{"title":"Aboriginal Art from Western Australia","description":"\u003ch2\u003eWestern Desert and Pilbara Artists\u003c\/h2\u003e\n\u003cp\u003eThese works represent some of the most remote and expansive country in Australia, from the salt lakes and claypans of the Western Desert to the diverse communities of the Pilbara. They come from Martumili Artists in Newman, representing Martu people across communities including Jigalong, Parnngurr, Punmu and Kunawarritji, and Spinifex Hill Artists on Kariyarra Country in South Hedland, where over 100 artists from eight language groups work. Also included is work connected to Wingellina in WA's far southeast, painted through Iwiri Arts in Adelaide. All are community-owned and not-for-profit, and every purchase directly supports the artists and their communities.\u003c\/p\u003e\n\u003cdiv class=\"collection-link-strip\" style=\"text-align: left; margin-bottom: 20px;\"\u003e\n\u003ca class=\"collection-bubble yellowS\" href=\"\/collections\/aboriginal-arnhem-land-weavings\"\u003eArnhem Land Weaving\u003c\/a\u003e \u003ca class=\"collection-bubble yellow\" href=\"\/collections\/aboriginal-art-from-arnhem-land\"\u003eArnhem Land Art\u003c\/a\u003e \u003ca class=\"collection-bubble yellowS\" href=\"\/collections\/aboriginal-dot-paintings\"\u003eDot Paintings\u003c\/a\u003e \u003ca class=\"collection-bubble yellow\" href=\"\/collections\/subscribers\"\u003eSubscribers\u003c\/a\u003e \u003ca class=\"collection-bubble yellowS\" href=\"\/collections\/stretched-aboriginal-desert-paintings\"\u003eStretched Paintings\u003c\/a\u003e \u003ca class=\"collection-bubble yellow\" href=\"\/collections\/aboriginal-desert-weavings\"\u003eDesert Weavings\u003c\/a\u003e \u003ca class=\"collection-bubble yellowS\" href=\"\/collections\/watercolour-landscapes\"\u003eWatercolour Paintings\u003c\/a\u003e\n\u003c\/div\u003e","products":[{"product_id":"inawinytji-stanley-minyma-kutjara-wingellina-122x122cm","title":"Inawinytji Stanley, Minyma Kutjara Wingellina, 122x122cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artist - Inawinytji Stanley\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Ernabella\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Iwiri Arts \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 24-84\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on linen\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H122 W122 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp\u003eThis is the story of the older sister going a long way to get her younger sister and bring her back. They went through many places on the way, but I will only talk about a short bit of their journey at Wingellina. Two women who both came from up high and stayed awhile. They both could see that Docker River was close. And as they were sitting there they performed ceremony, inma. After, they both threw away their weapons, they threw them away. Their head-rings, they threw away their head-rings. Then they got up and left. They went to another place, a hollow called Kantarangkutjara and then they travelled on to Docker River. The story of their travels after Docker River belongs to the Docker River people and others in distant country. My part of the story is short.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp\u003eInawinytji Stanley was born in Ernabella in 1967 to Nungalka and Stanley from Young's Well. She is the younger sister of Renita and is part of a family that is strong in both law and in the art centre. Inawinytji commenced working at the art centre in the 1990's and was involved in several group exhibitions and workshops between 1996 and 1998. She then left the community to live in Alice Springs, and after a long absence returned to Ernabella in 2008 and immediately became a very active participant in the newly revived Ceramics Studio. Inawinytji has been exhibited around Australia many times since 1996, including in Yangupala Tjuta Waakarinyi (Many Young People Working) at Sabbia Gallery, Sydney, and Bold and the Beautiful at Talapi, Alice Springs, both in 2015.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eIwiṟi was established by Aṉangu in 2018, many of whom had been forced to move to Adelaide due to chronic health conditions and lack of services in their home communities. Living far from their traditional homelands, A\u003cspan\u003en\u003c\/span\u003eangu were concerned about the cultural and social isolation they were experiencing and saw a need to act.  Iwi\u003cspan\u003er\u003c\/span\u003ei was formed initially to help retain, promote and transmit A\u003cspan\u003en\u003c\/span\u003eangu culture and language through the areas of arts, language, knowledge and community. Since then Iwiṟi has grown rapidly into an organization that delivers  a range of programs that aim to strengthen and advance Aṉangu wellbeing.\u003c\/p\u003e\n\u003cp class=\"\"\u003eIwi\u003cspan\u003er\u003c\/span\u003ei strengthens the Aṉangu community through cultural and arts activities, creating employment opportunities and enterprise development. We want our young people to be strong in their language and culture and to take up opportunities to work in our community.\u003c\/p\u003e","brand":"Iwiri Arts","offers":[{"title":"Default Title","offer_id":45907569017056,"sku":"24-84","price":1499.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/InawintjiStanley122x122cm24-84_d2068828-dd22-4227-9aaa-22a56026f51f.jpg?v=1772438330"},{"product_id":"maywokka-chapman-mayiwalku-ggurra-home-country-camp-76x46cm","title":"Maywokka Chapman (Mayiwalku), Ggurra (home Country, camp), 76x46cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artist - Maywokka Chapman (Mayiwalku)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - South Hedland (WA)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Spinifex Hill Studio\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eArt centre catalogue number - 23-399\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eMaterials - Acrylic paint on canvas\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H76 W46 D2 \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - \u003c\/span\u003e\u003cspan style=\"line-height: 1.4;\"\u003eArtwork is posted un-stretched and rolled for safe shipping\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp class=\"\"\u003e\u003cspan\u003e\"My name Mayiwalku. I’m pujiman (nomadic desert dweller). [I had] no clothes, nothing. Me Karimarra (skin group). My daughter Milangka, mummy Milangka, daddy Purungu. [I was] born long way [away] – Ngarurr I been born. He [they] been coming back [with me], mummy and daddy. He [they] been bringing little one- me. He [they] been walk around, go round. Walking, walking with me. Me baby, eating sand! (laughs) My daddy (motions her father hitting her hand). I been big one (the eldest child). My sister Mulyatingki she told me “May you cheeky one!” I been mujarri (run away), me. I been hit him, my sister. She been crying, telling my mummy. She been hit me then. My daddy always gone long way, hunting marlu (kangaroo) and pussy cat. Get him with a spear. Good feed. He been bring them and cook ‘em. I been get married in Warralong. My nyupa (husband) finished now. Good man. Big one! I’m a single now. Too much children! Dennis, Sally, Pauly, Charlie, Arnold, Doreen and Sandra. My daughter Doreen I been get him (gave birth to) near to Jigalong. All the boys [were born in] Karntimarta, Warralong. In Warralong painting, painting. No fishing – no car! Only painting, painting every day! Yuwayi (yes)!\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMayiwalku was born in the desert at Ngarurr soak in the 1940's. She is the eldest sister of fellow artists Nancy Nyanjilpayi Chapman, Mulyatingki Marney and Marjorie Yates (dec.). As a child and through to young adulthood, Mayiwalku travelled through her parents’ Country with their family. This region encompassed the areas surrounding Punmu, Karlamilyi River and Kunawarritji. Following the death of their parents, the sisters continued to travel in the desert alone, though at times they would meet and travel with other family groups. When Mayiwalku’s family saw white people for the first time, they hid from them in a cave until nighfall. With the construction of the Canning Stock Route in 1910, they increasingly came into contact with European and Martu drovers travelling along the Route. Finally, following an extreme and prolonged drought, Mayiwalku’s family walked into Balfour Downs Station, where they were collected by mission staff and taken to Jigalong Mission. They were one of the last families to leave the desert. Mayiwalku lived and worked for many years at Jigalong mission, eventually moving with her five children to Warralong, where she continues to live today with her children and grandchildren.\u003c\/span\u003e\u003c\/p\u003e","brand":"Warlukurlangu Artists","offers":[{"title":"Default Title","offer_id":46174078468320,"sku":"23-399","price":1399.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/MaywokkaChapman76x46cm23-399.png?v=1723518090"},{"product_id":"maywokka-chapman-mayiwalku-ggurra-home-country-camp-51x30-5cm","title":"Maywokka Chapman (Mayiwalku), Ggurra (home Country, camp), 51x30.5cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artist - Maywokka Chapman (Mayiwalku)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - South Hedland (WA)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Spinifex Hill Studio\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eArt centre catalogue number - 23-659\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eMaterials - Acrylic paint on canvas\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H51 W30.5 D2 \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - \u003c\/span\u003e\u003cspan style=\"line-height: 1.4;\"\u003eArtwork is posted un-stretched and rolled for safe shipping\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp class=\"\"\u003e\u003cspan\u003e\"My name Mayiwalku. I’m pujiman (nomadic desert dweller). [I had] no clothes, nothing. Me Karimarra (skin group). My daughter Milangka, mummy Milangka, daddy Purungu. [I was] born long way [away] – Ngarurr I been born. He [they] been coming back [with me], mummy and daddy. He [they] been bringing little one- me. He [they] been walk around, go round. Walking, walking with me. Me baby, eating sand! (laughs) My daddy (motions her father hitting her hand). I been big one (the eldest child). My sister Mulyatingki she told me “May you cheeky one!” I been mujarri (run away), me. I been hit him, my sister. She been crying, telling my mummy. She been hit me then. My daddy always gone long way, hunting marlu (kangaroo) and pussy cat. Get him with a spear. Good feed. He been bring them and cook ‘em. I been get married in Warralong. My nyupa (husband) finished now. Good man. Big one! I’m a single now. Too much children! Dennis, Sally, Pauly, Charlie, Arnold, Doreen and Sandra. My daughter Doreen I been get him (gave birth to) near to Jigalong. All the boys [were born in] Karntimarta, Warralong. In Warralong painting, painting. No fishing – no car! Only painting, painting every day! Yuwayi (yes)!\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMayiwalku was born in the desert at Ngarurr soak in the 1940's. She is the eldest sister of fellow artists Nancy Nyanjilpayi Chapman, Mulyatingki Marney and Marjorie Yates (dec.). As a child and through to young adulthood, Mayiwalku travelled through her parents’ Country with their family. This region encompassed the areas surrounding Punmu, Karlamilyi River and Kunawarritji. Following the death of their parents, the sisters continued to travel in the desert alone, though at times they would meet and travel with other family groups. When Mayiwalku’s family saw white people for the first time, they hid from them in a cave until nighfall. With the construction of the Canning Stock Route in 1910, they increasingly came into contact with European and Martu drovers travelling along the Route. Finally, following an extreme and prolonged drought, Mayiwalku’s family walked into Balfour Downs Station, where they were collected by mission staff and taken to Jigalong Mission. They were one of the last families to leave the desert. Mayiwalku lived and worked for many years at Jigalong mission, eventually moving with her five children to Warralong, where she continues to live today with her children and grandchildren.\u003c\/span\u003e\u003c\/p\u003e","brand":"Warlukurlangu Artists","offers":[{"title":"Default Title","offer_id":46178263990496,"sku":"23-659","price":559.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/MaywokkaChapman51x30.5cm23-659.png?v=1723602011"},{"product_id":"doreen-chapman-untitled-76x76cm","title":"Doreen Chapman, Untitled, 76x76cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artist - Doreen Chapman\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - South Hedland (WA)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Spinifex Hill Studio\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eArt centre catalogue number - 23-664\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eMaterials - Acrylic paint on canvas\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H76 W76 D2 \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - \u003c\/span\u003e\u003cspan style=\"line-height: 1.4;\"\u003eArtwork is posted un-stretched and rolled for safe shipping\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp class=\"\"\u003e‘Been born Jigalong.  Big sister for my son, Dennis Thomas. [S]he been come this way, Hedland.  Doreen, [and] me, [are] from Karntimarta, Warralong.  I been bring him [her] here.  Little girl [s]he start painting, in Warralong.  [S]he looking… looking… [s]he quick painter, quickly, looking, looking.  No fishing, no hunting, no car, painting, painting every day eh?  You been bring ‘em, [s]he painting, painting, painting!’ [laughs] - Maywokka May Chapman [mother]\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp class=\"\"\u003eDoreen was born in Jigalong in 1971 and has spent her life moving between Western Desert communities in the Pilbara, Western Australia.   She is a Manyjilyjarra artist and has spent the majority of her adult life in Warralong, a community 120km south-east of Port Hedland.  She started painting with her mother, Maywokka May Chapman, and she first exhibited with Martumili artists in 2010.  In recent years she has spent more time in Port Hedland and began painting at the Spinifex Hill Studios.  