Utopian Aboriginal Art Website

Conley Ebatarinja

Fri, 11 Jan 2013 12:30:50 +0930

Born 15th July 1959. Landscape watercolourist, Conley Ebatarinja grew up at Ntaria (Hermannsburg) and learnt to paint by watching his father, Arnulf Ebatarinja, work. As a teenager he assisted his father in mixing colours and at a relatively young age began to produce his own works in the classic Hermannsburg style, synonymous with Albert Namatjira. Living away from country, Ebatarinja paints from memory, from what he has seen and from the stories his father told him as a child.

Carmen Pitjara Jones

Wed, 29 Aug 2012 15:04:48 +0930

Carmen Pitjara Jones lives with her partner and child at Irrultja, Utopia. Carmen comes from a line of distinguished artists who include Joy Kngwarreye Jones and Freddy Kngwarreye Jones, and Charlie Petyarre Jones. Bush Onion Dreaming involves the bush onion and the origins of the Alywarr people and language. Carmen’s mother told her stories concerning the origins of the bush onion, and therefore Carmen is entitled to tell these stories and paint them. In her paintings she depicts the Bush Onion plant growing in profusion after the summer rains. The small tubers which form on short stolons are a traditional bush tucker food for Australian Aborigines. They are dug up on creek banks when the grass of the onion has dried out. The husk can also be eaten. They are eaten raw or cooked in the hot earth by the fire. The Bush Onion’s characteristics include fine grassy foliage and triangular culms.

Casey Kemara Holmes

Wed, 29 Aug 2012 14:20:14 +0930

Casey Kemara Holmes was born in 1941 at Hatchers Creek in the Northern Territory. Casey is a fine sculptor and carves wooden animals and weapons. His wooden birds have been hand-carved from the wood of the local native Bean Tree. He works from a large section of the tree-trunk and uses a variety of different sized chisels to shape it. He then sands and paints it in various shades with polymer acrylic paint. Casey Kemara Holmes is father to artist Natalie Pula Holmes.

Gracie Pwerle Morton

Tue, 30 Aug 2011 13:36:37 +0930

Graham Tjupurrula

Tue, 30 Aug 2011 13:25:28 +0930

Lilla Petrick Petyarre

Tue, 30 Aug 2011 13:24:38 +0930

Josie Petrick Kemarre

Thu, 20 Aug 2009 16:41:35 +0930

Josie Petrick Kemarre Born: 1945 at Santa Teresa Language Group: Eastern Anmatyerr Country: Santa Teresa Josie was born at Santa Teresa but moved to Mt Swan next to Utopia when she married. She now lives near Harts Range. Josie began painting in the early 1990’s and paints ‘Bush Tucker’ and ‘Bush Flowers’ portraying the abundance of colours found in the central Australian landscape.

Molly Napaltjarri Jugadai

Thu, 20 Aug 2009 16:37:10 +0930

Born: 1954 at Haast Bluff Molly’s mother is Narputa Nangala, the renowned artist and her father was Timmy Tjungurrayi Jugadai. Her younger sister was the wonderful artist, Daisy Napaltjarri Jugadai. Molly has participated in numerous exhibitions in Sydney, Melbourne and Singapore. She paints her grandfather’s country of Karrkurutinytja (Lake MacDonald) as her mother, Narputta, does. Molly also paints two women looking for bush tucker around Haast Bluff.

Thomas Tjapaltjarri

Thu, 20 Aug 2009 16:12:39 +0930

Born c1960’s in the Gibson Desert Thomas had a traditional nomadic childhood with eight others of his extended family (including his brothers Warlimpirrnga and Walala). In October 1984 they made international news when they had first contact with ‘the outside world and Europeans” by moving to Kiwirrkura. Thomas paints the Tingari Cycle and Men’s Business. The paintings exhibited here are the Tingari Cycle. Acrylic polymer on Belgian linen

Warlimpirrnga Tjapaltjarri

Thu, 20 Aug 2009 14:17:24 +0930

Born late 1950’s in the Gibson Desert Warlimpirrnga had a traditional nomadic childhood with eight others of his extended family (including his brothers Walala and Thomas). In October 1984 they made international news when they had first contact with ‘the outside world and Europeans” by moving to Kiwirrkura. Warlimpirrnga began painting on canvas in 1987 for Papunya Tula Artists. His first eleven paintings were exhibited in Melbourne in 1988, purchased and donated to the National Gallery of Victoria. Story: Wilkinkarra (Lake Mackay), Western Australia

Walala Tjapaltjarri

Thu, 20 Aug 2009 14:11:11 +0930

Walala was born in the early 1960’s in the Gibson Desert and as one of nine lived a nomadic life (including his brothers Warlimpirrnga and Thomas). They made history in October 1984 when they had first contact with ‘the outside world and Europeans’ for the first time. Walala paints the Tingari Cycle, which is a series of sacred and secret songlines. These Tingari are associated with his Dreaming sites at Marua, Mintarnpi, Wanapatangu, Minna Minna, Naami, Wilkinkarra (Lake Mackay) and Yarrawangu, which are all in the Gibson Desert, Western Australia. These were some of the places where the Tingari Ancestors stopped for ceremonies during their travels across the country.

Sally Kemara Perkins

Wed, 27 May 2009 16:48:19 +0930

Energetic young artist Sally Kemara Perkins has recently begun painting for Eastern Desert Art. Her paintings are inspired by the landscape and flora of the Central Australia. She and her husband Joseph live at Harts Range with their three children. Sally’s early education was in Adelaide and her teens were spent at Santa Teresa where she was brought up by her Auntie – Kathleen Wallace. Her Auntie was a great influence in her life as she taught Sally to paint and ensured she attended high school. As well as looking after her children and painting, Sally works as a Teacher’s Aid at the Harts Range community. Her paintings are inspired by the landscape and flora of the Central Australia.

Ruby Kngwarreye Morton

Sun, 19 Oct 2008 15:09:46 +0930

Ruby comes from a very large artistic family which includes her mother, Mary Kemarre Morton and her 4 sisters, Lucky, Sarah, Audrey and Hazel. Ruby was born on MacDonald Downs and now lives at Arnkawenyerr with her sisters where they all paint together. She shares the same dreamings as her sisters including Alpeyt (Wild Flowers), Rainbow Dreaming (Mpwelarr), Ilyarn, Ilyarnayt, Tharrkarr (Sweet Honey Grevillea) and Yerramp (Honey Ant).

Bessie Pitjara

Tue, 09 Sep 2008 04:20:40 +0930

Bessie Pitjara was born in 1960 into the Alyawarr tribe. She lives on Utopia with her mother, renowned artist, Polly Ngala and her aunties, Kathleen Ngala and Angeline Pwerle Ngala. Bessie began her artistic career in batik, like many of the women in Utopia, before venturing into painting with acrylic paints on canvas. Her mother Polly Ngala taught her how to paint and she shares the same dreaming - Bush Plum (Arnwekety). The Bush Plum is an important source of food for Bush Women and today they still gather the plums once the fruit ripens to maturity. Bessie’s paintings depicts the Bush Plum and the effect of its growth patterns on her country. She illustrates the topography in shades of reds, oranges and yellows and pinks, purples and plums reflecting the varying seasonal palette. She builds up layer upon layer of colour creating a multi-dimensional effect to reveal the Bush Plum - and her country - Arlparra in all its glory.

Natalie Pula Holmes

Tue, 09 Sep 2008 04:19:38 +0930

Only twenty three years of age, Natalie Pula Holmes is an emerging artist. Her fascination with painting goes back to her childhood in Tennant Creek as she watched her mother and artist, Marilyn Brown paint. Her mother saw at once the fascination colours and shapes held for Natalie and encouraged her to experiment. Natalie has only recently begun to paint for Eastern Desert Art as raising her family has been her main pre-occupation for the last eight years. She lives on MacDonald Downs (285kms NE of Alice Springs) with her five children and partner Neville, son of Dudley Petrick, the Traditional Owner of this area. Natalie's energetic, colourful work is inspired by the flora and fauna of her landscape in the Eastern Desert, Central Australia. Her paintings are representations of land and place.

Wally Pwerle Clark

Mon, 09 Jun 2008 15:57:09 +0930

Julie Pangata

Sat, 07 Jun 2008 14:52:19 +0930

Julie Pangata was born in 1955 at Ti Tree in the Northern Territory. Her father (deceased) was Paddy Pananka Pangata and her mother is Rosie Pananka Purula. She now lives on Utopia with her family and her dreaming is the Bush Plum (Arnwekety). Her paintings depict the life cycle of the Bush Plum (Arnwekety) plant as it flowers into maturity across her country. She paints from a traditional perspective, surveying her landscape with a spiritual eye. The dot-like appearance of shrubs, spinifex and other grasses from her country are a great source of inspiration for her paintings.

Mary Ngala Jones

Tue, 11 Mar 2008 14:37:07 +0930

Mary Ngala Jones was born into an artistic family. She is daughter of the painter Myrtle Petyarre and niece to Ada Bird Petyarre, Gloria Petyarre, Nancy Petyarre, Kathleen Petyarre, Violet Petyarre and Jean Petyarre. Her sister is Gracie Pwerle Morton. She was born at MacDonald Downs and lives at Thelye, an outstation on Utopia and is married with five children. Now that her children are growing up, Mary has begun to paint and her style is unmistakably similar to that of her mother, aunties and sister. Her style of painting is distinctively minimalist and she uses a very delicate dotting technique and traditional colours derived from natural ochres. Her signature theme in her paintings is the bush plum known to the Alyawarr as Arnwekety. All of her paintings directly refer to these "Dreamings" and the associated country around Utopia in the eastern central desert of Australia.

Emily Kame Kngwarreye

Wed, 12 Dec 2007 15:10:35 +0930

Hazel Kngwarreye Morton

Mon, 15 Jan 2007 21:02:31 +0930

Hazel Kngwarreye Morton was born in 1963 into a large artistic family. Her mother Kathleen Kamara Morton was wife number two to Billy (Stockman) Pitjara Morton, a renowned sculptor and painter. Like many artists in this region, including her sisters, Hazel was introduced firstly to batik –making and was involved in the important Central Australian Aboriginal Media Association (CAAMA) community projects which resulted in Utopia - A Picture Story, 88 silk batiks from the Holmes a Court which toured throughout Australia. Her first foray into painting with acrylic on canvas began when CAAMA initiated Utopia Women’s Paintings the first works on canvas – A Summer Project. Since then Hazel has been painting and her works have been exhibited here and overseas. Her subjects include Wild Flowers (Alpeyt), Women's Ceremony (Awely), narrative camp scenes, Rainbow (Mpwelarr) Dreaming, and Ilyarn (plant) and Ilyarnayt (grub found in the Ilyarn). She has developed her style into a very fine pattern of dot work and symbols.

Jessie Pitjara Hunter

Mon, 15 Jan 2007 20:59:40 +0930

Jessie Pitjara Hunter was born in 1957 at MacDonald Downs and is the sister of renowned artists Sandy, Annie and Susan Pitjara Hunter. She, along with her siblings, now live at Irrultja, on Utopia Community. Like her sisters, Jessie’s main Dreaming is Awely or Women’s Business but she also paints Arawerr country and sugar bag body design.

