respect to the cycle of burning and regrowth.  

Finally, metaphysical information relating to a location may also be recorded; Jukurrpa (Dreaming) narratives chronicle the creation of physical landmarks, and can be referenced through depictions of ceremonial sites, songlines, and markers left in the land. 

111582144919



Ranger trip

“We took all of the school kids on the Ranger trip to Jural-Jural rockhole, and made camp halfway down the track. The principle came as well [a] couple teachers. Then next morning [we] took the kids to Kurnajirrpi. Murphy, Sonia and the principle dug the soak out, the the water came out”

-Noreena Kadibil, 2022.

 

This work portrays an area known intimately to the artist, painted here in exquisite detail 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 warta (trees, vegetation) were carefully observed and remembered. Today, this relationship with Country remains equally strong, despite the movement of Martu out of the desert and into remote Aboriginal Communities, towns and cities.

Also visible may be traces of life cycles based around kalyu (rain, water) and waru (fire). A thousands of year old practice, fire burning continues to be carried out as both an aid for hunting and a means of land management today. As the Martu travelled and hunted they would burn tracts of land, ensuring plant and animal biodiversity and reducing the risk of unmanageable, spontaneous bush fires. The patchwork nature of regrowth is visible in many landscape works, with each of the five distinctive phases of fire burning visually described with respect to the cycle of burning and regrowth.  

Finally, metaphysical information relating to a location may also be recorded; Jukurrpa (Dreaming) narratives chronicle the creation of physical landmarks, and can be referenced through depictions of ceremonial sites, songlines, and markers left in the land. 

111582144922



Wantili (Warntili, Canning Stock Route Well 25)

“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 Canning Stock Route. The area is dominated by claypans surrounded by tuwa (sandhills), and Nyilangkurr, a prominent yapu (hill) is located on the edge of the claypan. Following rain the typically dry claypans are filled with water, with the overflow from nearby waterholes flowing to Wantili. At that time, Wantili becomes an important place for obtaining fresh water for drinking and bathing. Wantili is significant for the fact that at this site Kartujarra, Manyjilyjarra, Putijarra and Warnman people would all come together for ceremonies during the pujiman (traditional, desert dwelling) era. Many jiwa (stones used by women for grinding seeds) from these times can still be found there today. 

Wantili is an incredibly important cultural site, ‘where the creation started.’ (Cyril Whyoulter). In this creation story, the world was initially dark, and people were like rocks, with no arms or legs. Following the sun’s first rising, life-forms become increasingly complex while particular features in the land were created. Beyond these details much of the Jukurrpa (Dreaming) narrative relating to Wantili is ngurlu (sacred, taboo), and only for Martu, but the site is open, and anyone can go there. 

Wantili is also one of the many sites featured in the epic Minyipuru (Jakulyukulyu, Seven Sisters) Jukurrpa story. Minyipuru is a central Jukurrpa narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. 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. The story follows the movement of a group of women travelling all the way across the desert, beginning at Roebourne on the coast of Western Australia, as they are pursued by Yurla, a lustful old man. As the women travelled, they stopped to rest at many sites to eat, dance, rest and sing, on the way leaving behind an assortment of articles that became formations in the land, such as groupings of rocks and trees, grinding stones and seeds. The sisters rested at Wantili before throwing seeds, then continued their journey far to the east and beyond Martu Country, stopping at various sites through central and South Australia.

The intersection of the Canning Stock Route with Wantili 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 (desert dwellers) 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.