As a deaf woman, painting is a crucial medium of communication and storytelling. \u003c\/p\u003e","brand":"Warlukurlangu Artists","offers":[{"title":"Default Title","offer_id":46178330804448,"sku":"23-664","price":1799.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/DoreenChapman76x76cm23-664.jpg?v=1774305881"},{"product_id":"inawinytji-stanley-minyma-kutjara-wingellina-81x51cm","title":"Inawinytji Stanley, Minyma Kutjara Wingellina, 81x51cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artist - Inawinytji Stanley\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Ernabella\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Iwiri Arts \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 24-242\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on linen\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H81 W51 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp\u003eThis is the story of the older sister going a long way to get her younger sister and bring her back. They went through many places on the way, but I will only talk about a short bit of their journey at Wingellina. Two women who both came from up high and stayed awhile. They both could see that Docker River was close. And as they were sitting there they performed ceremony, inma. After, they both threw away their weapons, they threw them away. Their head-rings, they threw away their head-rings. Then they got up and left. They went to another place, a hollow called Kantarangkutjara and then they travelled on to Docker River. The story of their travels after Docker River belongs to the Docker River people and others in distant country. My part of the story is short.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp\u003eInawinytji Stanley was born in Ernabella in 1967 to Nungalka and Stanley from Young's Well. She is the younger sister of Renita and is part of a family that is strong in both law and in the art centre. Inawinytji commenced working at the art centre in the 1990's and was involved in several group exhibitions and workshops between 1996 and 1998. She then left the community to live in Alice Springs, and after a long absence returned to Ernabella in 2008 and immediately became a very active participant in the newly revived Ceramics Studio. Inawinytji has been exhibited around Australia many times since 1996, including in Yangupala Tjuta Waakarinyi (Many Young People Working) at Sabbia Gallery, Sydney, and Bold and the Beautiful at Talapi, Alice Springs, both in 2015.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eIwiṟi was established by Aṉangu in 2018, many of whom had been forced to move to Adelaide due to chronic health conditions and lack of services in their home communities. Living far from their traditional homelands, A\u003cspan\u003en\u003c\/span\u003eangu were concerned about the cultural and social isolation they were experiencing and saw a need to act.  Iwi\u003cspan\u003er\u003c\/span\u003ei was formed initially to help retain, promote and transmit A\u003cspan\u003en\u003c\/span\u003eangu culture and language through the areas of arts, language, knowledge and community. Since then Iwiṟi has grown rapidly into an organization that delivers  a range of programs that aim to strengthen and advance Aṉangu wellbeing.\u003c\/p\u003e\n\u003cp class=\"\"\u003eIwi\u003cspan\u003er\u003c\/span\u003ei strengthens the Aṉangu community through cultural and arts activities, creating employment opportunities and enterprise development. We want our young people to be strong in their language and culture and to take up opportunities to work in our community.\u003c\/p\u003e","brand":"Iwiri Arts","offers":[{"title":"Default Title","offer_id":46706063638752,"sku":"24-242","price":899.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/InawinytjiStanley81x51cm24-242.png?v=1733363054"},{"product_id":"inawinytji-stanley-minyma-kutjara-wingellina-60x45cm","title":"Inawinytji Stanley, Minyma Kutjara Wingellina, 60x45cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artist - Inawinytji Stanley\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Ernabella\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Iwiri Arts \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 25-65\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on linen\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H60 W45 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp\u003eThis is the story of the older sister going a long way to get her younger sister and bring her back. They went through many places on the way, but I will only talk about a short bit of their journey at Wingellina. Two women who both came from up high and stayed awhile. They both could see that Docker River was close. And as they were sitting there they performed ceremony, inma. After, they both threw away their weapons, they threw them away. Their head-rings, they threw away their head-rings. Then they got up and left. They went to another place, a hollow called Kantarangkutjara and then they travelled on to Docker River. The story of their travels after Docker River belongs to the Docker River people and others in distant country. My part of the story is short.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp\u003eInawinytji Stanley was born in Ernabella in 1967 to Nungalka and Stanley from Young's Well. She is the younger sister of Renita and is part of a family that is strong in both law and in the art centre. Inawinytji commenced working at the art centre in the 1990's and was involved in several group exhibitions and workshops between 1996 and 1998. She then left the community to live in Alice Springs, and after a long absence returned to Ernabella in 2008 and immediately became a very active participant in the newly revived Ceramics Studio. Inawinytji has been exhibited around Australia many times since 1996, including in Yangupala Tjuta Waakarinyi (Many Young People Working) at Sabbia Gallery, Sydney, and Bold and the Beautiful at Talapi, Alice Springs, both in 2015.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eIwiṟi was established by Aṉangu in 2018, many of whom had been forced to move to Adelaide due to chronic health conditions and lack of services in their home communities. Living far from their traditional homelands, A\u003cspan\u003en\u003c\/span\u003eangu were concerned about the cultural and social isolation they were experiencing and saw a need to act.  Iwi\u003cspan\u003er\u003c\/span\u003ei was formed initially to help retain, promote and transmit A\u003cspan\u003en\u003c\/span\u003eangu culture and language through the areas of arts, language, knowledge and community. Since then Iwiṟi has grown rapidly into an organization that delivers  a range of programs that aim to strengthen and advance Aṉangu wellbeing.\u003c\/p\u003e\n\u003cp class=\"\"\u003eIwi\u003cspan\u003er\u003c\/span\u003ei strengthens the Aṉangu community through cultural and arts activities, creating employment opportunities and enterprise development. We want our young people to be strong in their language and culture and to take up opportunities to work in our community.\u003c\/p\u003e","brand":"Iwiri Arts","offers":[{"title":"Default Title","offer_id":47360460554464,"sku":"25-65","price":499.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/InawinytjiStanley60x45cm25-65.png?v=1747115467"},{"product_id":"inawinytji-stanley-minyma-kutjara-wingellina-91x76cm-1","title":"Inawinytji Maralyn Stanley, Minyma Kutjara Wingellina, 91x76cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artist - Inawinytji Maralyn Stanley\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Ernabella\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Iwiri Arts \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 25-148\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on linen\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H91 W76 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp\u003eThis is the story of the older sister going a long way to get her younger sister and bring her back. They went through many places on the way, but I will only talk about a short bit of their journey at Wingellina. Two women who both came from up high and stayed awhile. They both could see that Docker River was close. And as they were sitting there they performed ceremony, inma. After, they both threw away their weapons, they threw them away. Their head-rings, they threw away their head-rings. Then they got up and left. They went to another place, a hollow called Kantarangkutjara and then they travelled on to Docker River. The story of their travels after Docker River belongs to the Docker River people and others in distant country. My part of the story is short.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp\u003eInawinytji Stanley was born in Ernabella in 1967 to Nungalka and Stanley from Young's Well. She is the younger sister of Renita and is part of a family that is strong in both law and in the art centre. Inawinytji commenced working at the art centre in the 1990's and was involved in several group exhibitions and workshops between 1996 and 1998. She then left the community to live in Alice Springs, and after a long absence returned to Ernabella in 2008 and immediately became a very active participant in the newly revived Ceramics Studio. Inawinytji has been exhibited around Australia many times since 1996, including in Yangupala Tjuta Waakarinyi (Many Young People Working) at Sabbia Gallery, Sydney, and Bold and the Beautiful at Talapi, Alice Springs, both in 2015.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eIwiṟi was established by Aṉangu in 2018, many of whom had been forced to move to Adelaide due to chronic health conditions and lack of services in their home communities. Living far from their traditional homelands, A\u003cspan\u003en\u003c\/span\u003eangu were concerned about the cultural and social isolation they were experiencing and saw a need to act.  Iwi\u003cspan\u003er\u003c\/span\u003ei was formed initially to help retain, promote and transmit A\u003cspan\u003en\u003c\/span\u003eangu culture and language through the areas of arts, language, knowledge and community. Since then Iwiṟi has grown rapidly into an organization that delivers  a range of programs that aim to strengthen and advance Aṉangu wellbeing.\u003c\/p\u003e\n\u003cp class=\"\"\u003eIwi\u003cspan\u003er\u003c\/span\u003ei strengthens the Aṉangu community through cultural and arts activities, creating employment opportunities and enterprise development. We want our young people to be strong in their language and culture and to take up opportunities to work in our community.\u003c\/p\u003e","brand":"Iwiri Arts","offers":[{"title":"Default Title","offer_id":47491258941664,"sku":"25-148","price":1359.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/InawintjiMaralynStanley25-14891x76cm2500.jpg?v=1749779322"},{"product_id":"derrick-butt-kulyakartu-152x76cm","title":"Derrick Butt, Kulyakartu, 152x76cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists - Derrick Butt\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Derby\/Bidyadanga\/\u003cspan\u003eNewman\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 23-1379\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on linen\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H152 W76 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp data-start=\"77\" data-end=\"628\"\u003e\"Long time ago I been there. It is my grandmother’s, grandfather’s, father’s, [and] mother’s country, Kulyakartu. I am painting this particular place. It keeps me connected, [gives me a] sense of belonging [to] tell my grandmother’s story through my art. Where she was born, I'm a part of that.\u003cbr data-start=\"371\" data-end=\"374\"\u003eIt makes me feel proud painting. Most important is telling the story behind the painting so people can understand where I am coming from. Kulyakartu is our ngurra (home Country, camp). I will continue telling the story through my art.\"\u003cbr data-start=\"609\" data-end=\"612\"\u003e— Derrick Butt\u003c\/p\u003e\n\u003cp data-start=\"630\" data-end=\"1114\"\u003eThis painting depicts Kulyakartu, Derrick’s ancestral ngurra (home Country, camp). Kulyakartu is a large area in the far north of the Martu homelands, near the Percival Lakes region of Western Australia's Great Sandy Desert. Kulyakartu is mostly flat grass Country, and is known as a good hunting area. In particular, parnajarrpa (goanna), wild cats, and lunki (witchetty grub) are found in abundance here. In the wantajarra (wet season) the dry lakes in the region fill with water.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp\u003e\"My birthplace is Derby, I was born in the old hospital there in 1976. Then my mother used to live in Bidyadanga, so I grew up in Bidgy and went to school there. We used to travel a bit when we were young with our grandmother.\u003c\/p\u003e\n\u003cp\u003eWhen I was a teenager I asked my grandmother; \"Where is your Country? I want to know your Country\". She was from the Great Central Desert, Kulyakartu. She told me, \"Go to the desert, go to Parnngurr, and you'll see my brothers and sisters. \" I went there, I saw his [her] brothers and sisters, and they looked the same. Jamu (grandfather) Muuki [Taylor] and Nola [Nyalangka] Taylor. She's the youngest sister, she has the same face too.\u003c\/p\u003e\n\u003cp\u003eBefore that I thought we was from the coast; we love the coast and we grew up there. The coast provided food for us, learning as we grew up to hunt and go fishing, but in the back of my head something felt missing. I used to think, \"Where are your roots?' When I discovered my grandmother was from the bush, I continued in that path, wanting to know more. Now I've been living in the desert for a long time- working and painting with Martumili and KJ [Kanyirninpa Jukurrpa] rangers, and I know the impact it can have on you.\u003c\/p\u003e\n\u003cp\u003eMy grandmother didn't manage to go back to her Country because she passed on, but I went back there and now I paint that Country- that Country is mine through my blood, through my DNA. Painting my Country strengthens that connection- knowing that I belong to that place. It's a tribute to my grandmother. I can carry her story, carry her legacy through my art. In a sense we know where we come from because of my grandmothers and grandfathers.\u003c\/p\u003e\n\u003cp\u003eI used to do painting in school, landscapes with charcoal. But something was missing. I wanted to create my own style and own ways. One day I went to Perth and I was looking down on Country and I said \"This is art. So I put that down in my painting.