Lisa Pula Mills

Sun, 14 Jan 2007 16:30:26 +0930

Lisa Pula Mills is the daughter of renowned artist Dolly Petyarre Mills. She was born at MacDonald Downs and now lives on Utopia with her husband Damien Petrick (son of well known painter - Josie Petrick) and daughter Shakira. She grew up between both Irrwelty and Amperlatwaty (further north) where she went to Amperlatwaty school. Lisa paints her mother’s dreaming - Emu (Aherr) Tucker and Bush Potato (Anaty) Dreaming. The colourful patterning of Lisa’s work depicts her country of Alhalker situated in the Utopia region north east of Alice Springs. Her semi abstract work depicts the patterns of the foliage and growth of the sacred Bush Potato (Anaty) bush across her country of Arlparra. Lisa Pula Mills began painting for Eastern Desert Art in 2006.

Julie Sandover Robinson

Sun, 14 Jan 2007 16:30:24 +0930

Julie Sandover Robinson is a young energetic woman who lives with her extended artistic family on Utopia. Julie has only just begun her painting career and joins Eastern Desert Art this month. Julie is niece to artist, Joy Kngwarrye Jones. Julie's subjects include Wild Tomato, Ladies Business and Bush Plum (Arnwekety) Dreaming.

Janice Kngwarreye Morton

Sun, 14 Jan 2007 16:29:50 +0930

Janice Kngwarreye Morton, born in 1959, is the youngest daughter of Utopian artists Mary Kemarre and Billy (Stockman) Pitjara Morton. As part of the Alyawarr tribe she now lives at Rocket Range, on Utopia Station, with her sisters and extended family. Together with her mother and sisters, she was involved in the important Central Australian Aboriginal Media Association (CAAMA) batik-making community projects which resulted in Utopia - A Picture Story, 88 silk batiks from the Holmes a Court which toured throughout Australia. Her first foray into painting with acrylic on canvas began when CAAMA initiated Utopia Women’s Paintings the first works on canvas – A Summer Project. Janice's work is featured in the Robert Holmes a Court exhibition and collection which has toured extensively within Australia and overseas. Among her painting subjects, Janice paints Wild Flowers, Sweet Honey Grevillea (Tharrkarr), Rainbow (Mpwelarr) and Honey Ant (Yerramp).

Audrey Kngwarreye Morton

Sun, 14 Jan 2007 16:29:10 +0930

Born in June 1954 to Mary Kemarre and Billy (Stockman) Pitjara Morton, Audrey together with her sisters began her artistic career with her introduction into batik making. She was involved in the important Central Australian Aboriginal Media Association (CAAMA) community projects which resulted in Utopia - A Picture Story, 88 silk batiks from the Holmes a Court which toured throughout Australia. Her first foray into painting with acrylic on canvas began when CAAMA initiated Utopia Women’s Paintings the first works on canvas – A Summer Project. She has featured in several group exhibitions since 1977 for her work in batik (during the 1980's) and throughout Australia and America for her work in acrylics. Audrey paints many subjects including Sweet Honey Grevillea (Tharrkarr), Alpeyt (Acacia flowers) and Awely body designs from Antarrengeny which is her mother's country.

Sarah Kngwarreye Morton

Sun, 14 Jan 2007 16:21:52 +0930

Sarah Kngwarreye Morton, born in October 1958, is the third daughter of Utopian artists Mary Kemarre and Billy (Stockman) Pitjara Morton (deceased). Together with her mother and sisters, she was involved in the important Central Australian Aboriginal Media Association (CAAMA) batik-making community projects which resulted in Utopia - A Picture Story, 88 silk batiks from the Holmes a Court Collection which toured throughout Australia. Her first foray into painting with acrylic on canvas began when CAAMA initiated Utopia Women’s Painting: The first works on canvas – A Summer Project. Sarah’s work is featured in the Robert Holmes a Court exhibition and collection which has toured extensively within Australia and overseas. Her painting subjects include Wild Flowers, Sweet Honey Grevillea (Tharrkarr), Rainbow (Mpwelarr) and Honey Ant (Yerramp).

Annie Pitjara Hunter

Sat, 06 Jan 2007 15:14:57 +0930

Annie Pitjara Hunter, sister to artists Susan, Jessie and Sandy Pitjara Hunter is becoming well known for the fine execution of her interpretation of Women's Business. Like her sisters Annie is concerned with Awely and all it symbolises during the deeply spiritual women's ceremonies. Over the last few years she has participated in several group exhibitions throughout Australia. Pitjara Hunter's have been collected since the beginning of the Utopia art movement when batik was first introduced to the women in 1977. Her batik was selected for Utopia- A Picture Story an exhibition from the Holmes a Court Collection which toured extensively nationally and overseas. Her paintings were also featured in the significant exhibition “Utopia Women’s Paintings, the First Works on Canvas, A Summer Project” (1988-89). Annie Pitjara Hunter’s work is represented at the National Gallery of Australia, Canberra and in the Holmes a Court collection in Perth. Born on MacDonald Downs in 1964 to Johnny Ngwarrai Hunter and Molly Bula Hunter, Annie now lives at Irrultja with her sisters.

Polly Ngala

Thu, 07 Dec 2006 13:16:22 +0930

Polly Ngala was born in 1940 into the Anmatyarr tribe. She was married to Ray Yeramba (deceased) and now lives at Camel Camp on Utopia with her family and sisters, Kathleen Ngala, Maisy Ngala and Angeline Pwerle Ngala. Polly began her artistic career in batik, like many of the women in Utopia, before venturing into painting with acrylic paints on canvas. She often assisted her sister Kathleen and also the late Emily Kngwarreye Kame with whom she shared the same country. Arlparra is her country from her father’s side and her mother came from Ngwelay, commonly known as Kurrajong Bore. Together with her sisters, Polly is a senior custodian of the Bush Plum (Arnwekety) Dreaming. Polly's depicts the Bush Plum and its effects on her country. She often depicts the topography in shades of reds, oranges and yellows reflecting the varying seasonal palette. Like her sister Kathleen she builds up layer upon layer of colour creating a multi-dimensional effect to reveal the Bush Plum (Ankwekety) - and her country - Alparra in all its glory.

Mary Kemarre Morton

Thu, 07 Dec 2006 13:07:24 +0930

Mary Kemarre Morton - born in 1925 on MacDonald Downs - is one of the senior women on Utopia and therefore has responsibility for initiating young women. She is involved in painting body designs on young women, singing Awely songs to encourage their fertility and teaching them the rules of life. Her country is on the northern end of Utopia and she has custodial responsibility for the Kurrajong tree seed. She was married to Billy Stockman Morton (deceased), who was a renowned sculptor. Mary is passionately involved in maintaining traditional practices for her people. She is also highly regarded for her bush medicine skills. Mary Morton’s entire oeuvre is devoted to Awely which refers to the ceremonial world of women’s business and includes women’s ceremonial body designs. These ceremonies are associated with women’s social structure and ritual knowledge. Awely can also refer to particular ceremonies and its songs, dances and designs. Morton’s energy and passion as custodian of the Awely is reflected in the innate lyricism in her work.

Lucky Kngwarreye Morton

Thu, 07 Dec 2006 13:03:41 +0930

Lucky Kngwarreye Morton (Kngwarreye originally spelt Ngwarai) was born in 1949 on MacDonald Downs and is the daughter of artist and senior boss woman Mary Kemarre Morton and Billy Stockman Morton the renowned sculptor. Lucky speaks Alyawarr and lives with her large family on the northern end of Utopia. Lucky spent her childhood years growing up at MacDonald Downs and around Kurrajong Camp at Utopia. Lucky Kngwarreye's career in painting began in the late 70s when the Utopia Women's Batik Group was formed . Under the expert guidance of CAAMA and Rodney Gooch the fist major communal project - a series of eighty eight works entitled Utopia - A Picture Story was launched onto the Australian and international stage. The Holmes a Court Collection sponsored these art projects from Utopia projects which toured Australia and world wide. This was followed by the first foray into acrylic on canvas in the summer of 1988-9 as part of CAAMA's "The First works on Canvas, a Summer Project". This first body of paintings was exhibited - and enthusiastically received - at the SH Ervin Gallery in Sydney. Lucky has continued to use this medium to express her Dreamings and has exhibited in Melbourne and Sydney in the past few years.

Kathleen Ngala

Thu, 07 Dec 2006 13:01:01 +0930

Kathleen Ngala was born in approximately 1933 and is one of the senior boss women on Utopia. Her language is Anmatyerr and she is married to the artist and sculptor, Paddy Motorbike. She lives at the outstation of Camel Camp with her large family and sisters artist Polly Ngala, Maisie Ngala and artist Angeline Pwerle Ngala. Like her sisters, Kathleen is a senior custodian for the Bush Plum - Arnwekety - in her country of of Arlparra although all sisters have very different techniques for expressing their dreaming. Kathleen started her career in batik before she was introduced to paint and canvas. She is an extremely fine painter and has exhibited both nationally and internationally. She was a finalist in the 2000 National Aboriginal and Torres Strait Islander Award and until just recently she has become a finalist in the 25th Telstra National Aboriginal and Torres Strait Islander Art Awards. The Ceremony for the awards will be held on the 15th August 2008.

Freddy Kngwarreye Jones

Thu, 07 Dec 2006 12:47:48 +0930

Freddy Kngwarreye Jones was born in 1939 on Old MacDonald Station. His father, Jacob Jones, was an authoritative Alyawarre man who traveled extensively as a young camel boy, working and mixing with European and Afghan men during the period when camel trains carried goods in the Australian desert. Freddy Jones lives at Theleye outstation within the Utopia community and speaks the Alyawarre language. The Alyawarre and the Anmatyerre peoples are closely related. Alyawarre people’s traditional country lies to the east of Anmatyerre country, and many members of the two groups are related by kinship and marriage. Several men from these communities have achieved prominence for their art, including Dave Ross, Lindsay Bird, and Cowboy Pwerle. Most maintain the ‘classic’ geometric circles and parallel lines of men’s designs, marking out the Ancestral Tjukurrpa routes. Freddy Kngwarreye Jones is concerned with the Caterpillar Tjukurrpa (Altyerre) or Dreaming, the central dreaming for the town of Alice Springs. He is also the principal song leader in ceremonies for the meat ant, pink-crested cockatoo, sulphur-crested cockatoo, snake, spider and kangaroo. He has exhibited in Melbourne, Sydney, Brisbane, and Perth and his work has been acquired by several institutions, including the National Gallery of Victoria and Art Bank Australia. Source: Extract: Isaacs, Jennifer Spirit Country - Contemporary Australian Aboriginal Art, Hardie Grant Books, 1999 Freddy Kngwarreye Jones is one of Elders on Utopia and as such his work is all the more significant. He is now passing on his knowledge as custodian of these Ancestors to his son and artist Charlie Petyarre Jones.

