Untitled This is Bugai’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…
Kartarru “This Country is Bugai’s mother’s Country where they would stay for periods of time because they could hunt there and there was good, permanent kapi (water). Kartarru is Well 24 on the Canning Stock Route.“ – Bugai Whyoulter, as translated by Bugai’s grandson, Cyril Whyoulter At Kartarru (Blue Hills Station, Read more…
Untitled This is Bugai’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…
Lyinji This painting portrays the lyinji (clay pans) around Wantili, Wantili is also known as Well 24 on the Canning Stock Route. The area is dominated by clay pans surrounded by tuwa (sandhills). This is the artist’s country where her and her family lived traditionally during the pujiman (bush) days. Read more…
Untitled This is Bugai’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 This is Mitutu’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…
Kulyakartu This painting depicts Kulyakartu, an area in the far north of the Martu homelands, near the Percival Lakes in the northern Great Sandy Desert. The artist has extensive knowledge of the country in this region. He grew up living traditionally during the pujiman (bush) days with his family.
Warla (salt lake) at Kalpa (Well 23) Kalpa, a place of great cultural significance, is also referred to as Well 24 on the Canning Stock Route. As a young man, the artist travelled extensively throughout the desert and up and down the Stock Route. This country is his family’s country, Read more…