\" Now when I paint, I paint with Taylors. Most of our family are painters. I saw their art, their painting, and I wanted to be a part of that group because I love painting. Muuki Jamu I know, he paint Kulyakartu aswell, but in his unique way. I wanted to create my own style of painting. Now I have my style but I still like to push the boundary, try new things.\u003c\/p\u003e\n\u003cp\u003eI do mostly looking down on Country, all the colours you can see. It's not always brown and orange - it's a lot of colours, all mixed up colours. I put everything colours in my canvas. Before I start painting I also create my own background. The colours I use for my background I put on top so they blend together like three dimensional levels.\u003c\/p\u003e\n\u003cp\u003eThe best thing about painting is knowing there is a place there for you, and sharing that part of myself through art. To be noticed in a way, people can connect to your story and you alone, because you're talking from your heart, and giving back, sharing. You've got to love what you paint.\u003c\/p\u003e\n\u003cp\u003eI always love people to see my art, and to know what they're thinking. I cant wait to have my own exhibition - it's good to be exposed in the art world. If people ask questions it's good, because I like to tell; I love talking. I have to paint some more, just keep painting and build up my reputation for the next solo exhibition. \"\u003c\/p\u003e\n\u003cp\u003e- Derrick Butt\u003c\/p\u003e\n\u003cp\u003eDerrick was born in Derby in the Western Australian Kimberley but moved to Parnngurr Aboriginal Community at a young age to stay with his grandmother' s side of the family. He began sketching in school at Parnngurr, soon developing a strong love of art, and then learning to paint. In his late teens he moved to Newman, where he started to paint again and begin to showcase his work through Martumili Artists. He's a natural storyteller, and this clearly carries through to his art, where he proudly tells the story of his heritage and his Country; \"I believe art is alive with the story... Painting my Country strengthens that connection- knowing that I belong to that place. \"\u003c\/p\u003e\n\u003cp\u003eDerrick is fast developing a reputation for the dramatic, bold representations of his ancestral Country, Kulyakartu, where shimmering undulations combine with pinpricked constellations of colour. Somehow, his paintings convey not only the topographic geological forms, water bodies, and flora of the region, but also the very life essence that lies beneath the land.\u003c\/p\u003e\n\u003cp\u003eKulyakartu is located in the far north of the Martu homelands, near the Percival Lakes region of Western Australia's Great Sandy Desert. Kulyakartu is mostly grass Country where there is very good hunting. In particular parnajarrpa (goanna), wild cats, and lunki (witchetty grub) are found in abundance here.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47595762974944,"sku":"23-1379","price":3449.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/DErrickButt23-1379152x76cm_9b08ea2e-1a13-49da-90fb-f7ac16f9dd78.png?v=1782957636"},{"product_id":"debra-thomas-untitled-61x46cm","title":"Debra Thomas, Untitled, 61x46cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists - Debra Thomas\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - \u003cspan\u003ePunmu\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 20-802\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H61 W46 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp data-start=\"85\" data-end=\"591\"\u003e“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 a colourful painting and wonder what it is, but that’s how Martu tell story long ago. It’s not just a lovely painting, it’s a story and a songline and a history and everything that goes with it.\"\u003cbr data-start=\"546\" data-end=\"549\"\u003e— Ngalangka Nola Taylor and Joshua Booth\u003c\/p\u003e\n\u003cp data-start=\"593\" data-end=\"1472\"\u003eThis work portrays an area of Country that can be interpreted in multiple ways. Firstly, the image may be read as an aerial representation of a particular location known to the artist — either land that they or their family travelled, from the pujiman (traditional, desert dwelling) era to now. During the pujiman 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. At this time, 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), different varieties of warta (trees, vegetation), ngarrini (camps), and jina (tracks) are typically recorded with the use of a system of iconographic forms universally shared across the desert.\u003c\/p\u003e\n\u003cp data-start=\"1474\" data-end=\"2144\"\u003eAn additional layer of meaning in the work relates to more intangible concepts; life cycles based around kalyu (rain, water) and waru (fire) are also often evident. A thousands-of-years-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 bushfires. The patchwork nature of regrowth is evident 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.\u003c\/p\u003e\n\u003cp data-start=\"2146\" data-end=\"2537\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eFinally, 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. Very often, however, information relating to Jukurrpa is censored by omission, or alternatively painted over with dotted patterns.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp data-start=\"104\" data-end=\"912\"\u003e“We’ve been in Punmu long time. We moved from Camp 61 where we were schooling the kids there. And moved to Punmu, and we stayed there. Big mob of us came back in a truck, in an old tractor with the trailer. That old truck still there at the turnoff. We came in that one now. Me and my partner and my two kids, a boy and a girl. We went there. I had Nyri [her youngest boy] in Punmu. Right there, next to the school, near the lake. It was good! We started a school there in the bough shed. Before it was in a building. I was there with my two kids. No power or houses. Just a tent. We used to make pujiman (traditional, desert dwelling era) style, with the warta [wood] and leaves, make some shade. Big mob of us there, they all finish now. Jakayu [Biljabu], Minyawe [Miller] there. Then we made the houses.\u003c\/p\u003e\n\u003cp data-start=\"914\" data-end=\"1269\"\u003eGood work with the rangers [Kanyirninpa Jukurrpa ranger program]. We see the waterholes, they tell us about our family trees. Go see our Country. Mother’s Country and father’s Country. And now we painting with Martumili. I want to go do painting more. Lovely one, juri [lovely] one. Sit down. I sit down all day, nothing to do at home.”\u003cbr data-start=\"1250\" data-end=\"1253\"\u003e— Debra Thomas\u003c\/p\u003e\n\u003cp data-start=\"1271\" data-end=\"1633\"\u003eDebra grew up in Nullagine and went to school both in Nullagine and Jigalong. Later in life she settled at Camp 61, an outstation on Bilanooka Station where she helped set up a community school. Moving to Punmu during the Return to Country movement of the early 1980s, Debra assisted with the establishment of the Punmu School in the community’s bough shelter.\u003c\/p\u003e\n\u003cp data-start=\"1635\" data-end=\"2147\"\u003eOver the last several years, Debra has learned to paint by sitting with the older women. She particularly enjoys learning about Country from the senior women and ensuring that her children spend time watching their elders paint and learning the stories for and history of their Country. While painting, she talks about the subtle sparkling colours of the plants and flowers that grow around Karlamilyi (Rudall River). In recent years she has also worked as a ranger for the Kanyirninpa Jukurrpa ranger program.\u003c\/p\u003e\n\u003cp data-start=\"2149\" data-end=\"2303\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eDebra paints her mother's country, which is Warnman country, surrounding Karlamilyi (Rudall River) as well as her father's country, around Kunawarritji.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47597651624160,"sku":"20-802","price":499.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/DebraThomas61x46cm20-802.png?v=1752906533"},{"product_id":"lorna-linmurra-waterholes-76x46cm","title":"Lorna Linmurra, Waterholes, 76x46cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists - Lorna Linmurra\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - \u003cspan\u003eWarralong\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 22-1684\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H76 W46 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cdiv\u003e\u003cspan\u003eThis 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 characteristics of that place, has today become an important means of cultural maintenance.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eThough Lorna was born in the Port Hedland hospital and she attended school from a young age, she still lived a somewhat traditional pujiman (traditional, desert dwelling) lifestyle, travelling in the Country between Marble Bar and Roebourne with ‘nomad people’. Today Lorna lives in Warralong Aboriginal community, 50 km north of Marble Bar.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003ePortrayed in this work are features of Lorna’s ngurra, such as the dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources she and her family camped at.\u003c\/span\u003e\u003c\/div\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp data-start=\"82\" data-end=\"432\"\u003e“I was born in Hedland hospital. I grew up, Marble Bar area, we were staying there with nomad people, I was going to school. Nomad people would take us everywhere. We then went to Roebourne, everywhere we go. I started working making tins for lollies, for a few years I did. We didn’t know anything [then], we were young people.”\u003cbr data-start=\"411\" data-end=\"414\"\u003e- Lorna Linmurra\u003c\/p\u003e\n\u003cp data-start=\"434\" data-end=\"746\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eLorna was born in Port Hedland. In more recent years she moved to Warralong Community with her family, where she remains today. Warralong Community is located 120 kilometres south east of Port Hedland and 50 kilometres north of Marble Bar in the Pilbara. The community lies between the Shaw and De Grey Rivers.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47597664108768,"sku":"22-1684","price":699.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/LornaLinmurra76x46cm22-1684_fda90001-ec7f-4c58-9d69-9d31adf23ade.png?v=1752907111"},{"product_id":"ngamaru-bidu-wantili-152x76cm","title":"Ngamaru Bidu, Wantili, 152x76cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists - Ngamaru Bidu\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Parnngurr\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 22-1581\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H152 W76 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp\u003e“Wantili (Warntili, Canning Stock Route Well 25) area, close to Parnngurr. My ngurra (home Country, camp), my jamu’s (grandfather’s) Country, my father's daddy, Jakayu [Biljabu’s] daddy and my daddy's Country. Jakayu been bury her father there. In pujiman (traditional, desert dwelling) days, my family and Jakayu's family been walking round there together. Big sandhills here. Sandhill, sandhill, sandhill everywhere. Claypan there, in the middle. Good place for swimming and drinking, for hunting little kangaroo. When no water [we would] go to [the adjacent Canning Stock Route] well. When there [was] rain we stay there at Wantili. Everywhere, we been walking everywhere.\u003c\/p\u003e\n\u003cp\u003eNear to Wantili, road [Canning Stock Route] going kayili (north). Long time [ago] only horses and cattle [travelled along that road], going Meekatharra and back in the cold time, gone right up to GJ (Georgia) Bore. Half way, when he see water at Wantili, that mob would camp one night, bullock eating all the grass and men’s drinking water. One Martu been working with that mob, droving bullock. Every time he been give us meat, all the pujimanpa (desert dwellers).” – Ngamaru Bidu\u003c\/p\u003e\n\u003cp\u003eWantili is a large round jurnu (soak) and linyji (claypan) near Well 25 on the Canning Stock Route. The Wantili region is dominated by claypans surrounded by tuwa (sandhills), and Nyilangkurr, a prominent yapu (hill) is located close to the eastern 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 era. Many jiwa (stones used by women for grinding seeds) from these times, including those used by Ngamaru's family, can still be found there today.\u003c\/p\u003e\n\u003cp\u003eWantili lies within Ngamaru’s ngurra (home Country, camp) through her grandfather and father. As described in her account, Wantili was one of the sites Ngamaru knew intimately and travelled extensively with her family and other family groups, such as the Biljabu family. During the pujiman period Martu would traverse very large distances annually, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. Knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water.\u003c\/p\u003e\n\u003cp\u003eAs Ngamaru recounts, Wantili also held significance for her as a site of contact between her family and karla (white people); drovers with their cattle travelling along the Canning Stock Route. The establishment of the route by Alfred Canning and his team in 1910 resulted in first contact with Europeans for many Martu, including Ngamaru and her family. Increasingly, Martu 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.\u003c\/p\u003e\n\u003cp\u003eCulturally, Wantili is an incredibly important site in two central Jukurrpa (Dreaming) stories. The first relates to the world’s creation. In this narrative, 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 are created. Beyond these details much of the narrative is ngurlu (sacred, taboo), and only for Martu, but the site is open, and anyone can go there.\u003c\/p\u003e\n\u003cp\u003eWantili 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.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp data-start=\"83\" data-end=\"634\"\u003e“I been born [around] Karanyal and Marlirri (Canning Stock Route Well 22) in the parna (ground, earth), only claypan. My jamu (grandfather) [was also] Jakayu [Biljabu's] father, my father's daddy. My mummy born long way, near to Wikirri (Midway Well) area. My father born Pitu (Separation Well). I’m biggest one [I was the eldest of five siblings]; me, Neil, Ivy, Gladys, then Caroline. My sister Gladys been born Wantili, Ivy born Georgia Bore (Pitarny), Caroline been born in Jigalong [Mission]. We walked around together [as we were] growing up.”