Elizabeth Kamara Leo

Thu, 07 Dec 2006 12:44:07 +0930

Elizabeth Kamara Leo, born in 1953 in Alice Springs, into the Anmatyerr tribe and she now lives at the outstation of Irrultja, on Utopia Station, with her partner and fellow artist Sandy Pitjara Hunter. She began her career when she became involved in the important Central Australian Aboriginal Media Association (CAAMA) batik-making community projects which resulted in Utopia - A Picture Story, 88 silk batiks from the Holmes a Court which toured throughout Australia. Her first foray into painting with acrylic on canvas began when CAAMA initiated Utopia Women’s Paintings the first works on canvas – A Summer Project. Her Dreamings include, Sweet Honey Grevillea (Tharrkarr), Bush Tucker Seeds and Awely (Body paint) which is her interpretation of the designs of the women’s ceremonies.

Dolly Petyarre Mills

Thu, 07 Dec 2006 12:36:32 +0930

Dolly Petyarre Mills was born in 1948 at Boundary Bore Outstation on Utopia Community in the Northern Territory and her language group is Alyawarr. Dolly lives with her sister, Gloria (Glory) Petyarre Mills, at Boundary Bore and are full sisters to Greeny Petyarre Purvis. She is widely recognised as one of Australia’s leading Aboriginal artists and has work in major Australian and international collections. The delicate patterning and subtle colours of Dolly’s work depicts her country of Alhalker situated in the Utopia region north east of Alice Springs. She participated in the Utopia, A Picture Story which included 88 silk batiks from Robert Holmes a Court collection. This confirmed the artistic credibility of the Utopian artists. The major subject of her work is in association with the Yam (Anaty) Dreaming and Emu Tucker (Ankerr) Dreaming.

Cowboy Louie Pwerle

Thu, 07 Dec 2006 12:32:50 +0930

Cowboy Louie Pwerle was born in 1941 on Old MacDonald station. He is the younger brother of Louie Pwerle (deceased) who was an important Utopian artist and is an Eastern Anmatyerr speaker. His traditional country lies on the Western side of the Sandover River on Utopia station and stretches west on to Mt Skinner. Cowboy lives at Mosquito Bore with his two wives, both of whom are the sisters Carol and Elizabeth Kngwarreye. Cowboy Louie depicts his Turkey Dreaming over various traditional sites on Utopia. He also paints Emu (Ankerr) Tucker Dreaming and Lizard (Arlewatyerr) Dreaming. Cowboy's name is attributed to his reputation as a stockman and his cowboy attire.

Gladdy Kemarre

Mon, 30 Oct 2006 11:53:21 +0930

Born in 1937, Gladdy Kemarre (also spelt Gladys) lives at the outstation of Camel Camp, Utopia. She paints her Dreaming - Bush Plum - as well as Bush Men which are very interesting hunting and family scenes which she describes as ‘olden times - these things my mother told me’. Her career in painting began in the late 70s when the Utopia Women's Batik Group was formed. Under the expert guidance of CAAMA and Rodney Gooch the first major communal project - a series of eighty eight works entitled Utopia - A Picture Story was launched onto the Australian and international stage. The Holmes a Court Collection sponsored these art projects from Utopia projects which toured Australia and worldwide. This was followed by the first foray into acrylic paint on canvas in the summer of 1988-9 as part of CAAMA's "The First works on Canvas, a Summer Project". This first body of paintings was exhibited - and enthusiastically received - at the SH Ervin Gallery in Sydney. Gladdy Kemarre has continued to use this medium to express her Dreamings and since 1985, has held a number of exhibitions in Australia, Belgium and Germany. Her work is held in a many private and public collections throughout Australia.

Joy Kngwarreye Jones

Mon, 30 Oct 2006 11:38:37 +0930

Sister of the renowned artist Lily Sandover Kngwarreye (deceased) and Freddy Kngwarreye Jones and auntie to Charlie Petyarre Jones, Joy Kngwarreye Jones was born in 1959 at MacDonald Downs and lives at Theleye, an outstation on Utopia. Like her sister before her Joy paints with a stick and a gutta nib applying paint in bold and confident strokes. Although she participated in the early Utopian art movement Joy didn't become immersed in her art again until 2006. Her confidence has now grown to the extent where her outpourings are prolific. Joy’s paintings are in many important collections including the Aboriginal Art Museum, The Netherlands; Queensland Art Gallery, Brisbane and The Holmes a Court Collection, Perth.

Susan Pitjara Hunter

Mon, 30 Oct 2006 11:31:52 +0930

Born circa 1966 into the Alyawarr tribe and the younger sister of artists Annie Pitjara Hunter, Jessie Pitjara Hunter and Sandy Pitjara Hunter, Susan lives at the outstation of Irrultja on Utopia in the Eastern Desert. She lives a traditional life spending all her time in the bush with her husband Clements. Susan Pitjara Hunter (also known as Susie) is one of the most gifted young emerging artists of this region. For such a young artist, Susan has always had a deep sense of belonging to her country and has remained steadfastly a bush woman. Her meticulous execution of Women's Business is rendered with extreme care and respect for her subject matter. The end result is a myriad of intricate patterns symbolising her Dreaming.

Charlie Petyarre Jones

Mon, 30 Oct 2006 11:19:56 +0930

Charlie Petyarre Jones born in 1968 is son of renowned artist Freddy Kngwarreye Jones who sanctions what can be shown and painted. Charlie lives on Thelye outstation on Utopia with his family and speaks the Alyawarr language. As well as passing his Dreamings onto his son Charlie, Freddy has taught Charlie his technique with acrylic painting. Son and father often collaborate on painting their Dreaming. Charlie paints many Dreamings which include the Kangaroo (Aherr), Caterpillar (Aylperlayt), Wallaby (Greyneng) and Snake (Kwerreny). The designs are prepared on the ground during lengthy song cycles marking the journey of the Ancestors whose design is depicted.

Sandy Pitjara Hunter

Mon, 30 Oct 2006 11:07:54 +0930

Born in 1953 on MacDonald Downs into the Alyawarr tribe, Sandy Pitjara Hunter is greatly admired for his fine and precise dotwork and masterful use of colour. Like his sister Susan Pitjara Hunter, Sandy's work usually consists of patterns of minute dots applied with a very fine pointed stick. The son of Johnny Ngwarai Hunter and Molly Bula Hunter, Sandy Pitjara Hunter was born on MacDonald Downs in December 1953 into the Alyawarr tribe. He now lives at Irrultja on Utopia and is married to Elizabeth Kamara Leo who is also a painter, and his other sisters Annie and Jessie. His Dreaming is Caterpillar (Atlerlayt) which was passed down to him from his father and also paints Bush Tucker Seeds.

Angeline Pwerle Ngala

Sun, 29 Oct 2006 15:42:19 +0930

Born in 1947, Angeline Pwerle Ngala has come into international prominence with her interpretation of her Dreaming - the Bush Plum - Arnwekety on her grandfather's country, Arlparra. The subtle changes in the depth and intensity of her dot-work produce a multi-dimensional textured surface. Angeline also does figurative work in strong, striking colours. Married to the painter and sculptor Louis Pwerle (deceased) Angeline is the sister of painters Kathleen Ngala and Polly Ngala all of whom paint the Dreaming – Bush Plum. Angeline was part of the batik project in 1988 and her work is featured in the Robert Holmes á Court Collection which has toured extensively within Australia and overseas. She began to use the medium of acrylic paint on canvas in the summer of 1988-9 as part of the CAAMA project with the Utopia women’s paintings: ‘The First works on Canvas, A Summer Project’. She has continued to paint with acrylics on canvas. Her work has been collected by many significant public and private galleries and institutions. She was a finalist in the 23rd Telstra National Aboriginal and Torres Strait Islander Awards, 2006. ‘In 1986 she was introduced to batik; however, in recent years she has primarily focused on sculpture and painting. The representation of the Bush plum (Arnwekety), Arrker (night owl), bush foods, and flowers remain the central concerns of her work. Along with the other women artists of Utopia, Pwerle was first given canvas and acrylic paint in the late 1980s. Her canvases characteristically feature an intense concentration of dots which produce the effect of movement or shadows, across the surface. Her work is distinct from that of other artists in the community in the clarity of her colour schemes. Placed on dark backgrounds, the dots take on a pure, ephemeral quality. There is a strong heritage of amongst the men and women of Utopia, although until the 1980s women made only non-traditional sculptural work. It was in this context that Pwerle’s bold, whimsical animals and figures were first produced. The artist gives her creatures and little people bright-eyed, startled faces and adorns their bodies in green, grey, and blue, as well as traditional ochres.' WN Part extract Kleinert & Neale, The Oxford Companion to Aboriginal Art and Culture, 2000, OUP, Melbourne.

Father Christmas visits Irriliree

Fri, 11 Jan 2013 14:19:21 +0930

For the very first time Father Christmas visited Irriliree (a small community located near MacDonald Downs). Mt Swan Mini-Mart Managers John and Ruth Cousins took Father Christmas to Irriliree outstation , MacDonald Downs early Christmas morning. Arriving in Santa style on the back of a tinsel adorned ute he gave the children of this community one of their best surprises for the year. Every child was given a toy and the adults feasted on Santa's BBQ marinated beef ribs.

Chalmers of the Outback

Fri, 10 Aug 2012 11:28:02 +0930

Located in Central Australia, MacDonald Downs is a half a million acre cattle station, north east of Alice Springs. The Chalmers families have been running cattle in this area since the early 1920′s, and have opened the main homestead - Chalmers of the Outback- located at Mt Swan (the Southern tip of MacDonald Downs) for guests. Discover what it’s like living and working on this remote outback station where the shop around the corner is 285kms away and remoteness is part of everyday life. Meet Aboriginal painters while they work on their canvases in a relaxed outdoor environment. Learn about the history of the station and the interpretation of the land and its bush tucker. Enjoy delicious picnic lunches in the bush and share a delightful dinner with the Chalmers family dining on organic produce from the station. Chalmers of the Outback is a large, comfortable 4 bedroom home adorned with Aboriginal art. There is a large central living entertaining area with a 12 seater dining table for you to sit around and enjoy the culinary delights prepared for your stay. Or in the warmer months you can dine by the pool or under the patio/fernery. Guests can meet and watch the artists while they work on their canvases under their gum leaf bough shelter in a natural bush setting. Their families often join them and their day is spent painting, cooking roo tails and meeting and chatting. Other activities include 4WD scenic tours and bush walking in the heart of the station at Tower Rock, a unique granite boulder outcrop , located in the Mac and Rose Chalmers Conservation Reserve. Recently reserved by National Parks and Wildlife, Tower Rock is host to a wide range of native plant species and wildlife. BOOKINGS: https://australianluxurystays.com.au/accommodation/northern-territory/outback/chalmers-outback/ Phone. 1300 884 221 | 61 8 8232 6388 Mobile. 0417 831 596 | 61 406 046 868 Fax. 61 8 8232 1146 tina@australianluxurystays.com.au

