Marianne Burton, Yalta, 91x91cm

• Aboriginal Artists - Marianne Burton
• Community - Newman
• Aboriginal Art Centre - Martumili Artists
• Catalogue number - 25-255
• Materials - Acrylic paint on linen
• Size(cm) - H91 W91 D2
• Postage variants - Artwork posted un-stretched and rolled for safe shipping
• Orientation - Painted from all sides and OK to hang as wished

“This is my grandmother’s and mother's Country, Yalta. It’s very close to Kunawarritji side. I’ve never been there. That was where my mother was born during the pujiman (traditional, desert dwelling) times. All the tali (sandhills) around. I want to go there one day, to see that Country, I might go there one day” - Marianne Burton

Yalta is a waterhole located between the Great Sandy Desert's Percival Lakes region and Kunawarritji Aboriginal community. This site was visited by the Ngayurnangalku (cannibals) during the Jukurrpa (Dreaming). These fearsome ancestral cannibal beings are said to resemble people in their appearance, except for their fangs and long curved knife-like fingernails they use to catch and hold their human victims. The Ngayurnangalku continue to live beneath the crust of Kumpupirntily (Kumpupintily, Lake Disappointment), southeast of Yalta.

Yalta lies within Marianne’s ngurra (home Country, camp) through her grandmother and mother. As stated by Marianne here, the site is especially significant to her as it was here that her mother was born. The Western Desert term ‘ngurra’ is hugely versatile in application. Broadly denoting birthplace and belonging, ngurra can refer to a body of water, a campsite, a large area of Country, or even a modern house. 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. This knowledge is traditionally passed intergenerationally through family connections. Painting ngurra, and in so doing sharing the Jukurrpa stories and physical characteristics of that place, has today become an important means of cultural maintenance. Physical maintenance of one’s ngurra, like cultural maintenance, ensures a site’s wellbeing, and is a responsibility of the people belonging to that area.

“I was born in Jigalong, long me [ago in] Jigalong. The old people all got picked up and brought into Jigalong. Them old people all wanted to go back to the desert. We moved to Camp 61 [Ngalkuninya] for a little while and then we all moved this way to Punmu. I was young, thirteen or something when I came to Punmu.

I like to paint around Punmu rockholes, springs. In the morning, sunset colours, that’s what I’m thinking about. In the plane looking down, I want to do a painting what I’m looking at, it looks nice. I want to do more painting like that. I like painting, it makes me feel good.

I’ve been in Jigalong with my father, learning to paint. I was watching him paint. I stayed with them all day, sometimes I help[ed] him and he told stories. Doing the dot paint, that’s when I learn[ed] on a little canvas.” - Marianne Burton

Marianne was born in Jigalong, moving briefly to Camp 61, an outstation on Bilanooka Station as a child, before settling in Punmu Community, where she still resides. Her father was senior Martu artist Pukina Burton. Marianne and her father used to sit down together, painting while Pukina told stories about his Country. One day Marianne would like to teach her children and grandchildren the same stories. “Me and [my granddaughter] Azaniah like painting together, sometimes she helps me too. Sometimes my grandson Jake too, he did a couple. I like having my family around to paint.”

Martumili 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.