\u003c\/p\u003e\n\u003cp data-start=\"636\" data-end=\"1217\"\u003e[As a child, Ngamaru walked around with her family, living a pujiman (traditional, desert dwelling) lifestyle. In 1963 Ngamaru saw a whitefella for the first time near Wiirnukurrujunu rockhole; surveyor Len Beadell grading a road across the desert as part of a military weapons testing program. Shortly after this meeting Ngamaru, along with the other 28 Martu she had been travelling with, was tracked and pursued by the Native Welfare Department. The group was eventually persuaded to move to Jigalong mission to join their relatives that had already moved in from the desert.]\u003c\/p\u003e\n\u003cp data-start=\"1219\" data-end=\"1800\"\u003e“They been chase us, long way — me, Ivy, and Kuru [Gladys] ran away with Mitchell and Teddy Biljabu. Kumpaya, Bugai and my mother ran away quick too. Landrover he been pick us up for Parngurr, all the lot, [driving on the] track for Jigalong. Family all coming in. I been come for first time [it was my first time in a vehicle]. I was naked one, put a blanket for kurnta (shame). I been living there in Jigalong with my mummy and family. I been working in the dining hall, making bread for kid. I been meet my nyupa (spouse), Mr Booth, and had a son, Ned Booth.”\u003cbr data-start=\"1781\" data-end=\"1784\"\u003e– Ngamaru Bidu\u003c\/p\u003e\n\u003cp data-start=\"1802\" data-end=\"2230\"\u003eNgamaru was born at Marlirri (Well 22 on the Canning Stock Route), the eldest of four siblings. Her mother came from the area around Wikirri and her father from Pitu. As a child Ngamaru lived a pujiman lifestyle, and walked around with her family, moving from water source to water source dependent on the seasonal rain cycles. They often travelled with their extended relatives, Bugai Whyoulter and Jakayu Biljabu’s families.\u003c\/p\u003e\n\u003cp data-start=\"2232\" data-end=\"2645\"\u003eWhen Ngamaru was a teenager, her family and their travelling companions were tracked by Native Patrol Officers and staff from the Jigalong Mission. The group was persuaded to move to Jigalong Mission, where they rejoined the many family members that had already moved in from the desert. At the mission, Ngamaru’s sister and some of the Biljabu family were sent to school, but Ngamaru went to work making bread.\u003c\/p\u003e\n\u003cp data-start=\"2647\" data-end=\"2942\"\u003eFrom Jigalong Ngamaru moved to Strelley Community, where she met her husband, Joshua Booth. Together with their children they later moved to Warralong and then Punmu Aboriginal Communities before settling in Parnngurr Aboriginal community (Cotton Creek), where Ngamaru continues to live today.\u003c\/p\u003e\n\u003cp data-start=\"3093\" data-end=\"3836\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eNgamaru has painted with Martumili since its inception in 2006. She has frequently painted with senior artists and relatives Mitutu Mabel Wakarta (dec.) and Kumpaya Girgaba. Ngamaru is known for the beautifully complex compositional structures and intricate patterning in her work, through which she very often explores the practice of fire burning in her Country and the related Martu cyclical seasonal changes. Ngamaru’s work has been exhibited in galleries internationally and throughout Australia, and acquired by major institutions including the National Museum of Australia, the National Gallery of Victoria, and the Art Gallery of Western Australia. In 2019 Ngamaru was selected for the prestigious John Stringer Art Prize exhibition.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47599348056288,"sku":"22-1581","price":4039.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/NgamaruBidu152x76cm22-1581_60b77d3f-ba43-4cdf-87dc-dca3283d9c7a.png?v=1774307039"},{"product_id":"ngamaru-bidu-wantili-76x36cm","title":"Ngamaru Bidu, Wantili, 76x36cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists - Ngamaru Bidu\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Parnngurr\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 23-1506\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H76 W36 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp\u003e“Wantili (Warntili, Canning Stock Route Well 25) area, close to Parnngurr. My ngurra (home Country, camp), my jamu’s (grandfather’s) Country, my father's daddy, Jakayu [Biljabu’s] daddy and my daddy's Country. Jakayu been bury her father there. In pujiman (traditional, desert dwelling) days, my family and Jakayu's family been walking round there together. Big sandhills here. Sandhill, sandhill, sandhill everywhere. Claypan there, in the middle. Good place for swimming and drinking, for hunting little kangaroo. When no water [we would] go to [the adjacent Canning Stock Route] well. When there [was] rain we stay there at Wantili. Everywhere, we been walking everywhere.\u003c\/p\u003e\n\u003cp\u003eNear to Wantili, road [Canning Stock Route] going kayili (north). Long time [ago] only horses and cattle [travelled along that road], going Meekatharra and back in the cold time, gone right up to GJ (Georgia) Bore. Half way, when he see water at Wantili, that mob would camp one night, bullock eating all the grass and men’s drinking water. One Martu been working with that mob, droving bullock. Every time he been give us meat, all the pujimanpa (desert dwellers).” – Ngamaru Bidu\u003c\/p\u003e\n\u003cp\u003eWantili is a large round jurnu (soak) and linyji (claypan) near Well 25 on the Canning Stock Route. The Wantili region is dominated by claypans surrounded by tuwa (sandhills), and Nyilangkurr, a prominent yapu (hill) is located close to the eastern 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 era. Many jiwa (stones used by women for grinding seeds) from these times, including those used by Ngamaru's family, can still be found there today.\u003c\/p\u003e\n\u003cp\u003eWantili lies within Ngamaru’s ngurra (home Country, camp) through her grandfather and father. As described in her account, Wantili was one of the sites Ngamaru knew intimately and travelled extensively with her family and other family groups, such as the Biljabu family. During the pujiman period Martu would traverse very large distances annually, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. Knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water.\u003c\/p\u003e\n\u003cp\u003eAs Ngamaru recounts, Wantili also held significance for her as a site of contact between her family and karla (white people); drovers with their cattle travelling along the Canning Stock Route. The establishment of the route by Alfred Canning and his team in 1910 resulted in first contact with Europeans for many Martu, including Ngamaru and her family. Increasingly, Martu 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.\u003c\/p\u003e\n\u003cp\u003eCulturally, Wantili is an incredibly important site in two central Jukurrpa (Dreaming) stories. The first relates to the world’s creation. In this narrative, 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 are created. Beyond these details much of the narrative is ngurlu (sacred, taboo), and only for Martu, but the site is open, and anyone can go there.\u003c\/p\u003e\n\u003cp\u003eWantili 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.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp data-start=\"83\" data-end=\"634\"\u003e“I been born [around] Karanyal and Marlirri (Canning Stock Route Well 22) in the parna (ground, earth), only claypan. My jamu (grandfather) [was also] Jakayu [Biljabu's] father, my father's daddy. My mummy born long way, near to Wikirri (Midway Well) area. My father born Pitu (Separation Well). I’m biggest one [I was the eldest of five siblings]; me, Neil, Ivy, Gladys, then Caroline. My sister Gladys been born Wantili, Ivy born Georgia Bore (Pitarny), Caroline been born in Jigalong [Mission]. We walked around together [as we were] growing up.”\u003c\/p\u003e\n\u003cp data-start=\"636\" data-end=\"1217\"\u003e[As a child, Ngamaru walked around with her family, living a pujiman (traditional, desert dwelling) lifestyle. In 1963 Ngamaru saw a whitefella for the first time near Wiirnukurrujunu rockhole; surveyor Len Beadell grading a road across the desert as part of a military weapons testing program. Shortly after this meeting Ngamaru, along with the other 28 Martu she had been travelling with, was tracked and pursued by the Native Welfare Department. The group was eventually persuaded to move to Jigalong mission to join their relatives that had already moved in from the desert.]\u003c\/p\u003e\n\u003cp data-start=\"1219\" data-end=\"1800\"\u003e“They been chase us, long way — me, Ivy, and Kuru [Gladys] ran away with Mitchell and Teddy Biljabu. Kumpaya, Bugai and my mother ran away quick too. Landrover he been pick us up for Parngurr, all the lot, [driving on the] track for Jigalong. Family all coming in. I been come for first time [it was my first time in a vehicle]. I was naked one, put a blanket for kurnta (shame). I been living there in Jigalong with my mummy and family. I been working in the dining hall, making bread for kid. I been meet my nyupa (spouse), Mr Booth, and had a son, Ned Booth.”\u003cbr data-start=\"1781\" data-end=\"1784\"\u003e– Ngamaru Bidu\u003c\/p\u003e\n\u003cp data-start=\"1802\" data-end=\"2230\"\u003eNgamaru was born at Marlirri (Well 22 on the Canning Stock Route), the eldest of four siblings. Her mother came from the area around Wikirri and her father from Pitu. As a child Ngamaru lived a pujiman lifestyle, and walked around with her family, moving from water source to water source dependent on the seasonal rain cycles. They often travelled with their extended relatives, Bugai Whyoulter and Jakayu Biljabu’s families.\u003c\/p\u003e\n\u003cp data-start=\"2232\" data-end=\"2645\"\u003eWhen Ngamaru was a teenager, her family and their travelling companions were tracked by Native Patrol Officers and staff from the Jigalong Mission. The group was persuaded to move to Jigalong Mission, where they rejoined the many family members that had already moved in from the desert. At the mission, Ngamaru’s sister and some of the Biljabu family were sent to school, but Ngamaru went to work making bread.\u003c\/p\u003e\n\u003cp data-start=\"2647\" data-end=\"2942\"\u003eFrom Jigalong Ngamaru moved to Strelley Community, where she met her husband, Joshua Booth. Together with their children they later moved to Warralong and then Punmu Aboriginal Communities before settling in Parnngurr Aboriginal community (Cotton Creek), where Ngamaru continues to live today.\u003c\/p\u003e\n\u003cp data-start=\"3093\" data-end=\"3836\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eNgamaru has painted with Martumili since its inception in 2006. She has frequently painted with senior artists and relatives Mitutu Mabel Wakarta (dec.) and Kumpaya Girgaba. Ngamaru is known for the beautifully complex compositional structures and intricate patterning in her work, through which she very often explores the practice of fire burning in her Country and the related Martu cyclical seasonal changes. Ngamaru’s work has been exhibited in galleries internationally and throughout Australia, and acquired by major institutions including the National Museum of Australia, the National Gallery of Victoria, and the Art Gallery of Western Australia. In 2019 Ngamaru was selected for the prestigious John Stringer Art Prize exhibition.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47599355396320,"sku":"23-1506","price":979.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/NgamaruBidu76x36cm23-1506.png?v=1753066135"},{"product_id":"yikartu-bumba-jupurrl-91x61cm","title":"Yikartu Bumba, Jupurrl, 91x61cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists - Yikartu Bumba\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Punmu\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 24-994\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H91 W61 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eArtwork note - Richly painted, resulting in a highly textured surface\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cdiv\u003e\n\u003cp\u003e“This one a yinta (permanent springs) in my ngurra (home Country, camp), Jupurrl. It's kakarra (east) of Kulyakartu and kayili (north) side of Wirnpa. I was a married woman when I was walking around this place, pujiman (traditional, desert dwelling) me. I married a good man. There’s lots of kapi (water) there. Lots of yukari (green grass, vegetation). Plenty of bushtucker, pussycat and goanna. There’s no kapi when you first get there, but you dig him up and then there’s lots of kapi. We’ve got to take all the kids to that ngurra. Show them my daddy’s ngurra. There’s another waterhole, not far from there called Jakapinka. A jila (snake) made that kapi. It’s my brother’s Country.” — Yikartu Bumba\u003c\/p\u003e\n\u003cp\u003eDuring the pujiman (traditional, desert dwelling) days, Yikartu and her family travelled extensively through this Country. At this time 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. Knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known by name, location, quality and seasonal availability through real life experience and the recounting of Jukurrpa (Dreaming) narratives.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp\u003e“When I was a little girl, my father and mother took me around [Yulparija Country, north of Manyjilyjarra Country]. We used to walk around when I was a little girl. We travelled with my grandmother and all the family, we travelled with my sisters and brothers. We went from place to place, stopping in one place, hunting around and stopping in another place. We visited all the yinta (permanent springs). We could even travel on the water from a soak. I used to stay at the camp, waiting by the water, while my parents and grandparents would go out to get a lot of meat and other food. The little kids would stay home and hunt for small lizards. Then we would all travel together to another place. My grandparents really loved and cared for me when I was a little girl. They took good care of me. I was growing bigger at that time. When I grew bigger, I was able to go hunting on my own. I hunted cats and goannas. My parents still went hunting for meat for us all then.