New exhibtions and events 2012

Tue, 10 Jan 2012 06:18:07 +0930

Other exhibitions this year:

SYDNEY - Tali Gallery,Rozelle
MELBOURNE - Without Pier, Cheltenham
FLINDERS RANGES - Prairie Hotel, Parachilna - from 20th February 2012
MILAN - Art and Travel - Design Week @Pelux 17th April, 2012 Piazza San Fedele, 2
MILAN - Galleria Area 35, 02 - 12 May 2012
NOVARA - Daniela Grifoni, San Nazzaro Art Gallery, 15 - 30 May 2012
SINGAPORE - NAIDOC June/July 2012

Eastern Desert Art goes to Italy

Wed, 15 Jun 2011 10:49:10 +0930

PN/P and NINBELLA FIRENZE, ITALY 12 - 30 June 2011 PN/P and NINBELLA will be showcasing these extraordinary artworks in an extraordinary location on the River Arno, Florence, Italy PN/P store/gallery Borgo San Iacopo 38r, Firenze, Italy Enquiries +39 348 4552715 www.ninbella.com.au

OUTBACK ABORIGINAL ART GALLERY AND CONSERVATION PARK

Fri, 01 Apr 2011 15:09:18 +0930

Visit central Australia’s newest and exclusive park, The Mac & Rose Chalmers Conservation Reserve. Situated on MacDonald Downs 285kms NE of Alice Springs, this unique granite boulder outcrop - encompassing 470 hectares of land, is host to a wide range of native plant species and wildlife. Camp among the beautiful granite boulders and see the magical sunrise over Tower Rock. Enjoy the spectacular views from the top of the boulders and take walks through the bush land. Eastern Desert Art Gallery and Cafe and the Mt Swan Mini-Mart are only 20kms away.

UTOPIAN Aboriginal Art Exhibition

Mon, 21 Feb 2011 11:56:43 +0930

2-20 March 2011 Without Pier Gallery 320 Bay Street Cheltenham, 3192 Special Preview Melbourne subscribers please join us for a special preview to celebrate this show on Tuesday 1 March at 6.00pm and hear all about the latest in the creative work emanating from this community. RSVP: info@withoutpier.com.au or 03 9583 7577 Utopia Community Project A proportion of profits for every artwork sold in this exhibition will assist with this year’s aims for the Utopia Community Project (an initiative to re-establish Cowboy Louie Pwerle’s country on Utopia as a viable cattle lease) which are to upgrade a set of yards, three paddocks, reconstruct a watering point and purchase of a 4WD vehicle. Phone: 03 9583 7577 Image: Dolly Petyarre Mills, Emu Tucker Dreaming

DESERT ICONS - Australasian Arts Projects

Thu, 11 Nov 2010 10:21:52 +0930

Australasian Arts Projects, Singapore present over 100 iconic works from indigenous artists of the central, western and eastern Australian desert. The exhibition includes highly collectable contemporary pieces showcasing legendary desert themes, artists, paintings and sculptures. Highlights include 2010 Telstra Awards finalist Lucky Kngwarreye Morton, Lily Kelly Napangardi, Gloria Petyarre, the Ngala sisters Angeline, Kathleen and Polly, a Tjapaltjarri brothers collaboration, exceptional wooden sculptures by Wally Clark and an innovative series of bush toys on its first international exhibition.

Aboriginal Art in London

Fri, 04 Jun 2010 17:11:29 +0930

Based in Wimbledon Village, London, Sarah-Jane Holden runs exhibitions of Australian Contemporary Aboriginal Art. The collection is probably the most comprehensive collection of paintings of Central and Western and Eastern Desert artists currently in the UK. There are 42 artists on show and of these 33 are women. The introduction of tie-dyeing and batik making skills to the women of the Eastern Desert community of Utopia in the late 70’s not only gave the women an opportunity to earn an income but also gave them a medium where they could experiment with their traditional story-telling paintings. The results are on view at this exhibition in Wimbledon. Strong graphics, kaleidoscopic swirls, riots of colour and an inherent spatial awareness are, again and again, the themes of these paintings. The ‘dreamtime’ story or survival songs are reinforced through the iconography within each painting. Kathleen Petyarre’s paintings are specific to a certain area and to the travels of the Mountain Devil Lizard. Using a stick she covers the whole surface of the canvas with varying size and density of dots resulting in a calm but graphic composition. Her sister Gloria, on the other hand, paints the story of medicine leaves using brushes she has made herself. Her canvases are a flow of brush strokes, layer upon layer, which result in a hypnotic and moving graphic so the viewer can see and feel the flow and swish of the leaves and story she depicts. Then there is Narbula Scobie Napurrula whose canvases display an extraordinary design and special awareness as she combines the patterns of women’s body painting with the secret stories of the women’s ceremonies. With no ‘formal’ training and minimal guidance these artists sit cross legged, often surrounded by their family, in the dust and sand and will take hours of concentrated effort, layering paint over paint building and obscuring story over story to form the complex final canvas. The contrast between the hot, dry, dusty environment and the conditions in which the artists work and the luscious, rich, graphics of the final paintings is a wonder to behold. What was initially an attempt by white Australians to teach basic craft skills to the most deprived members of Australia’s black community has subsequently become not only a huge financial industry but also a precious and vital avenue for the two societies to co exist, to learn and to respect each other. The exhibition in Wimbledon will show paintings from these original batik artists; Minnie Pwerle, Gloria Petyarre and Kathleen Petyarre, Angeline Pwerle Ngala, Annie Pitjara Hunter and Joy Kngwarreye Jones to name but a few. Also on show are works from Artists of the Central and Western Desert. Most famous of these are the three brothers, Warlimpirrnga, Thomas and Walala Tjapaltjari who, having been brought up following a traditional nomadic lifestyle in the Gibson Desert, walked out into the white man’s world 1984. Their strong, earthy, traditional graphics provide a change of pace to the other paintings in this exhibition but their story is unique and the survival of the traditions on which they are based are threatened. Aboriginal art is a firm favourite in British and in European Art collections, both public and private. The Sarah-Jane Holden Exhibitions in the UK are a viewing platform to see the huge variety, skill and talent among Aboriginal artists. Painting: Detail Sand Dunes by Janelle Napaltjarri Stockman, 97cm x 1.38m Polymer acrylic on linen

Aboriginal Art Gallery opens in the heart of the Hunter Valley

Fri, 04 Jun 2010 13:00:09 +0930

In collaboration with Blaxlands Inn, Tingari Arts and Eastern Desert Art have opened a new exhibition featuring works by Aboriginal artists from the deserts of central Australia. Established artists such as Charlie Petyarre Jones, Janelle Napaltjarri Stockman, Joy Kngwarreye Jones, Thomas Tjapaltjarri, Warlimpirrnga Tjapaltjarri, Walala Tjapaltjarri and Molly Napaltjarri Jugadai are featured along with new and emerging artists. Blaxlands Inn is famous for its deep dish pies and Certified Angus Steaks and their Hunter wine list showcases the best of what the local boutique wineries have to offer. You can either dine in or outside by the cosy open fire pit. Blaxlands Inn 2198 Broke Road, Pokolbin, Hunter Valley NSW 2320 ph: 612 4998 7550 info@blaxlandsinn.com.au Opening hours: Wed-Sun Lunch 12.00-3.00pm Dinner 6.00-9.00pm Sat & Sun Breakfast 8.30am-11.00am Detail from Bush Seeds by Sandy Pitjara Hunter 60cm x 1.29m Polymer acrylic on linen

Eastern Desert Art Exhibitions 2010

Fri, 26 Feb 2010 10:41:30 +0930

Eastern Desert Art is thrilled to announce a new partnership with the Australasian Arts Company, Singapore which launched its first exhibition on 5 May 2010. The first exhibition featured work from established and emerging artists from the eastern and western desert regions of the Northern Territory. Contact: Gabrielle Cummins, Australasian Arts Company: +65 9771 8974 Also look out for these exciting new exhibitions:

June 2010: Western and Eastern Desert Art, Blaxlands Inn, Hunter Valley, NSW
11-13 June 2010: Aboriginal Artists UK Spring Show 11-13 June, London

June-July 2010: Prairie Hotel, Parachilna
August 20010: Stockman's Hall of Fame, Longreach, Queensland

East - West Exhibition Prairie Hotel until 11 January 2010

Mon, 16 Nov 2009 11:37:25 +0930

The Prairie Hotel is Australia’s most-awarded Outback hotel. Why do people fly in from all over the world to stay or eat here? See for yourself… The Prairie Hotel perfectly blends Outback adventure with a slice of city luxury - and a lot of style. Parachilna has an official population of just seven but it's remoteness adds to the pleasure of its one and only hotel. The Prairie Hotel is truly an oasis on the plains of the Flinders Ranges, some of the most ancient and fascinating formations on Earth. From the hotel, you can enjoy magnificent views of both the Ranges and the vast red desert plains sweeping toward Lake Torrens. Inside the hotel, you’ll find great character, charm and creature comforts – topped off with superb cuisine. And all this still only 30 minutes drive from the famous Parachilna and Brachina Gorges of the Flinders Ranges National Park. Ever tried emu? The hotel restaurant is renowned for a delicious and innovative menu of Australian native and Flinders Feral Foods, You can sample truly Australian foods such as emu, kangaroo, or wallaby combined with native herbs, fruits and vegetables sourced locally whenever possible. One of our most popular bar menu items is the "Feral mixed grill". The restaurant is open all day, every day of the year. People make the Prairie Hotel special You never know who may be at the hotel - film crews with movie stars, coal miners in from the dust, locals on their night out, romantics making wedding proposals, city dwellers yearning for the country life - a great mix which makes for a memorable time. Bring a story, bring a friend, lover or the whole family and discover the pleasures of the Prairie. P) 61 8 8648 4844 or (Fax) 61 8 8648 4606 Cnr High Street & West Terrace Parachilna SA 5730

The Prairie Hotel Flinders Ranges

Wed, 01 Jul 2009 09:43:20 +0930

COWBOY GETS NEW WELDER

Wed, 10 Sep 2008 17:43:32 +0930

Cattleman/artist, Cowboy Louie Pwerle has been requesting new equipment for the cattle project on Utopia.

The Bough House - a traditional painting place for the local Artists.

Wed, 10 Sep 2008 16:33:34 +0930

Stockmen Tommy Bloomfield and David Bird have built a beautiful traditional Bough House for our Eastern Desert Artists. The Artists have longed for a large traditional dwelling in the outback in which to paint - place where they would feel comfortable and relaxed with the atmosphere of the bush all around. Within a couple of weeks of commencing the project, a beautiful Bough House emerged - a large round house approximately 19metres in diameter with a gumleaf -thatched roof and hessian sides. Next to it Tommy and David erected a small shed where we - myself and Elsa (our energetic English backpacker) - mix paints, prime the linen and make snacks and tea for the women. On Mondays the women come to paint at the Bough House. Their families join them and the day is spent meeting and chatting with people from the surrounding communities. The male artists always prefer to come in, collect their primed linen and take it back to the camp to complete.

Eastern Desert Artists Visit Tandanya

Tue, 11 Mar 2008 14:22:36 +0930

The Power of Place: Paintings and Artefacts from the Eastern Desert is currently showing at Tandanya National Aboriginal Cultural Institute until 20 April, 2008. The exhibition is a celebration of the land – a vibrant spiritual landscape – seen through the art of the Anmatyarr and Alyawarr people of Utopia in the Eastern Desert region of the Northern Territory. Tandanya – National Aboriginal Cultural Institute 253 Grenfell St, Adelaide (Cnr Grenfell St & East Tce)

The Power of Place: Paintings and Sculpture from the Eastern Desert at Tandanya, Adelaide

Mon, 03 Mar 2008 17:18:33 +0930

A celebration of Land - a vibrant spiritual landscape - seen through the art of the Anmatyarr and Alyawarr people of the Eastern Desert region, NT. Power of Place includes exciting new iconographic and geometric ceremonial paintings and artifacts from the Elders - Cowboy Louie Pwerle, Freddy Kngwarreye Jones, Charlie Petyarre Jones, Alec Peterson and Sandy Pitjara Hunter - honouring the ancient and enduring ideology of the Dreaming (Altyerre). Song, dance, body and story – the media of the Women’s Law - are explored in the paintings from the Bush Women –Kathleen Ngala, Susan Pitjara Hunter, Joy Kngwarreye Jones, Sarah Kngwarrye Morton, Dolly Petyarre Mills, Angeline Pwerle Ngala, Annie Pitjara Hunter.

Huge Fundraising Project for Utopia

Fri, 11 Jan 2008 07:53:19 +0930

This year Eastern Desert Art will endeavour to raise substantial funds - through the art business and other sources - to commence a large scale cattle project for the community of Utopia. The Project will be undertaken in three stages: 1. Cattle Yard: the erection of a cattle yard equipped with troughs, a sprinkler system, drafting lanes to accommodate 500 cattle. 2. Hay Shed: Build a hay shed adjacent to the yards to store several tonnes of cattle and calf feed 3. Erect a paddock equipped with a grid and gate Financial details of each stage will be announced soon.

The Great Horse Muster

Fri, 25 May 2007 10:44:25 +0930

In the 2nd week of April, and as a part of the Utopia Community Project, a huge Brumby muster was undertaken. Together with the Rural Enterprise Unit, a division of the Central Land Council, Atitie, the Aboriginal Cattle Corporation and assistance from the mob from MacDonald Downs approximately 165 horses were rounded up. This initiative was brought about by the need to clear and sell the huge population of wild horses on Utopia Station to achieve the ultimate goal of repopulating the land with breeding cattle. Many people were involved in this very successful project including Dale and Steve, the heads of the Rural Enterprise Unit, Cowboy Louie Pwerle, the head of Atitie, the Aboriginal Cattle Corporation, Kelvin Huston of Houston Helicopters, the very skilful helicopter pilot and not to mention the boys from MacDonald Downs and the many ringers that came out and had a go, all shown in the photo to the right. Once the horses are sold, the money made will enable the people of Utopia to buy a good mob of breeding cattle along with a bull. Cowboy Louie Pwerle has also hand selected 20 good horses to train and use in the education process for the young trainees on the station. The horses will then be used for mustering. This is just another step in the re-establishment of Utopia as a working and successful cattle station. Dale and Steve have assisted many Aboriginally-owned stations to re-establish themselves. For example: Mistake Creek which is situated on the NT/WA border. The land management schemes are a new initiative and are still in their infancy. It will be exciting to watch their progress over the next few years. We would like to thank all that were involved in this massive undertaking and look forward to being there for the next venture.

“Featured Online Listings for Utopian Aboriginal Art”

Tue, 20 Feb 2007 17:13:59 +0930

We believe in having a strong presence in the online Aboriginal art industry and can be found through the following Art and General websites:
Sarah-Jane Holden Exhibitions, promoting Aboriginal Art in the UK www.artuk.com ArtUK.com
UK art galleries list, British art galleries, UK art exhibitions, art London

Agora Gallery Contemporary fine art gallery established 1984, located in Chelsea , New York art galleries district. The public is invited to the gallery art openings receptions. Sponsor of the Chelsea International Fine Art Competition and publisher of ARTisSpectrum magazine. Painters, sculptors and photographers are welcome to submit their portfolios for review.

Australian Artists & Galleries
Australian Art Galleries is an artist and art gallery Search Engine. Featuring Australian commercial artists and galleries. It was formed to help promote Australian Art Galleries and Artists across Australia and the world.

Art Directory - www.artsearch.us Spacio & Zona Pierdutin's artwork - Posters and photography downloads, online art by Pierdutin: abstract oil paintings, watercolours, acrylics, collages, "greeting" cards... If you would like to support our website by linking to us, please contact us or email us via the details below.

West MacDonnell Ranges

Fri, 05 Apr 2013 17:32:42 +0930

Conley Ebatarinja's watercolours are characterised by soft hues and depcitions of Western Arrernte landscape. A backdrop of the Ranges in beautiful shades of purples, pinks and blues contrast with the foreground of desert. This work was painted in early summer - before the rains.

MacDonnell Ranges, Central Australia

Fri, 05 Apr 2013 16:35:41 +0930

Evocative watercolour by landscape artist Conley Ebatarinja originally from Hermannsburg. The Hermannsburg painters' work is characterised by soft hues, usually water colours, of their Western Arrernte landscape, which European settlers named the Western Macdonnell Ranges. Previously, Western Arrernte people had only used art in a ceremonial sense, as topographical interpretations of their country and their particular Dreamings, painted using symbols. The Ghost Gum features prominently in the works, a sacred and important part of Western Arrernte mythology.

Bush Onion Dreaming

Mon, 10 Sep 2012 17:41:50 +0930

Spotted Dog

Tue, 04 Sep 2012 18:07:29 +0930

Annie Pitjara Hunter loves to sculpt quirky animals and ceremonial women from the wood of the native bean tree. She chops a large chunk of the trunk and then shapes it with chisels and a small axe. Afterwards she paints it in interesting colurs with polymer acrylic paint.

Awely - Body Paint

Tue, 10 Jan 2012 16:35:36 +0930

Jessie Pitjara Hunter was born in 1957 at MacDonald Downs and is the sister of renowned artists Sandy, Annie and Susan Pitjara Hunter. Her work has been collected by many significant public and private galleries and institutions. Jessie’s Dreaming is Awely (Body Paint). In her paintings, she symbolizes all that is associated with Awely - the decorated torsos of the women, the women's ceremonial sites or dreaming places where women are gathered and the other representations of the ceremony – digging and music sticks, coolamons and feather adornments. Her paintings depict different body designs which are painted on the women’s breasts, arms and shoulders. She paints these designs from an aerial perspective.

Untitled

Tue, 10 Jan 2012 16:01:25 +0930

Natalie Pula Holmes’ work is shaped by the nature and landscape of the Eastern Desert, Central Australia. This work is inspired by patterns and shapes Natalie discovers in the ever changing landscape of the Eastern Desert, Central Australia.

2009/10: East-West-Brush with Art, Prairie Hotel, Parachilna, South Australia
2009: Aboriginal art in Korea, Gong Pyeong Art Space, Seoul, Korea
2010: The Utopia Story, Australasian Arts Projects, Singapore
2010: Western and Eastern Desert Art, Blaxlands Inn, Hunter Valley, NSW
2010: Aboriginal Artists UK Spring Show 11-13 June, London
2011: Utopian Aboriginal Art, Without Pier Gallery, Melbourne

Tingari Cycle

Tue, 10 Jan 2012 13:35:05 +0930

Thomas had a traditional nomadic childhood with eight others of his extended family (including his brothers Warlimpirrnga and Walala). In October 1984 they made international news when they had first contact with ‘the outside world and Europeans” by moving to Kiwirrkura. Thomas paints the Tingari Cycle and Men’s Business.

Bush Potato Dreaming

Sun, 08 Jan 2012 13:20:04 +0930

Lisa is from a family of renowned artists including her mother, Dolly Petyarre Mills, and her auntie, Gloria Petyarre Mills. As a relatively new, emerging artist she has taken on one dreaming passed down by her family. The Bush Potato is a tasty, fibrous tuber that grows in the Alhalker region of Utopia and is of great significance to the Anmatyerr and Alyawarr women of the Eastern Desert region. Lisa depicts the Bush Potato as its roots spreading across the country much the same as her brush strokes spread across the canvas.

White Bird

Thu, 01 Sep 2011 14:55:55 +0930

Janice Kngwarreye Morton comes from a large artistic family and is an exceptional sculptor of wooden artefacts. She lives on Utopia with her husband and sculptor Wally Pwerle Clarke.

Women Dancing

Thu, 01 Sep 2011 14:27:05 +0930

Janelle's paintings have always been noted as very contemporary in style and colour. Her earliest works featured bold lineage, dot work and traditional concentric circles. She draws inspiration from a number of places; the landscape, a story from her past and her dream to be a famed artist like her grandfather; such that her works do not tell a story of her ancient dreamtime but simply any expression of herself. Janelle has always said that she paints from within, like any artist, using freedom of expression. She loves mixing beautiful colours, whether they are bright or pastel, or making a bold statement with black and white. She says that the colours of the bush and her environment are all of these.

Awely

Thu, 01 Sep 2011 14:12:09 +0930

Bushmen

Thu, 01 Sep 2011 13:47:41 +0930

Gladdy’s paintings of Bush Men relate to events of at least 100 years ago before white men came to the Central Desert region. Gladdy depicts the confrontations of the Anmatyerr men with other people of the desert. The confrontations were either conciliatory or aggressive. There are scenes of people meeting, talking and sharing tucker together and of hunting and fighting. The varying background colour represents the different areas and the different seasons within her country.

Wild Flowers

Fri, 12 Aug 2011 14:57:04 +0930

Lucky comes from a very large artistic family. Her mother, Mary Kemarre Morton and sisters Sarah, Ruby, Hazel, Janice and Audrey are all well known painters. Her Dreamings include Alpeyt (Wild Flowers), Rainbow Dreaming (Mpwelarr), Ilyarn, Ilyarnayt, Tharrkarr (Sweet Honey Grevillea) and Yerramp (Honey Ant). Lucky Morton depicts the transformation of her country from desert to a carpet of wild flowers after the summer rains. She camouflages the canvas in a morass of colour overlaid with threads of white (using the gutta instrument, which she used for batik making).

Snake Dreaming

Sat, 06 Aug 2011 14:38:28 +0930

Charlie is the son of renowned artist Freddy Kngwarreye Jones who sanctions what can be shown and painted. As well as passing his Dreaming onto his son Charlie, Freddy has taught Charlie his technique with acrylic painting. Son and father often collaborate on painting their Dreaming. Charlie’s works depict the ground designs for the sacred ceremonies for his Dreamings – the Wallaby, the Kangaroo and the Snake. The u-shapes represent the indentations made by man when he sits and the circles represent the men whose bodies are covered in down, paint and ochre, sitting in circles ‘singing in’ the young men. Meticulously executed because of the importance of his subject matter, Charlie’s work is very geometric and masculine. This is the ground design for the sacred ceremony of the Snake (Kwerrenty). The designs are prepared on the ground during lengthy song cycles marking the journey of the Snake Ancestor. This represents an aerial view of the lay of the land as created by the Snake Ancestor. Charlie shows the Snake moving throughout his country in search of food.