\u003c\/p\u003e\n\u003cp\u003e[Later] I lost my mother and my grandmother, and then my father left us and walked into a station, but my other grandmother kept looking after me. I was still travelling with my mother’s mother when I got married [became second wife to the father of Yuwali Janice Nixon (dec.)] and had my daughter, Barli. When I was travelling with my husband and all the family we went south to Wirnpa and Kurturrara. We stayed around there for a time and then went northeast, on the tableland. During the wet season we would travel out from the yinta (permanent springs) across the tableland. I would travel with Yuwali’s mother [the first wife of Yikartu’s husband]. We would walk together, hunting as we went.\u003c\/p\u003e\n\u003cp\u003eDuring a rainy season we were staying in one place for a while and we had a visitor from Bidyadanga. There was one missionary [Father McKelson] and two Martu men travelling with him. They asked us who we were and wrote it down on a piece of paper. Then he told us to sit down and wait for them to come back with a vehicle. From there we went into the mission.”\u003c\/p\u003e\n\u003cp\u003e— Yikartu Bumba, as translated by Ngalangka Nola Taylor\u003c\/p\u003e\n\u003cp\u003eYikartu is a Manyjilyjarra woman born in the 1940s at Lalyipuka, north of Wirnpa and in Juwaliny Country. Her ngurra (home Country, camp) lies at the northern boundary of Martu Country, around the Percival Lakes region and further northward. She lived a pujiman (traditional, desert dwelling) lifestyle until she was married and had a child, at which point the group she was travelling with first encountered a vehicle. Two Martu men and a missionary had travelled from the La Grange mission at Bidyadanga to look for people still living in the desert. They gave Yikartu and her family food and fruit, and later returned to pick up Yikartu and everyone she was travelling with. Her family group was one of the last to leave the desert.\u003c\/p\u003e\n\u003cp\u003eAt Bidyadanga Yikartu met up with a close uncle of hers and many other Martu, Juwaliny and Mangala people. She lived in both Bidyadanga and Jigalong for a period, during which she had three more daughters. During the 1980s ‘Return to Country’ movement Yikartu relocated to Punmu Aboriginal community to be closer to her home ngurra.\u003c\/p\u003e\n\u003cp\u003eYikartu often paints her husband's Country, close to Wirnpa, but also paints her mother’s, father’s and all her grandparents’ Country around Lungkurangu, north of the Great Sandy Desert. Yikartu paints the jila (living water, snake) water sources running from Yulpu to Yimiri, Kupankurlu, Kurturrara and Wirnpa. Yikartu’s work has been exhibited widely across Australia and internationally, and her collaborative works acquired by the National Museum of Australia and the National Gallery of Australia.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47601099407584,"sku":"24-994","price":1659.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/YirartuBumbaJupurrl24-99491x61cm.png?v=1753145330"},{"product_id":"yikartu-bumba-wirlarra-wilarra-76x46cm","title":"Yikartu Bumba, Wirlarra (Wilarra), 76x46cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists - Yikartu Bumba\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Punmu\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 24-967\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H76 W46 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cdiv\u003e\n\u003cp data-start=\"149\" data-end=\"523\"\u003eWirlarra, the site depicted in this painting, lies on the eastern edge of a large salt lake, Nyayartakujarra (Lake Dora), near Punmu Aboriginal community. A distinctive group of small salt water pools are clustered together here. The water from these pools is known for its powerful healing properties, and the pools are still visited today by Martu to bathe cuts and sores.\u003c\/p\u003e\n\u003cp data-start=\"525\" data-end=\"1065\"\u003eWirlarra is also a term for ‘moon’ in Manyjilyjarra, and through the site’s Jukurrpa (Dreaming) narrative, the site is united with the moon in significance. It is said that at Wirlarra, the moon called to a family of dingoes; a mother, father and their large litter of dingo pups. The dingoes gathered at Wirlarra, where the moon cared for them and created a windbreak for the family to shelter. Here the dingoes scratched at the surface of the salt lake and created the cluster of salt water pools located there today. They lay down there.\u003c\/p\u003e\n\u003cp data-start=\"1067\" data-end=\"1330\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eAfter a time, the dingoes continued travelling eastward toward the rising moon until they reached Kinyu (Well 35 on the Canning Stock Route), where they remained until all of the dingo pups had grown up. From Kinyu the family travelled further east with the moon.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp\u003e“When I was a little girl, my father and mother took me around [Yulparija Country, north of Manyjilyjarra Country]. We used to walk around when I was a little girl. We travelled with my grandmother and all the family, we travelled with my sisters and brothers. We went from place to place, stopping in one place, hunting around and stopping in another place. We visited all the yinta (permanent springs). We could even travel on the water from a soak. I used to stay at the camp, waiting by the water, while my parents and grandparents would go out to get a lot of meat and other food. The little kids would stay home and hunt for small lizards. Then we would all travel together to another place. My grandparents really loved and cared for me when I was a little girl. They took good care of me. I was growing bigger at that time. When I grew bigger, I was able to go hunting on my own. I hunted cats and goannas. My parents still went hunting for meat for us all then.\u003c\/p\u003e\n\u003cp\u003e[Later] I lost my mother and my grandmother, and then my father left us and walked into a station, but my other grandmother kept looking after me. I was still travelling with my mother’s mother when I got married [became second wife to the father of Yuwali Janice Nixon (dec.)] and had my daughter, Barli. When I was travelling with my husband and all the family we went south to Wirnpa and Kurturrara. We stayed around there for a time and then went northeast, on the tableland. During the wet season we would travel out from the yinta (permanent springs) across the tableland. I would travel with Yuwali’s mother [the first wife of Yikartu’s husband]. We would walk together, hunting as we went.\u003c\/p\u003e\n\u003cp\u003eDuring a rainy season we were staying in one place for a while and we had a visitor from Bidyadanga. There was one missionary [Father McKelson] and two Martu men travelling with him. They asked us who we were and wrote it down on a piece of paper. Then he told us to sit down and wait for them to come back with a vehicle. From there we went into the mission.”\u003c\/p\u003e\n\u003cp\u003e— Yikartu Bumba, as translated by Ngalangka Nola Taylor\u003c\/p\u003e\n\u003cp\u003eYikartu is a Manyjilyjarra woman born in the 1940s at Lalyipuka, north of Wirnpa and in Juwaliny Country. Her ngurra (home Country, camp) lies at the northern boundary of Martu Country, around the Percival Lakes region and further northward. She lived a pujiman (traditional, desert dwelling) lifestyle until she was married and had a child, at which point the group she was travelling with first encountered a vehicle. Two Martu men and a missionary had travelled from the La Grange mission at Bidyadanga to look for people still living in the desert. They gave Yikartu and her family food and fruit, and later returned to pick up Yikartu and everyone she was travelling with. Her family group was one of the last to leave the desert.\u003c\/p\u003e\n\u003cp\u003eAt Bidyadanga Yikartu met up with a close uncle of hers and many other Martu, Juwaliny and Mangala people. She lived in both Bidyadanga and Jigalong for a period, during which she had three more daughters. During the 1980s ‘Return to Country’ movement Yikartu relocated to Punmu Aboriginal community to be closer to her home ngurra.\u003c\/p\u003e\n\u003cp\u003eYikartu often paints her husband's Country, close to Wirnpa, but also paints her mother’s, father’s and all her grandparents’ Country around Lungkurangu, north of the Great Sandy Desert. Yikartu paints the jila (living water, snake) water sources running from Yulpu to Yimiri, Kupankurlu, Kurturrara and Wirnpa. Yikartu’s work has been exhibited widely across Australia and internationally, and her collaborative works acquired by the National Museum of Australia and the National Gallery of Australia.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47616176521440,"sku":"24-967","price":1049.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/YikartuBumba76x46cm24-967.png?v=1753752624"},{"product_id":"yikartu-bumba-kurturarra-61x61cm","title":"Yikartu Bumba, Kurturarra, 61x61cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists - Yikartu Bumba\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Punmu\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 24-763\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H61 W61 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cdiv\u003e\n\u003cp data-start=\"100\" data-end=\"504\"\u003e“When I was a little girl, my father and mother took me around [Yulparija Country, north of Manyjilyjarra Country]. We travelled with my grandmother and all the family, we travelled with my sisters and brothers. We went from place to place, stopping in one place, hunting around and stopping in another place. We visited all the yinta (permanent springs). We used to walk around when I was a little girl.\u003c\/p\u003e\n\u003cp data-start=\"506\" data-end=\"1009\"\u003e[Later] I lost my mother and my grandmother, but my other grandmother kept looking after me. I was still travelling with my mother’s mother when I got married and had my daughter, Barli. When I was travelling with my husband and all the family, we went south to Wirnpa and Kurturarra. We stayed around there for a time and then went northeast, on the tableland. During the wet season we would travel out from the yinta across the tableland... We would walk together, hunting as we went.” - Yikartu Bumba\u003c\/p\u003e\n\u003cp data-start=\"1011\" data-end=\"1397\"\u003eKurturarra is a yinta (permanent spring) located within the largest of the salt lakes in the Percival Lakes region, and surrounded by acacia trees. The Percival Lakes form a string of ephemeral salt lakes in the north of Western Australia, extending across a distance of 350 km. They lie at the southern region of the Great Sandy Desert and east of the Karlamilyi (Rudall River) region.\u003c\/p\u003e\n\u003cp data-start=\"1399\" data-end=\"2260\"\u003eThe region surrounding Kurturarra was formed by Wirnpa, one of the most powerful of the ancestral jila (snake) men and the last to travel the desert during the Jukurrpa (Dreaming). Wirnpa is a rainmaking jila who lived and hunted in the Percival Lakes area. His travels are described in the songs and stories of many language groups across the Western Desert, even those far removed from his home site. In his epic travels, Wirnpa met and feasted with many other ancestral beings, exchanged ceremonial objects, and created a series of different laws and ceremonies. When he finally returned home, he searched for his many children only to discover that they had already died. They had laid down and become the salt springs of the Percival Lakes. Wirnpa wept for his children before himself transforming into a snake and entering the soak where he still resides.\u003c\/p\u003e\n\u003cp data-start=\"2262\" data-end=\"2859\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eAs Yikartu describes in her account, she moved around this area seasonally with her grandmother, husband and daughter, walking between water sources and hunting and gathering bush tucker as they went. At this time knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known by name, location, quality and seasonal availability through real life experience and the recounting of Jukurrpa narratives.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp\u003e“When I was a little girl, my father and mother took me around [Yulparija Country, north of Manyjilyjarra Country]. We used to walk around when I was a little girl. We travelled with my grandmother and all the family, we travelled with my sisters and brothers. We went from place to place, stopping in one place, hunting around and stopping in another place. We visited all the yinta (permanent springs). We could even travel on the water from a soak. I used to stay at the camp, waiting by the water, while my parents and grandparents would go out to get a lot of meat and other food. The little kids would stay home and hunt for small lizards. Then we would all travel together to another place. My grandparents really loved and cared for me when I was a little girl. They took good care of me. I was growing bigger at that time. When I grew bigger, I was able to go hunting on my own. I hunted cats and goannas. My parents still went hunting for meat for us all then.\u003c\/p\u003e\n\u003cp\u003e[Later] I lost my mother and my grandmother, and then my father left us and walked into a station, but my other grandmother kept looking after me. I was still travelling with my mother’s mother when I got married [became second wife to the father of Yuwali Janice Nixon (dec.)] and had my daughter, Barli. When I was travelling with my husband and all the family we went south to Wirnpa and Kurturrara. We stayed around there for a time and then went northeast, on the tableland. During the wet season we would travel out from the yinta (permanent springs) across the tableland. I would travel with Yuwali’s mother [the first wife of Yikartu’s husband]. We would walk together, hunting as we went.\u003c\/p\u003e\n\u003cp\u003eDuring a rainy season we were staying in one place for a while and we had a visitor from Bidyadanga. There was one missionary [Father McKelson] and two Martu men travelling with him. They asked us who we were and wrote it down on a piece of paper. Then he told us to sit down and wait for them to come back with a vehicle. From there we went into the mission.”