Wallaby Dreaming

Sat, 06 Aug 2011 14:29:18 +0930

Freddy is one of the important elders of the Utopian land. He lives at Thelye community on Utopia and this is where he sits and passes on his Dreamings to his son, Charlie Kngwarreye Jones works are depicted from an aerial perspective - the ground designs for the sacred ceremonies for his Dreamings – the Wallaby, the Caterpillar and the Old Man Kangaroo. The u-shapes represent the indentations made by man when he sits and the circles represent the men whose bodies are covered in down, paint and ocher, sitting in circles ‘singing in’ the young men. Meticulously executed because of the importance of his subject matter, Freddy’s work is very geometric and masculine. This is the ground design for the sacred ceremony of the Wallaby. The designs are prepared on the ground during lengthy song cycles marking the journey of the Wallaby Ancestor. This represents an aerial view of the lay of the land as created by the Wallaby Ancestor.

Awely

Sat, 06 Aug 2011 14:15:23 +0930

Joy Jones’ inspiration for her paintings is derived from her knowledge of Awely or women’s business. Awely describes everything associated with women’s ceremonies or rituals including the painted designs adorning the women’s bodies. In preparation for the ceremonies, the women paint designs on the top half of their body using a variety of powders, ground from charcoal and yellow and red ochre. The body paint designs vary from ceremony to ceremony and depend on the subject and the time of year the ceremony is held. Different symbols are painted on the body and may vary from person to person depending on the seniority of each member. Joy Kngwarreye Jones’s paintings represent her interpretation of these designs which she views from an aerial perspective. Note: The women’s ceremonies are focal points in the life of the community and are integral to the happiness and well being of the people. They gather together and sing and dance led by the most senior women of the clan group. It is at these ceremonial gatherings that the women, especially the younger ones, are taught the tribal dreamings or rules of life by the senior women.

Bush Plum Dreaming

Sat, 06 Aug 2011 14:09:41 +0930

The Arnwekety is a small black current, rich in vitamin C. The small black berry has a sweet taste with a sour pip. Arnwekety can be found at Utopia from March through to May. Arrarntenh is a larger, grape size fruit and ranges in colour from a transparent skin through to light yellows and oranges, maturing into a bright pink or purple. It is widely consumed by the people of Utopia as it is high in nutritional value. Ollie Kemarre (deceased) depicts the Bush Plum Dreaming using fine dot-work in various autumnal colours which represent the various phases of the fruits ripening to maturity and reflects the changing seasonal influences. The Bush Plum plant is of great significance to the women of the Eastern Desert region.

Bush Turkey Dreaming

Sat, 06 Aug 2011 13:17:13 +0930

Cowboy Louie lives at Mosquito Bore with his two wives, sisters, Carole and Elizabeth. His dreamings include that of the Bush Turkey (Arwengerrp), Emu (Ankerr) Tucker and Lizard (Arlewatyerr). In his work Cowboy Louie depicts his Bush Turkey (Arwengerrp) Dreaming using traditional dot symbols on a background of dark, earthy colours. His work is characterised by geometric shapes outlined in dots. The circles, points and triangles represent the Bush Turkey’s tracks and flight path as he moves between the soakages (represented by concentric circles of dots) over Cowboy Louie’s country. The tracks of the Bush Turkey Ancestor show that this is an important creation site for the bush turkey ancestors. Note: The Bush Turkey spends much of its time walking and is therefore an easy target for hunters. They are a much sought after source of tucker.

Awely

Sat, 06 Aug 2011 12:54:59 +0930

Dancing Ladies

Sat, 02 Apr 2011 15:39:46 +0930

Gladdy laughs as she tells us about the joyous women's ceremonies where the Senior Women 'sing in' the younger women. They adorn their bodies in ochre designs and dance to the rythym of clapping sticks. ‘At dusk each day, women begin the verses of the song cycle that tell of the Ancestor coming to that place. The song ‘brings’ the power closer, with each verse naming the country or plants and telling of incidents on the way. Women paint their upper bodies with ocher during this phase and sing and ‘dance’ the Ancestor along. These Ancestors may appear as super-powerful humans or in the form of animals such as honey ants or snakes.’ An extract from Spirit Country by Jennifer Isaacs.

Dancing Ladies

Fri, 01 Apr 2011 10:15:11 +0930

Awely - Bush Women Dreaming

Fri, 25 Feb 2011 10:27:43 +0930

Susan Pitjara Hunter is sister to artists Annie, Jessie and Sandy. Her Dreaming is Awely and she calls her work Bush Women Dreaming. In her paintings, Pitjara Hunter symbolizes all that is associated with Awely - the decorated torsos of the women, the women's ceremonial sites or dreaming places where women are gathered and the other representations of the ceremony – digging and music sticks, coolamons and feather adornments. It is this system of beliefs which form the basis of women’s law, social structure, kinship and governance. This set of beliefs maintains order within the community. For the Alyawarr and Anmatyarr ‘Bush men and women’, the past is still alive and vital today and the Ancestor Spirits and their powers are present in the forms into which they changed at the end of the Dreamtime, as the stories reveal. 'At dusk each day, women begin the verses of the song cycle that tell of the Ancestor coming to that place. The song ‘brings’ the power closer, with each verse naming the country or plants and telling of incidents on the way. Women paint their upper bodies with ocher during this phase and sing and ‘dance’ the Ancestor along. These Ancestors may appear as super-powerful humans or in the form of animals such as honey ants or snakes.’An extract from Spirit Country by Jennifer Isaacs. This work is on exhibition at: Without Pier Gallery320 Bay Street Cheltenham 2-20 March 2011

Bush Women Dreaming

Fri, 26 Feb 2010 16:59:07 +0930

In her paintings, Pitjara Hunter symbolizes all that is associated with Awely - the decorated torsos of the women the women's ceremonial sites or dreaming places where women are gathered and the other representations of the ceremony. The result is a myriad of expertly executed dots forming an abstract whole therefore she takes months to complete her larger more complex works. Awely refers to the ceremonial world of women, women’s social structure and ritual knowledge and is commonly known as women’s business. It also includes women’s ceremonial body designs. It is this system of beliefs which form the basis of women’s law, social structure, kinship and governance. This set of beliefs maintains order within the community

Awely (Body Paint)

Mon, 12 Oct 2009 17:46:59 +0930

Joy Jones’ inspiration for her paintings is derived from her knowledge of Awely or women’s business which are ceremonies associated with women’s social structure and ritual knowledge. Awely also describes the painted designs and images associated with women’s rituals. The Custodian Women paint their upper bodies for these ceremonies. These designs which are painted on the breasts and upper torsos of the women are the source of inspiration for Joy’s work. During the ceremonies women congregate around various ceremonial sites or sacred ground paintings. It is at these ceremonial gatherings that the women, especially the younger ones, are taught the tribal dreamings, or rules of life by the elders.

Country

Mon, 12 Oct 2009 17:17:16 +0930

Lucky Kngwarreye Morton was born in 1949 on MacDonald Downs and is the daughter of artist and senior boss woman Mary Kemarre Morton and Billy Stockman Morton (deceased) the renowned sculptor. She lives with her large family on the northern end of Utopia. Her sisters are painters Audrey, Ruby, Hazel, Janice and Sarah. Lucky Kngwarreye Morton’s subjects include Country, Alpeyt (Wild Flowers), Rainbow Dreaming (Mpwelarr), Ilyarn, Ilyarnayt, Tharrkarr (Sweet Honey Grevillea) and Yerramp (Honey Ant). Her work can be seen in the following Public Galleries:

Powerhouse Museum, Sydney
The National Gallery of Australia, Canberra
The Holmes a Court Collection, Perth
The Australian Queensland Art Gallery, Brisbane
Museum and Art Gallery of the Northern Territory, Darwin
Spazio Pitti Arte, Florence, Italy
Art Centre Meerzigt, Zoetermeer, the Netherlands

Honey Ant (Yerramp) Dreaming

Mon, 12 Oct 2009 16:58:25 +0930

This painting relates to the Honey Ant Ancestor. The Honey Ant is one of the main Dreamings of the women of the Eastern Desert, Central Australia and is of symbolic importance as it relates to a number of sacred sites. The Honey Ant is considered to be one of the delicacies of the desert dwellers of Central Australia. The women search the scrublands for their nests and then dig holes to extract them - their bodies swollen with honey. The collection of this and other forms of bush tucker has been handed down from generation to generation. Audrey Kngwarreye Morton’s painting represents a mass of Honey Ant nests with chambers and galleries radiating out from the centre. It also represents the markings on the bodies of the Honey Ants (which are like those of the nest). Audrey overlays her coloured topographical background with fine white markings made with the gutta-nib instrument (used in batik-making).

Bush Plum (Arnwekety) Dreaming

Sun, 11 Oct 2009 15:36:56 +0930

In this painting, one of her Autumn series, Ollie (Ally) Kemarre (deceased) depicts Bush Plum Dreaming. She has saturated the canvas in a profusion of golden- brown dots overlaid with white and green thereby creating a shimmering constellation of colour.

Sand Dunes

Sun, 11 Oct 2009 15:06:19 +0930

Natalie Pula Holmes' Sand Dunes is an evocation of landscape encountered on her many travels to Lake Nash in the Northern Territory. She layers colour upon colour and then applies white with her gutta nib (an instrument used in batik making) to form a series of Dune-like patterns.

Sand Dunes

Sun, 11 Oct 2009 13:02:21 +0930

Bush Tucker Haast Bluff

Wed, 26 Aug 2009 14:01:59 +0930

Molly’s mother is Narputa Nangala, the renowned artist and her father was Timmy Tjungurrayi Jugadai. Her younger sister was the wonderful artist, Daisy Napaltjarri Jugadai. Molly has participated in numerous exhibitions in Sydney, Melbourne and Singapore. She paints her grandfather’s country of Karrkurutinytja (Lake MacDonald) as her mother, Narputta, does. Molly also paints two women looking for bush tucker around Haast Bluff.

Bush Flowers

Wed, 26 Aug 2009 13:54:47 +0930

Josie was born at Santa Teresa but moved to Mt Swan in Utopia when she married. She now lives near Harts Range. Josie began painting in the early 1990’s and paints ‘Bush Tucker’ and ‘Bush Flowers’ portraying the abundance of colours found in the central Australian landscape.

Bush Flowers

Wed, 26 Aug 2009 13:47:46 +0930

Josie was born at Santa Teresa but moved to Mt Swan next to Utopia when she married. She now lives near Harts Range. Josie began painting in the early 1990’s and paints ‘Bush Tucker’ and ‘Bush Flowers’ portraying the abundance of colours found in the central Australian landscape.

Bush Flowers

Wed, 26 Aug 2009 13:47:46 +0930

Bush Flowers

Wed, 26 Aug 2009 13:47:46 +0930

Tingari Cycle

Wed, 26 Aug 2009 13:42:10 +0930

Tingari Cycle

Wed, 26 Aug 2009 13:36:38 +0930

Thomas had a traditional nomadic childhood with eight others of his extended family (including his brothers Warlimpirrnga and Walala). In October 1984 they made international news when they had first contact with the outside world and Europeans by moving to Kiwirrkura. Thomas paints the Tingari Cycle and Men’s Business.

Wilkinkarra

Wed, 26 Aug 2009 12:46:29 +0930

Warlimpirrnga had a traditional nomadic childhood with eight others of his extended family (including his brothers Walala and Thomas). In October 1984 they made international news when they had first contact with ‘the outside world and Europeans” by moving to Kiwirrkura. Warlimpirrnga began painting on canvas in 1987 for Papunya Tula Artists. His first eleven paintings were exhibited in Melbourne in 1988, purchased and donated to the National Gallery of Victoria. Collections include: National Gallery of Victoria Musee Des Branly, Paris Story: Wilkinkarra (Lake Mackay), WA

Tingari Cycle

Wed, 26 Aug 2009 12:21:52 +0930

Tingari Cycle

Tue, 25 Aug 2009 12:41:10 +0930

Tingari Cycle

Tue, 25 Aug 2009 11:41:29 +0930

Walala paints the Tingari Cycle, which is a series of sacred and secret songlines. These Tingari are associated with his Dreaming sites at Marua, Mintarnpi, Wanapatangu, Minna Minna, Naami, Wilkinkarra (Lake Mackay) and Yarrawangu, which are all in the Gibson Desert, Western Australia. These were some of the places where the Tingari Ancestors stopped for ceremonies during their travels across the country.

Country

Wed, 01 Jul 2009 09:22:17 +0930

Mary Kemarre Morton - born in 1925 on MacDonald Downs into the Alyawarr tribe - is one of the senior women on Utopia and therefore has responsibility for initiating young women. Mary is passionately involved in maintaining traditional practices for her people. She is the senior Bush Medicine woman in the area and provides remedies for the local people. In this painting she celebrates her Country in a broad pallette of colour.

Emu (Ankerr) Tucker Dreaming

Wed, 01 Jul 2009 08:54:13 +0930

Dolly is widely recognised as one of Australia’s leading Aboriginal artists and has works in major Australian and international collections. Her Dreamings include Yam Seed (Anaty) and Emu (Ankerr) Tucker. Emu (Ankerr) Tucker Dreaming: Dolly Petyarre Mills uses a delicate dot-patterning technique with a broad palette creating beautiful iridescent bands of colour across the canvas. Her painting illustrates the track marks and grid patterns of the Emu as they roam over her country in search of food. This painting is on exhibition in Singapore. For more information please contact: Gabrielle Cummins Australasian Arts Company gbbat@sprint.net.au , or +65 9771 8974

Emu (Ankerr) Tucker Dreaming

Wed, 01 Jul 2009 08:23:54 +0930

Dolly is widely recognised as one of Australia’s leading Aboriginal artists and has works in major Australian and international collections. Her Dreamings include Yam Seed (Anaty) and Emu (Ankerr) Tucker. Emu (Ankerr) Tucker Dreaming: Dolly Petyarre Mills uses a delicate dot-patterning technique with a broad palette creating beautiful iridescent bands of colour across her canvas. Her painting illustrates the track marks and grid patterns of the Emu as they roam over her country in search of food. This painting is on exhibition in Singapore. For more information please contact: Gabrielle Cummins Australasian Arts Company gbbat@sprint.net.au , or +65 9771 8974

My Place

Tue, 30 Jun 2009 22:08:05 +0930

Natalie Pula Holmes’ work is shaped by the nature and landscape of the Eastern Desert, Central Australia where she lives. The shimmering multi-coloured desert landscape and birdlife is her primary source of inspiration. Her paintings are representations of land and home. She applies exuberant bursts of colour on a dark background and then veils them in a lace of white.

My Place

Tue, 30 Jun 2009 20:57:37 +0930

My Country

Wed, 17 Jun 2009 08:14:49 +0930

Sand Dunes

Tue, 16 Jun 2009 12:39:17 +0930

Wild Flowers

Wed, 10 Jun 2009 16:55:29 +0930

Sally Kemara Perkins is a young Eastern Arrernte artist whose paintings represent the landscape of her childhood and landscape of her travels. She derives her inspiration from the beauty and harshness of the Eastern Desert landscape. Her paintings depict the startling effect of rains on her country when stark desert landscape can be transformed into a maze of wildflowers after the winter rains. Sally builds colour upon colour on a dark background and then veils it with a kaleidoscopic pattern of white. In this painting she uses a stick to apply the veil of white over a background of pinks, greens mauves and yellows.

Wild Flowers

Wed, 10 Jun 2009 16:23:31 +0930

Wild Flowers

Wed, 10 Jun 2009 15:38:17 +0930

Sally Kemara Perkin’s work represents the landscape of her childhood and landscape of her travels. She derives her inspiration from the many and varied wild flowers of the Central Desert. Sally builds colour upon colour on a dark background and then veils it with a kaleidoscopic pattern of white. In this painting she uses a stick to apply the veil of white over a terracotta background.

Bush Man

Tue, 09 Jun 2009 19:35:14 +0930

Susan Pitjara Hunter has carved this striking piece from the wood of the local Bean Tree. She uses a hammer and several different chisel to shape the the object and then applies coats of acrylic paint and decorates his body in various patterns.

Footballer

Tue, 09 Jun 2009 16:11:17 +0930

This beautifully detailed work which stands on its own pedistal has been hand carved from the wood of the local native Bean Tree. The artist, Sandy Pitjara Hunter, works from a large section of the tree-trunk and uses various chisels to shape it. He then paints it black and applies various acrylic colours .

Bush Potato Dreaming

Tue, 09 Jun 2009 15:52:41 +0930

Lisa is from a family of renowned artists including her mother, Dolly Petyarre Mills, and her auntie, Gloria Petyarre Mills. She is a relatively new artist and she has taken on the subject of the Bush Potato which was passed onto her by her family. Bush Potato Dreaming The Bush Potato is a tasty, fibrous tuber which grows in the Alhalker region of Utopia. It is of great significance to the Anmatyerr and Alyawarr people of the Eastern Desert region and was an important source of tucker for her parents. Lisa's colourful vibrant paintings depict the root patterns and foliage of the Bush Potato.

Bush Potato Dreaming

Tue, 09 Jun 2009 14:53:39 +0930

Awely (Body Paint)

Wed, 21 Jan 2009 16:21:32 +0930

Annie Pitjara Hunter's inspiration for her paintings is derived from her knowledge of Awely - Women's Business. Awely includes the painted designs and images associated with women’s rituals. These designs are painted on the breasts and upper torsos of the women and are viewed from an aerial perspective.

Rainbow (Mpwelarr) Dreaming

Wed, 21 Jan 2009 13:14:18 +0930

Sarah Kngwarreye Morton's depiction of Rainbow Dreaming is suffused with shades of pinks, violets, blues and yellows. Rainbow Dreaming is associated with ceremonies ensuring the fertility of species and is capable on the one hand of bringing much needed water but also of causing wild and violent storms. The Rainbow Spirit comes to life in the form of a rainbow at the end of the storm. Here Sarah Kngwarreye Morton depicts the patterns of the body of the Rainbow Spirit.

Perenty (Lizard)

Wed, 14 Jan 2009 16:23:54 +0930

Sandy Pitjara Hunter who is in his early 50s, lives at Irrultja on Utopia in the Northern Territory with his wife Elizabeth Kamara Leo. He is the brother of artists, Susie, Annie, and Jessie Hunter. Sandy was born at MacDonald Downs and has lived in outbush all his life. His language is Alyawarr. This Perenty (Lizard or Iguana) has been hand-carved from the wood of the local native Bean Tree. Sandy works from a large section of the tree-trunk and uses various chisels to shape it. He then applies feathery strokes to its head and dotting to its torso in various shades of ochre-coloured acrylic paint.

Yam Seed (Anaty) Dreaming

Sun, 11 Jan 2009 13:57:58 +0930

Dolly Petyarre Mills calls these paintings Yam dreaming. She says the ‘yam it spread everywhere’. She represents the yam roots spreading in a colourful complex of muted pastel squares. A few months after rainfall, the plant surface will die off, and it takes certain skills by the senior women to find the yam the roots. Vast areas are foraged in their search to find the roots, which are the edible part of the plant. In the Yam Dreaming the artist is paying homage to the spirit of the yam plant so that it regenerates year after year.

The Yam it grows all over my country - good for the people

Dolly Petyarre Mills

Honey Ant Dreaming

Sun, 11 Jan 2009 13:27:50 +0930

Lucky Kngwarreye Morton comes from a large artistic family including her mother, Mary Kemarre Morton and sisters Sarah, Hazel, Audrey, Ruby and Janice. Her Dreamings include Alpeyt (Wild Flowers), Rainbow Dreaming (Mpwelarr), Ilyarn, Ilyarnayt, Tharrkarr (Sweet Honey Grevillea) and Yerramp (Honey Ant). Her inspiration for her painting is derived from her Dreamings associated with her two Countries - Ngkwarlerlanem and Arnkawenyerr. The amazing Honey Ant provides the basis for this work. The Honey Ant's swollen nectar filled abdomen is interlaced with markings which form the basis for this design. The Honey Ant is considered a delicacy and is highly sought after by the local people.

Bush Women

Sun, 11 Jan 2009 11:05:48 +0930

In this abstract work Susan Pitjara Hunter depicts Awely (Body Paint) women's ceremonial body adornments. The women’s bodies are decorated in semi-circular stripes of natural ochres. The senior women sit and chant the song lines to the young initiates. The songs of their Ancestors and their law have been passed down to them from their forebears. The delicate and highly detailed background to the painting shows markings and paintings on the ground beside and around the groups of women. Ceremonies: ‘At dusk each day, women begin the verses of the song cycle that tell of the Ancestor coming to that place. The song ‘brings’ the power closer, with each verse naming the country or plants and telling of incidents on the way. Women paint their upper bodies with ocher during this phase and sing and ‘dance’ the Ancestor along. These Ancestors may appear as super-powerful humans or in the form of animals such as honey ants or snakes.’ An extract from Spirit Country by Jennifer Isaacs.

Ladies Business

Sun, 19 Oct 2008 17:44:38 +0930

Julie Sandover Robertson's inspiration for her paintings is derived from her knowledge of Awely or women’s business which are ceremonies associated with women’s social structure and ritual knowledge. During the ceremonies women congregate around various ceremonial sites or sacred ground paintings. It is at these ceremonial gatherings that the women, especially the younger ones, are taught the tribal dreamings, or rules of life by the elders.