\u003c\/p\u003e\n\u003cp\u003e— Yikartu Bumba, as translated by Ngalangka Nola Taylor\u003c\/p\u003e\n\u003cp\u003eYikartu is a Manyjilyjarra woman born in the 1940s at Lalyipuka, north of Wirnpa and in Juwaliny Country. Her ngurra (home Country, camp) lies at the northern boundary of Martu Country, around the Percival Lakes region and further northward. She lived a pujiman (traditional, desert dwelling) lifestyle until she was married and had a child, at which point the group she was travelling with first encountered a vehicle. Two Martu men and a missionary had travelled from the La Grange mission at Bidyadanga to look for people still living in the desert. They gave Yikartu and her family food and fruit, and later returned to pick up Yikartu and everyone she was travelling with. Her family group was one of the last to leave the desert.\u003c\/p\u003e\n\u003cp\u003eAt Bidyadanga Yikartu met up with a close uncle of hers and many other Martu, Juwaliny and Mangala people. She lived in both Bidyadanga and Jigalong for a period, during which she had three more daughters. During the 1980s ‘Return to Country’ movement Yikartu relocated to Punmu Aboriginal community to be closer to her home ngurra.\u003c\/p\u003e\n\u003cp\u003eYikartu often paints her husband's Country, close to Wirnpa, but also paints her mother’s, father’s and all her grandparents’ Country around Lungkurangu, north of the Great Sandy Desert. Yikartu paints the jila (living water, snake) water sources running from Yulpu to Yimiri, Kupankurlu, Kurturrara and Wirnpa. Yikartu’s work has been exhibited widely across Australia and internationally, and her collaborative works acquired by the National Museum of Australia and the National Gallery of Australia.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47629993115872,"sku":"24-763","price":1099.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/YirkartuBumba24-79361x61cm_9bb8a175-9f26-48d5-82b1-846709fd805a.jpg?v=1754281879"},{"product_id":"lily-jatarr-long-minyipuru-jakulyukulyu-seven-sisters-91x91cm","title":"Lily Jatarr Long, Minyipuru (Jakulyukulyu, Seven Sisters), 91x91cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists -  Lily Jatarr Long\u003cbr\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Irrungadj\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 23-289\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H91 W91 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - As displayed\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp\u003eThe term Jukurrpa is often translated in English as the ‘dreaming’, or ‘dreamtime’. It refers generally to the period in which the world was created by ancestral beings, who assumed both human and nonhuman forms. These beings shaped what had been a formless landscape; creating waters, plants, animals, and people. At the same time they provided cultural protocols for the people they created, as well as rules for interacting with the natural environment. At their journey’s end, the ancestral beings transformed themselves into important waters, hills, rocks, and even constellations.\u003c\/p\u003e\n\u003cp\u003eMinyipuru, or Jakulyukulyu (Seven Sisters) 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. When Martumili Artists was established in 2005, this was the first Jukurrpa story the artists agreed to paint for a broader public.\u003c\/p\u003e\n\u003cp\u003eBeginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following a group of women as they walk, dance, and even fly from waterhole to waterhole. As they travel the women camp, sing, wash, dance and gather food, leaving markers in the landscape and creating landforms that remain to this day, such as groupings of rocks and trees, grinding stones and seeds. During the entirety of their journey the women are pursued by a lustful old man, Yurla, although interactions with other animals, groups of men, and spirit beings are also chronicled.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp data-start=\"103\" data-end=\"571\"\u003e“This Karlamilyi area, big land. That’s a ngurra (home Country, camp) belonging to our old people, Warnman people. We talk for our land, our jila (snake). I grew up in this Country, my Country. This land belongs to our father. In pujiman (traditional, desert dwelling) days I walked around here, used to walk up and down tuwa (sandhill) and back to the main camp belonging to Martu. We are Warnman ladies, painting Kintyre and Karlamilyi. We can share this Country.”\u003c\/p\u003e\n\u003cp data-start=\"574\" data-end=\"621\"\u003e- Sisters Wurta Amy French and Jatarr Lily Long\u003c\/p\u003e\n\u003cp data-start=\"623\" data-end=\"1051\"\u003eJatarr Lily Long is a Warnman woman and senior custodian for Karlamilyi (Rudall River) Country. She was born in the late 1930s at Jatarrngara, a water source on the Karlamilyi River from which her name is derived. Jatarr is the sister of fellow artists Helen Dale Samson and the late Wurta Amy French. Her father was a drover who attempted, unsuccessfully, to ‘steal’ Jatarr’s mother and take her back to the Kimberley region.\u003c\/p\u003e\n\u003cp data-start=\"1053\" data-end=\"1465\"\u003eJatarr grew up with her family in the area surrounding Tiwa (Canning Stock Route Well 26), a water source located east of Parnngurr Aboriginal Community and just west of a culturally significant group of hills called Partujarrapirri. Her family returned to the Karlamilyi region for a time, moving between camps located all along the Karlamilyi River and up to the large salt lake, Nyayartakujarra (Lake Dora).\u003c\/p\u003e\n\u003cp data-start=\"1467\" data-end=\"1964\"\u003eIn the late 1940s her family left Karlamilyi and travelled on foot for more than 200 kilometres to Jigalong Mission, where a supply of rationed food and water was assured. There they were reunited with family members that had already moved in from the desert. At Jigalong, Jatarr lived in a dormitory with her two sisters and went to school. Later, she worked as a cook on various pastoral stations in the Pilbara and mined for tin and other minerals with a yandy (dish used for winnowing seed).\u003c\/p\u003e\n\u003cp data-start=\"1966\" data-end=\"2665\"\u003eEventually, Jatarr relocated to Irrungadji Aboriginal Community, just outside of Nullagine, where she continues to live with her sister Wurta, children and grandchildren. Today Jatarr lives at Irrungadji Community near Nullagine with her children and grandchildren. As an artist, she has always worked with her sisters at her side, and they have frequently collaborated on larger works. In her paintings, Jatarr depicts her ngurra (home Country, camp) and its animals, waterholes, and Jukurrpa (Dreaming) stories. She uses her art as a means of transferring cultural knowledge to her children and grandchildren and as a political platform, protecting her Country from mining and other disruptions.\u003c\/p\u003e\n\u003cp data-start=\"2667\" data-end=\"2995\"\u003eJatarr is known for her soft pastel palettes and dreamy landscapes, which blend aerial and frontal perspectives. Her work has been widely exhibited in Australia and internationally, and is held in major collections including the National Gallery of Victoria, Art Gallery of Western Australia, and National Museum of Australia.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47646327865568,"sku":"23-289","price":2899.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/LilyLong91x91cm23-2892500_f316e058-6fa6-4fac-959b-3afb13f18a2d.jpg?v=1754888243"},{"product_id":"nora-nyangapa-nungabar-untitled-91x51cm","title":"Nora (Nyangapa) Nungabar, Untitled, 91x51cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists - Nora (Nyangapa) Nungabar\u003cbr\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 12-826\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H91 W51 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp data-start=\"88\" data-end=\"1143\"\u003eThis is Nungabar’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 characteristics of that place, has today become an important means of cultural maintenance. Nungabar’s ngurra encompasses her birthplace, near Lipuru Well (Libral Well, Canning Stock Route Well 37) and the Country that became Wells 33 through to 38 along the Canning Stock Route, where her family walked in the pujiman (traditional, desert-dwelling) era. From an early age Nungabar and her family had encounters with the white men who drove cattle along the route. As a young woman, together with her close friend Nora Wompi, Nungabar followed the drovers north to Balgo Mission, where she settled and raised a family.\u003c\/p\u003e\n\u003cp data-start=\"1145\" data-end=\"2175\"\u003ePortrayed in this work are features of Nungabar’s family’s ngurra, such as the striking salt lakes, permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources they camped at. Rock holes, waterholes, soaks and springs were all extremely important sites for Martu people during the pujiman period, and are generally depicted with circular forms.\u003c\/p\u003e\n\u003cp data-start=\"1145\" data-end=\"2175\"\u003eThe encyclopaedic knowledge of the location, quality and seasonal availability of the hundreds of water bodies found in one’s Country sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. As they travelled and hunted they would also burn areas of Country, generating a greater diversity of plant and animal life.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cdiv\u003e\n\u003cp data-start=\"87\" data-end=\"782\"\u003e“I was born near Lipuru (Libral Well, Canning Stock Route Well 37) and Pirrkarl is my birthplace. My mother looked after me when I was a little baby in the side of a sandhill. Mum and Dad, they took care of me. We stayed there for a long time when I was little and then we started travelling. They kept me there and then we went to Julyjarru and we stayed there and then I grew up a bit and I started walking. They kept me there and after that they took me to a place called Kil-kil (Kilykily, Canning Stock Route Well 36), and there we stayed again for a long time. I was growing bigger when we went to Tjinmarran. We stayed there with other relatives until my parents took me to … Wajaparni.\u003c\/p\u003e\n\u003cp data-start=\"784\" data-end=\"1389\"\u003eMuch later I went to Balgo. I had kids when I was travelling. I went east along the Canning Stock Route, and kept going east, to Nyipily (Nyipil, Nibil, Canning Stock Route Well 34), Kinyu (Canning Stock Route Well 35) and Pangkapirni (Bungabindi Well) and Kil-kil. I was walking with a grinding stone, carrying it on my head. We got up and started our journey… travelling with the drovers all the way. We travelled on foot; they didn’t give us a ride on the camels. We thought it was going to be close, but it was a long way.”\u003cbr data-start=\"1311\" data-end=\"1314\"\u003e- Nora Nungabar (Nyangapa) (dec.), as translated by Ngalangka Nola Taylor\u003c\/p\u003e\n\u003cp data-start=\"1391\" data-end=\"1812\"\u003eNora Nungabar was a Manyjilyjarra woman born near Lipuru Well. She grew up in the Country that became Wells 33 through to 38 along the Canning Stock Route. From an early age Nungabar and her family had encounters with the white men who drove cattle along the route. As a young woman, together with her close friend Nora Wompi, Nungabar followed the drovers north to Balgo Mission, where she settled and raised a family.\u003c\/p\u003e\n\u003cp data-start=\"1814\" data-end=\"2537\"\u003eNungabar eventually relocated to her homelands at Kunawarritji, though she continued to travel regularly between Kunawarritji, Balgo and Mulan. Through her artistic career, painting with both Warlayirti and Martumili Artists, Nungabar earned critical acclaim for her remarkably expressive, evocative style. Many younger artists described having learned to paint by watching her example. Nungabar was a custodian of a great deal of cultural knowledge about the Kunawarritji area, much of which is referred to in her extensive body of work. Nungabar’s paintings have been exhibited in galleries internationally and throughout Australia, and acquired by the National Museum of Australia and the National Gallery of Victoria.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47653723209952,"sku":"12-826","price":1799.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/NoraNungabar91x51cm12-826.png?v=1774919174"},{"product_id":"ngamaru-bidu-wantili-152x76cm-1","title":"Ngamaru Bidu, Wantili, 152x76cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists - Ngamaru Bidu\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Parnngurr\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 25-254\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H152 W76 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp\u003e“Wantili (Warntili, Canning Stock Route Well 25) area, close to Parnngurr. My ngurra (home Country, camp), my jamu’s (grandfather’s) Country, my father's daddy, Jakayu [Biljabu’s] daddy and my daddy's Country. Jakayu been bury her father there. In pujiman (traditional, desert dwelling) days, my family and Jakayu's family been walking round there together. Big sandhills here. Sandhill, sandhill, sandhill everywhere. Claypan there, in the middle. Good place for swimming and drinking, for hunting little kangaroo. When no water [we would] go to [the adjacent Canning Stock Route] well. When there [was] rain we stay there at Wantili. Everywhere, we been walking everywhere.\u003c\/p\u003e\n\u003cp\u003eNear to Wantili, road [Canning Stock Route] going kayili (north). Long time [ago] only horses and cattle [travelled along that road], going Meekatharra and back in the cold time, gone right up to GJ (Georgia) Bore. Half way, when he see water at Wantili, that mob would camp one night, bullock eating all the grass and men’s drinking water. One Martu been working with that mob, droving bullock. Every time he been give us meat, all the pujimanpa (desert dwellers).” – Ngamaru Bidu\u003c\/p\u003e\n\u003cp\u003eWantili is a large round jurnu (soak) and linyji (claypan) near Well 25 on the Canning Stock Route. The Wantili region is dominated by claypans surrounded by tuwa (sandhills), and Nyilangkurr, a prominent yapu (hill) is located close to the eastern 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 era. Many jiwa (stones used by women for grinding seeds) from these times, including those used by Ngamaru's family, can still be found there today.\u003c\/p\u003e\n\u003cp\u003eWantili lies within Ngamaru’s ngurra (home Country, camp) through her grandfather and father. As described in her account, Wantili was one of the sites Ngamaru knew intimately and travelled extensively with her family and other family groups, such as the Biljabu family. During the pujiman period Martu would traverse very large distances annually, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. Knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water.\u003c\/p\u003e\n\u003cp\u003eAs Ngamaru recounts, Wantili also held significance for her as a site of contact between her family and karla (white people); drovers with their cattle travelling along the Canning Stock Route. The establishment of the route by Alfred Canning and his team in 1910 resulted in first contact with Europeans for many Martu, including Ngamaru and her family. Increasingly, Martu 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.\u003c\/p\u003e\n\u003cp\u003eCulturally, Wantili is an incredibly important site in two central Jukurrpa (Dreaming) stories. The first relates to the world’s creation. In this narrative, 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 are created. Beyond these details much of the narrative is ngurlu (sacred, taboo), and only for Martu, but the site is open, and anyone can go there.\u003c\/p\u003e\n\u003cp\u003eWantili 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.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp data-start=\"83\" data-end=\"634\"\u003e“I been born [around] Karanyal and Marlirri (Canning Stock Route Well 22) in the parna (ground, earth), only claypan. My jamu (grandfather) [was also] Jakayu [Biljabu's] father, my father's daddy. My mummy born long way, near to Wikirri (Midway Well) area. My father born Pitu (Separation Well). I’m biggest one [I was the eldest of five siblings]; me, Neil, Ivy, Gladys, then Caroline. My sister Gladys been born Wantili, Ivy born Georgia Bore (Pitarny), Caroline been born in Jigalong [Mission]. We walked around together [as we were] growing up.”\u003c\/p\u003e\n\u003cp data-start=\"636\" data-end=\"1217\"\u003e[As a child, Ngamaru walked around with her family, living a pujiman (traditional, desert dwelling) lifestyle. In 1963 Ngamaru saw a whitefella for the first time near Wiirnukurrujunu rockhole; surveyor Len Beadell grading a road across the desert as part of a military weapons testing program. Shortly after this meeting Ngamaru, along with the other 28 Martu she had been travelling with, was tracked and pursued by the Native Welfare Department. The group was eventually persuaded to move to Jigalong mission to join their relatives that had already moved in from the desert.]\u003c\/p\u003e\n\u003cp data-start=\"1219\" data-end=\"1800\"\u003e“They been chase us, long way — me, Ivy, and Kuru [Gladys] ran away with Mitchell and Teddy Biljabu. Kumpaya, Bugai and my mother ran away quick too. Landrover he been pick us up for Parngurr, all the lot, [driving on the] track for Jigalong. Family all coming in. I been come for first time [it was my first time in a vehicle]. I was naked one, put a blanket for kurnta (shame). I been living there in Jigalong with my mummy and family. I been working in the dining hall, making bread for kid. I been meet my nyupa (spouse), Mr Booth, and had a son, Ned Booth.”\u003cbr data-start=\"1781\" data-end=\"1784\"\u003e– Ngamaru Bidu\u003c\/p\u003e\n\u003cp data-start=\"1802\" data-end=\"2230\"\u003eNgamaru was born at Marlirri (Well 22 on the Canning Stock Route), the eldest of four siblings. Her mother came from the area around Wikirri and her father from Pitu. As a child Ngamaru lived a pujiman lifestyle, and walked around with her family, moving from water source to water source dependent on the seasonal rain cycles. They often travelled with their extended relatives, Bugai Whyoulter and Jakayu Biljabu’s families.\u003c\/p\u003e\n\u003cp data-start=\"2232\" data-end=\"2645\"\u003eWhen Ngamaru was a teenager, her family and their travelling companions were tracked by Native Patrol Officers and staff from the Jigalong Mission. The group was persuaded to move to Jigalong Mission, where they rejoined the many family members that had already moved in from the desert. At the mission, Ngamaru’s sister and some of the Biljabu family were sent to school, but Ngamaru went to work making bread.\u003c\/p\u003e\n\u003cp data-start=\"2647\" data-end=\"2942\"\u003eFrom Jigalong Ngamaru moved to Strelley Community, where she met her husband, Joshua Booth. Together with their children they later moved to Warralong and then Punmu Aboriginal Communities before settling in Parnngurr Aboriginal community (Cotton Creek), where Ngamaru continues to live today.\u003c\/p\u003e\n\u003cp data-start=\"3093\" data-end=\"3836\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eNgamaru has painted with Martumili since its inception in 2006. She has frequently painted with senior artists and relatives Mitutu Mabel Wakarta (dec.) and Kumpaya Girgaba. Ngamaru is known for the beautifully complex compositional structures and intricate patterning in her work, through which she very often explores the practice of fire burning in her Country and the related Martu cyclical seasonal changes. Ngamaru’s work has been exhibited in galleries internationally and throughout Australia, and acquired by major institutions including the National Museum of Australia, the National Gallery of Victoria, and the Art Gallery of Western Australia. In 2019 Ngamaru was selected for the prestigious John Stringer Art Prize exhibition.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47678400266464,"sku":"25-254","price":4039.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/NgamaruBidu152x76cm25-254_4696611d-1843-448d-87ad-b4185b3af461.png?v=1774307302"},{"product_id":"gladys-kuru-bidu-linyji-claypan-91x61cm","title":"Gladys Kuru Bidu, Linyji (Claypan), 91x61cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists - Gladys Kuru Bidu\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 24-798\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on linen\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H91 W61 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp data-start=\"134\" data-end=\"681\"\u003e\"This linyji (claypan) story, it's about when the old people used to be living in the desert, a long, long time ago, thousands of years ago. They used to make a hole in the linyji for the wilyki (seed), using the wind to separate the seed [from the husk; winnowing]. Also, when we used to be sick, old people used to wet the parna (sand\/soil\/earth) with the kapi (water), [then] mix it and use on burns. For headaches, they put it on the kata (head). Like a Band-Aid, or Panadol, pujiman (traditional, desert dwelling) way!\" - Kuru Gladys Bidu\u003c\/p\u003e\n\u003cp data-start=\"683\" data-end=\"1192\"\u003eThis 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. As Kuru here describes, besides being a valuable water source, claypans were also ingeniously utilized for the removal of husks from seeds before consumption. Additionally, the clay itself was applied topically for its healing properties, aiding in the treatment of burns and soothing headaches.\u003c\/p\u003e\n\u003cp data-start=\"1194\" data-end=\"2128\"\u003eDuring the pujiman (traditional, desert dwelling) period, knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known through real life experience and the recounting of Jukurrpa (Dreaming) narratives by name, location, quality and seasonal availability. This encyclopedic knowledge extends even to the nature and movement of arterial waterways, and sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp data-start=\"97\" data-end=\"633\"\u003e“Wantili is my place, where I was born. It’s a place where everyone was living, it’s all of their ngurra (home). It’s the Jukurrpa (Dreaming) of that place. All those claypans, a place where everyone comes together for ceremony and gatherings, all meeting with different families. I went there with my aunt [Jakayu Biljabu] (dec.) and my sister [Kumpaya Girgirba], they told me the story of where I was born, in pujiman (traditional, desert dwelling) times. We walked all over the place, I was just a little one.”\u003cbr data-start=\"610\" data-end=\"613\"\u003e– Gladys Bidu Kuru\u003c\/p\u003e\n\u003cp data-start=\"635\" data-end=\"1469\"\u003eGladys is a Karimarra woman. She was born near Wantili and speaks Manjilyajarra. Gladys and her family were picked up when she was a baby in Yulpul and taken first to Parngurr, then to Jigalong Mission, where she attended the mission school. From there she travelled with her family to Strelley Station, and then to Camp 61, an outstation on Bilanooka Station. “We stayed there with the old people, so many old people they set up a Martu school there” she says. “Then we heard Martu were going back to their homeland, their ngurra, so then we came to Punmu with those old people, Mr Lane and the other old people.” Settling in Punmu during the Return to Country movement of the early 1980s, Gladys assisted with the establishment of the Punmu School in the community’s bough shelter when she was looking after her sister’s children.\u003c\/p\u003e\n\u003cp data-start=\"1471\" data-end=\"2078\"\u003eToday Gladys is an accomplished teacher and respected cultural advisor for Martumili and the Kanyirninpa Jukurrpa Martu ranger program. She also works with Punmu School as a senior cultural and linguistics adviser and board member. “I speak on behalf of Martu as a board member of the school and KJ and with Martumili. I am a cultural adviser and language adviser supporting people with interpreting, recording, going out bush and going to conferences for language. The school has two way learning: Martu way and English. Helping people to be strong in both ways. It’s a lot of travel, many, many places.”\u003c\/p\u003e\n\u003cp data-start=\"2080\" data-end=\"3043\"\u003eGladys was taught to paint in Jigalong by her aunt, renowned senior artist Jakayu Biljabu (dec.), and the two would regularly paint together. Gladys paints her ngurra (home Country, camp); Wantili, 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). Nyilangkurr, a prominent yapu (hill) is located on the edge of the claypan. Following rains 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.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47680876249312,"sku":"24-798","price":999.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/GladysBidu91x61cm24-798.png?v=1755824810"},{"product_id":"may-mayiwalku-may-wokka-chapman-untitled-61x46cm","title":"May Mayiwalku (May Wokka) Chapman, Untitled, 61x46cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists - May Mayiwalku (May Wokka) Chapman\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Warralong\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 23-992\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H46 W61 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp data-start=\"133\" data-end=\"557\"\u003eThis 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 characteristics of that place, has today become an important means of cultural maintenance.\u003c\/p\u003e\n\u003cp data-start=\"559\" data-end=\"1233\"\u003eMayiwalku’s ngurra encompasses the Country that she and her family walked in the pujiman (traditional, desert-dwelling) era. Mayiwalku was born at Yirnangarri. She grew up, walked and hunted primarily around the Country extending across the Punmu, Kunawarritji (Canning Stock Route Well 33) and Karlamilyi (Rudall River) regions. Following the death of both their parents, Mayiwalku and her sisters travelled alone between Punmu and Kunawarritji, occasionally meeting with other family groups. They continued to live nomadically before eventually deciding to move to Jigalong Mission along with many other relatives following an extreme and prolonged drought in the 1960s.\u003c\/p\u003e\n\u003cp data-start=\"1235\" data-end=\"1792\"\u003ePortrayed in this work are features of Mayiwalku’s ngurra, such as the dominant permanent red tali (sandhills), warta (trees, vegetation), and the individually named water sources she and her family camped at. These include Januwa, Jilankujarra, Karlajarntu, Kartungu, Kulari, Kumpupajanu, Kunalimpi, Kunarra, Marnakari, Pangkapirni, Wilunganinya, Wurur-wururna, Yilyara, and Yirrajarra. Rockholes, waterholes, soaks and springs were all extremely important sites for Martu people during the pujiman period, and are generally depicted with circular forms.\u003c\/p\u003e\n\u003cp data-start=\"1794\" data-end=\"2439\"\u003eThe encyclopaedic knowledge of the location, quality and seasonal availability of the hundreds of water bodies found in one’s Country sustained Martu as they travelled across their Country, hunting and gathering, visiting family, and fulfilling ceremonial obligations. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. As they travelled and hunted they would also burn areas of Country, generating a greater diversity of plant and animal life.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp data-start=\"130\" data-end=\"873\"\u003eMayiwalku May Chapman is the eldest sister of fellow Martumili Artists Nancy Nyanjilpayi (Ngarnjapayi) Chapman, Mulyangki Marney and Marjorie Yates (dec.). Her mother was Warnman and her father was Manyjilyjarra. Mayiwalku was born to the east, in Yirnangarri, “where the two footprints lie”. Her family’s Country extends across the Punmu, Kunawarritji (Canning Stock Route Well 33) and Karlamilyi (Rudall River) regions. Following the death of both their parents, Mayiwalku and her sisters travelled alone between Punmu and Kunawarritji, occasionally meeting with other family groups. They later walked south into Karlamilyi, where they first saw a plane flying overhead. Petrified, they hid under spinifex grass until the plane had passed.\u003c\/p\u003e\n\u003cp data-start=\"875\" data-end=\"1434\"\u003eFollowing the construction of the Canning Stock Route in 1910, the family increasingly came into contact with Europeans and Martu working as cattle drovers along the route. Gradually men from Mayiwalku’s family began to work seasonally at stations around Jigalong, but as a family group they remained living in the desert long after most Martu had moved to Jigalong Mission. Finally, in 1966, following a prolonged and severe drought, Mayiwalku and her sisters made the decision to walk to Balfour Downs, where they were collected by Jigalong Mission staff.\u003c\/p\u003e\n\u003cp data-start=\"1436\" data-end=\"1697\"\u003eMayiwalku lived for many years at Jigalong Mission before eventually relocating with her five children to Warralong, a community southeast of Port Hedland. She continues to live in Warralong today with her daughter and equally renowned artist, Doreen Chapman.\u003c\/p\u003e\n\u003cp data-start=\"1699\" data-end=\"2122\"\u003eMayiwalku was one of Martumili’s pioneering artists, and is highly regarded for her technically sophisticated works. Her paintings depict her ngurra (home Country, camp); the Country she walked as a young woman, its animals, plants, waterholes and associated Jukurrpa (Dreaming) narratives. Mayiwalku’s work has been exhibited widely across Australia and internationally, and acquired by the National Museum of Australia.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47681604255968,"sku":"23-992","price":979.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/MayChapman61x46cm23-992.png?v=1755830149"},{"product_id":"yikartu-bumba-jupurrl-122x91cm","title":"Yikartu Bumba, Jupurrl, 122x91cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artists - Yikartu Bumba\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Punmu\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Martumili Artists\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 24-943\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Acrylic paint on canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H122 W91 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cdiv\u003e\n\u003cp\u003e“This one a yinta (permanent springs) in my ngurra (home Country, camp), Jupurrl. It's kakarra (east) of Kulyakartu and kayili (north) side of Wirnpa. I was a married woman when I was walking around this place, pujiman (traditional, desert dwelling) me. I married a good man. There’s lots of kapi (water) there. Lots of yukari (green grass, vegetation). Plenty of bushtucker, pussycat and goanna. There’s no kapi when you first get there, but you dig him up and then there’s lots of kapi. We’ve got to take all the kids to that ngurra. Show them my daddy’s ngurra. There’s another waterhole, not far from there called Jakapinka. A jila (snake) made that kapi. It’s my brother’s Country.” — Yikartu Bumba\u003c\/p\u003e\n\u003cp\u003eDuring the pujiman (traditional, desert dwelling) days, Yikartu and her family travelled extensively through this Country. At this time 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. Knowledge of water sources was critical for survival, and today Martu Country is still defined in terms of the location and type of water. Each of the hundreds of claypans, rockholes, waterholes, soaks and springs found in the Martu desert homelands is known by name, location, quality and seasonal availability through real life experience and the recounting of Jukurrpa (Dreaming) narratives.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp\u003e“When I was a little girl, my father and mother took me around [Yulparija Country, north of Manyjilyjarra Country]. We used to walk around when I was a little girl. We travelled with my grandmother and all the family, we travelled with my sisters and brothers. We went from place to place, stopping in one place, hunting around and stopping in another place. We visited all the yinta (permanent springs). We could even travel on the water from a soak. I used to stay at the camp, waiting by the water, while my parents and grandparents would go out to get a lot of meat and other food. The little kids would stay home and hunt for small lizards. Then we would all travel together to another place. My grandparents really loved and cared for me when I was a little girl. They took good care of me. I was growing bigger at that time. When I grew bigger, I was able to go hunting on my own. I hunted cats and goannas. My parents still went hunting for meat for us all then.\u003c\/p\u003e\n\u003cp\u003e[Later] I lost my mother and my grandmother, and then my father left us and walked into a station, but my other grandmother kept looking after me. I was still travelling with my mother’s mother when I got married [became second wife to the father of Yuwali Janice Nixon (dec.)] and had my daughter, Barli. When I was travelling with my husband and all the family we went south to Wirnpa and Kurturrara. We stayed around there for a time and then went northeast, on the tableland. During the wet season we would travel out from the yinta (permanent springs) across the tableland. I would travel with Yuwali’s mother [the first wife of Yikartu’s husband]. We would walk together, hunting as we went.\u003c\/p\u003e\n\u003cp\u003eDuring a rainy season we were staying in one place for a while and we had a visitor from Bidyadanga. There was one missionary [Father McKelson] and two Martu men travelling with him. They asked us who we were and wrote it down on a piece of paper. Then he told us to sit down and wait for them to come back with a vehicle. From there we went into the mission.”\u003c\/p\u003e\n\u003cp\u003e— Yikartu Bumba, as translated by Ngalangka Nola Taylor\u003c\/p\u003e\n\u003cp\u003eYikartu is a Manyjilyjarra woman born in the 1940s at Lalyipuka, north of Wirnpa and in Juwaliny Country. Her ngurra (home Country, camp) lies at the northern boundary of Martu Country, around the Percival Lakes region and further northward. She lived a pujiman (traditional, desert dwelling) lifestyle until she was married and had a child, at which point the group she was travelling with first encountered a vehicle. Two Martu men and a missionary had travelled from the La Grange mission at Bidyadanga to look for people still living in the desert. They gave Yikartu and her family food and fruit, and later returned to pick up Yikartu and everyone she was travelling with. Her family group was one of the last to leave the desert.\u003c\/p\u003e\n\u003cp\u003eAt Bidyadanga Yikartu met up with a close uncle of hers and many other Martu, Juwaliny and Mangala people. She lived in both Bidyadanga and Jigalong for a period, during which she had three more daughters. During the 1980s ‘Return to Country’ movement Yikartu relocated to Punmu Aboriginal community to be closer to her home ngurra.\u003c\/p\u003e\n\u003cp\u003eYikartu often paints her husband's Country, close to Wirnpa, but also paints her mother’s, father’s and all her grandparents’ Country around Lungkurangu, north of the Great Sandy Desert. Yikartu paints the jila (living water, snake) water sources running from Yulpu to Yimiri, Kupankurlu, Kurturrara and Wirnpa. Yikartu’s work has been exhibited widely across Australia and internationally, and her collaborative works acquired by the National Museum of Australia and the National Gallery of Australia.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eMartumili Artists was established in late 2006 and supports Martu artists in Kunawarritji, Punmu, Parnngurr, Jigalong, Warralong, Irrungadji (Nullagine), and Parnpajinya (Newman). Many Martu artists have close relationships with established artists amongst Yulparija, Kukatja, and other Western Desert peoples and are now gaining recognition in their own right for their diverse, energetic, and unmediated painting styles. Their works reflect the dramatic geography and scale of their homelands in the Great Sandy Desert and Rudall River regions of Western Australia. Martumili Artists represents speakers of Manyjilyjarra, Warnman, Kartujarra, Putijarra, and Martu Wangka languages, many of whom experienced first contact with Europeans in the 1960s. The artists include painters working in acrylics and oils, as well as weavers coiling baskets and sculptors working in wood, grass, and wool. Martu artists proudly maintain their creative practices whilst pursuing social and cultural obligations across the Martu.\u003c\/p\u003e","brand":"Martumili Artists","offers":[{"title":"Default Title","offer_id":47879458750688,"sku":"24-943","price":3299.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/Yikartu24-943122x91cm.png?v=1760487975"},{"product_id":"inawinytji-maralyn-stanley-minyma-kutjara-wingellina-122x91cm","title":"Inawinytji Maralyn Stanley, Minyma Kutjara Wingellina, 122x91cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artist - Inawinytji Maralyn Stanley\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Ernabella\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Iwiri Arts \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 25-92\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Professional artist acrylic on heavy cotton canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H122 W91 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp\u003eThis is the story of the older sister going a long way to get her younger sister and bring her back. They went through many places on the way, but I will only talk about a short bit of their journey at Wingellina. Two women who both came from up high and stayed awhile. They both could see that Docker River was close. And as they were sitting there they performed ceremony, inma. After, they both threw away their weapons, they threw them away. Their head-rings, they threw away their head-rings. Then they got up and left. They went to another place, a hollow called Kantarangkutjara and then they travelled on to Docker River. The story of their travels after Docker River belongs to the Docker River people and others in distant country. My part of the story is short.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp\u003eInawinytji Stanley was born in Ernabella in 1967 to Nungalka and Stanley from Young's Well. She is the younger sister of Renita and is part of a family that is strong in both law and in the art centre. Inawinytji commenced working at the art centre in the 1990's and was involved in several group exhibitions and workshops between 1996 and 1998. She then left the community to live in Alice Springs, and after a long absence returned to Ernabella in 2008 and immediately became a very active participant in the newly revived Ceramics Studio. Inawinytji has been exhibited around Australia many times since 1996, including in Yangupala Tjuta Waakarinyi (Many Young People Working) at Sabbia Gallery, Sydney, and Bold and the Beautiful at Talapi, Alice Springs, both in 2015.\u003c\/p\u003e\n\u003ch5\u003eArt Centre\u003c\/h5\u003e\n\u003cp class=\"\"\u003eIwiṟi was established by Aṉangu in 2018, many of whom had been forced to move to Adelaide due to chronic health conditions and lack of services in their home communities. Living far from their traditional homelands, A\u003cspan\u003en\u003c\/span\u003eangu were concerned about the cultural and social isolation they were experiencing and saw a need to act.  Iwi\u003cspan\u003er\u003c\/span\u003ei was formed initially to help retain, promote and transmit A\u003cspan\u003en\u003c\/span\u003eangu culture and language through the areas of arts, language, knowledge and community. Since then Iwiṟi has grown rapidly into an organization that delivers  a range of programs that aim to strengthen and advance Aṉangu wellbeing.\u003c\/p\u003e\n\u003cp class=\"\"\u003eIwi\u003cspan\u003er\u003c\/span\u003ei strengthens the Aṉangu community through cultural and arts activities, creating employment opportunities and enterprise development. We want our young people to be strong in their language and culture and to take up opportunities to work in our community.\u003c\/p\u003e","brand":"Iwiri Arts","offers":[{"title":"Default Title","offer_id":48735209521376,"sku":"25-92","price":2249.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/InawintjiStanley122x91cm25-92.png?v=1770249678"},{"product_id":"inawinytji-maralyn-stanley-minyma-kutjara-wingellina-122x61cm","title":"Inawinytji Maralyn Stanley, Minyma Kutjara Wingellina, 122x61cm","description":"\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Artist - Inawinytji Maralyn Stanley\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCommunity - Ernabella\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eAboriginal Art Centre - Iwiri Arts \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eCatalogue number - 25-116\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003eMaterials - Professional artist acrylic on heavy cotton canvas\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eSize(cm) - H122 W61 D2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003ePostage variants - Artwork posted un-stretched and rolled for safe shipping\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"line-height: 1.4;\"\u003eOrientation - Painted from all sides and OK to hang as wished\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch5\u003eArtwork\u003c\/h5\u003e\n\u003cp\u003eThis is the story of the older sister going a long way to get her younger sister and bring her back. They went through many places on the way, but I will only talk about a short bit of their journey at Wingellina. Two women who both came from up high and stayed awhile. They both could see that Docker River was close. And as they were sitting there they performed ceremony, inma. After, they both threw away their weapons, they threw them away. Their head-rings, they threw away their head-rings. Then they got up and left. They went to another place, a hollow called Kantarangkutjara and then they travelled on to Docker River. The story of their travels after Docker River belongs to the Docker River people and others in distant country. My part of the story is short.\u003c\/p\u003e\n\u003ch5\u003eArtist\u003c\/h5\u003e\n\u003cp\u003eInawinytji Stanley was born in Ernabella in 1967 to Nungalka and Stanley from Young's Well. She is the younger sister of Renita and is part of a family that is strong in both law and in the art centre. Inawinytji commenced working at the art centre in the 1990's and was involved in several group exhibitions and workshops between 1996 and 1998. She then left the community to live in Alice Springs, and after a long absence returned to Ernabella in 2008 and immediately became a very active participant in the newly revived Ceramics Studio. Inawinytji has been exhibited around Australia many times since 1996, including in Yangupala Tjuta Waakarinyi (Many Young People Working) at Sabbia Gallery, Sydney, and Bold and the Beautiful at Talapi, Alice Springs, both in 2015.\u003c\/p\u003e","brand":"Iwiri Arts","offers":[{"title":"Default Title","offer_id":48850766168288,"sku":null,"price":1479.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/files\/InawintjiStanley122x61cm25-116.png?v=1772145692"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0949\/4240\/collections\/DErrick_Butt_23-1379_152x76cm_1600.jpg?v=1774304622","url":"https:\/\/artark.com.au\/collections\/aboriginal-art-from-western-australia.oembed?page=2","provider":"ART ARK® ","version":"1.0","type":"link"}