Bush Plum (Arnwekety) Dreaming

Sun, 19 Oct 2008 17:30:00 +0930

Daughter of the renowned Polly Ngala, Bessie has only just begun her painting career. Like her mother, Bessie paints her dreaming - The Bush Plum. The plum is an important source of food for Bush Women and today they still gather the plums once the fruit ripens to maturity. Bessie’s paintings depict the Bush Plum and the effect of its growth patterns on her country. Here she illustrates the topography in shades of reds, oranges, yellows and pinks reflecting the varying seasonal palette. She builds up layer upon layer of colour creating a multi-dimensional effect to reveal the Bush Plum (Ankwekety) - and her country - Arlparra in all its glory.

Bush Plum (Arnwekety) Dreaming

Sun, 19 Oct 2008 17:08:34 +0930

Daughter of the renowned Polly Ngala, Bessie has only just begun her painting career. Like her mother, Bessie paints her dreaming - The Bush Plum. The plum is an important source of food for Bush Women and today they still gather the plums once the fruit ripens to maturity. Bessie’s paintings depict the Bush Plum and the effect of its growth patterns on her country. Here she illustrates the topography in shades of reds, oranges, yellows and pinks reflecting the varying seasonal palette. She builds up layer upon layer of colour creating a multi-dimensional effect to reveal the Bush Plum (Arnkwekety) - and her country - Arlparra in all its glory.

My Place

Sun, 19 Oct 2008 16:19:38 +0930

Natalie Pula Holmes is part of an exciting new generation of young painters who view life and landscape with a very different perspective to that of the senior generation. Natalie was taught to paint by her mother, Marilyn Brown when they lived in Tennant Creek, NT. Natalie's work is inspired by the semi-arid country in which she lives. The shimmering ochre coloured landscape and desert birdlifelife was a source of inspiration for this painting. She uses the gutta instrument for the application of a veil of white over exhuberant bursts of colour which emerge from beneath.

My Country

Sun, 19 Oct 2008 15:55:51 +0930

Natalie Pula Holmes is part of an exciting new generation of young painters who view life and landscape with a very different perspective to that of the senior generation. Natalie was taught to paint by her mother, Marilyn Brown when they lived in Tennant Creek, NT. Natalie's work is inspired by the semi-arid country in which she lives. After summer rains the desert landscape is transformed into a kaleidescope of brilliantly coloured flora providing the source of inspiration for this painting. Natalie applies a veil of white over the splashes of pinks, plums and violets which emerge from beneath.

My Place

Sun, 19 Oct 2008 15:23:29 +0930

Natalie Pula Holmes is part of an exciting new generation of young painters who view life and landscape with a very different perspective to that of the senior generation. Natalie was taught to paint by her mother, Marilyn Brown when they lived in Tennant Creek, NT. Natalie Pula Holmes's work is shaped by the semi-arid country in which she lives. The ochre-coloured landscape was a source of inspiration for this painting. She applies a veil of white over splashes of ochres, greens and blues.

Awely (Body Paint)

Wed, 01 Oct 2008 11:20:52 +0930

Awely (Body Paint)

Wed, 01 Oct 2008 10:48:44 +0930

Awely (Body Paint)

Sun, 28 Sep 2008 15:20:51 +0930

Wildflowers

Sun, 07 Sep 2008 16:53:40 +0930

The morass of Wild Flowers produced after desert rains are the source of Lucky Kngwarreye Morton's inspiration. In this painting she uses a pastel pallette of oversized surreal petals under rippled lines of white using the gutta instrument. Now on exhibit at The Prairie Hotel, Parachilna, Flinders Ranges

Bush Plum (Arnwekety) Dreaming

Sun, 07 Sep 2008 15:48:43 +0930

Here Gladdy Kemarre depicts the Bush Plum after the long summer with scorching winds dry and scatter the seed and husk of the bush plum across vast tracts of her country. Viewed from above the vibrant pinks of the dried bush dominate the landscape. Other flora are shown in a faint underlying pattern.

Awely (Body Paint)

Wed, 03 Sep 2008 11:48:42 +0930

Handcrafted double bead necklace

Fri, 08 Aug 2008 20:06:06 +0930

These beautiful hand-crafted necklaces are made by Aboriginal women from the central desert. The women utilise the native flora in their designs and each is a work of unique craftsmanship. All jewellery is available at BELL & SON, 1 Begg Lane, Paddington, NSW (off Ormond Street, behind the Paddington Post Office).

Handpainted bead necklace

Fri, 08 Aug 2008 19:46:54 +0930

Handcrafted large bead necklace

Fri, 08 Aug 2008 19:22:09 +0930

Handcrafted double bead necklace

Fri, 08 Aug 2008 12:32:30 +0930

Handcrafted elastic bead bracelet

Fri, 08 Aug 2008 12:22:20 +0930

All jewellery is available at BELL & SON, 1 Begg Lane, Paddington, NSW (off Ormond Street, behind the Paddington Post Office).

Handcrafted elastic bead bracelet

Fri, 08 Aug 2008 11:49:59 +0930

Handpainted yellow, red & green bead necklace

Fri, 08 Aug 2008 11:45:11 +0930

Handpainted black, red & yellow bead necklace

Fri, 08 Aug 2008 10:18:45 +0930

These beautiful hand-crafted necklaces are made by Aboriginal women from the central desert. The women utilise the native flora in their designs and each is a work of unique craftsmanship.

Handcrafted double bead necklace

Fri, 08 Aug 2008 09:48:37 +0930

These beautiful hand-crafted necklaces are made by Aboriginal women from the central desert. The women utilise the native flora in their designs and each is a work of unique craftsmanship.

Handpainted Large Bead Necklace

Wed, 30 Jul 2008 15:02:26 +0930

A beauifully handcrafted 172 cm necklace. Each large seed pod has been hand painted in black, taupe, raspberry and pink and interspersed by several yellow Bean Tree seeds.

Carved Wooden Bird

Thu, 24 Jul 2008 12:28:24 +0930

This beautifully detailed work which stands on its own black pedistal has been hand carved from the wood of the local native Bean Tree. The artist, Sandy Pitjara Hunter, works from a large section of the tree-trunk and uses various chisels to shape it. He then applies feathery strokes to its head and dotting to its torso in various shades of acrylic paint.

Carved Wooden Bird

Thu, 24 Jul 2008 11:41:47 +0930

Carved Wooden Bird

Thu, 24 Jul 2008 10:21:18 +0930

Carved Wooden Bird

Wed, 23 Jul 2008 10:49:25 +0930

This beautifully detailed work has been hand carved from the wood of the local native Bean Tree. The artist, Wally Pwerle Clark, works from a large piece of the trunk and chisels out the desired shape and finally adorns it in various ochre colours.

Awely - Body Paint

Wed, 18 Jun 2008 16:32:53 +0930

Coolamon

Sat, 14 Jun 2008 16:52:53 +0930

This beautiful coolamon has been carved from a local native bean tree. Coolamons are are used as vessels for carrying food or for carrying babies. Wally Pwerle Clark is also renowned for his animal carvings - especially those of birds.

Bush Plum (Arnwekety) Dreaming

Sat, 07 Jun 2008 16:05:12 +0930

Julie's painting is her impression of the Bush Plum (Arnwekety) plant as it flowers into maturity across her country. The Bush Plum (Arnwekety) is a rich source of vitamin c and is highly sought after by these bush women. Arnwekety can be found at Utopia from March through to May. The other variety of Bush Plum (Arrarntenh) is a larger, grape size fruit and ranges in colour from a transparent skin through to light yellows and oranges, maturing into a bright pink or purple. She paints from a traditional perspective, surveying her landscape with a spiritual eye. The dot-like appearance of shrubs, spinifex and other grasses from her country are a source of inspiration for her acrylic paintings on canvas.

Bush Plum (Arnwekety) Dreaming

Sat, 07 Jun 2008 15:33:42 +0930

Bush Plum (Arnwekety) Dreaming

Sat, 07 Jun 2008 13:58:55 +0930

Mary Ngala Jones style is distinctively minimalist and she uses a very delicate dotting technique and traditional colours derived from natural ochres. Her Dreaming is the Bush Plum known to the Alyawarr as Arnwekety. Her painting reflects the changing seasons on the Bush Plum (Arnwekety) plant across her country of Arlparra. The Arnwekety is a rich source of vitamin c and is highly sought after by these bush women. Arnwekety can be found at Utopia from March through to May. Arrarntenh is a larger, grape size fruit and ranges in colour from a transparent skin through to light yellows and oranges, maturing into a bright pink or purple. All of her paintings reflect this Dreaming and the associated country around Utopia in the eastern central desert of Australia. Mary paints her country from a ‘traditional’ perspective, surveying her landscape with a spiritual eye. Her role is learning its ancient history and all its physical characteristics as well as the responsibilities associated with maintaining the continuity of the land. The dot-like appearance of shrubs, spinifex and other grasses from her country are another source of inspiration for her acrylic paintings on canvas. From her earliest works through to paintings of today there is a conceptual and a physical continuity.

Bush Plum (Arnwekety) Dreaming

Sat, 07 Jun 2008 13:50:34 +0930

Bush Plum (Arnwekety) Dreaming

Sat, 07 Jun 2008 13:44:04 +0930

Bush Plum (Arnwekety) Dreaming

Sat, 07 Jun 2008 13:04:26 +0930

Wildflower Seeds

Tue, 20 May 2008 12:17:04 +0930

Rainbow (Mpwelarr) Dreaming

Tue, 20 May 2008 11:52:14 +0930

On Exhibiton at: Australian Arts Projects 303 Tanglin Road, Singapore All Enquires through Gabrielle Cummins +65 6693 5018 Lucky infuses her painting with colours of rainbows. Rainbow Dreaming is associated with ceremonies ensuring the fertility of species which is capable on the one hand of bringing much needed water, but also of causing wild and violent storms. The Rainbow Spirit comes to life in the form of a rainbow at the end of the storm. Here Lucky Kngwarreye Morton depicts the patterns of the body of the Spirit.

Wildflower Seeds

Tue, 20 May 2008 10:49:10 +0930

Hazel depicts the colours of the wildflower seeds scatter across her country after severe winds. She layers with bursts of violet, orange and pink which are built up over a dark background and covered in white using the gutta instrument (used for batik making).

Bush Women Dreaming

Tue, 13 May 2008 11:12:21 +0930

Bush Women Dreaming

Tue, 13 May 2008 10:52:31 +0930

Rainbow (Mpwelarr) Dreaming

Tue, 13 May 2008 10:30:28 +0930

Awely (Body Paint)

Mon, 12 May 2008 16:24:44 +0930

Caterpillar (Aylperlayt) Dreaming

Mon, 12 May 2008 12:34:51 +0930

This painting depicts an aerial view of Sandy Pitjara Hunter's country as created by the Caterpillar Ancestor. Sandy maintains the men’s tradition of meticulously laid out geometric lines and circles representing the tracks and marks of the Ancestral journeys. His distinctive work consists of hundreds of carefully executed minute dots painted from an aerial perspective. Sandy uses iconography and abstract imagery to depict the sacred ceremony and the sites pertaining to that dreaming. The sacred sites are where the Dreaming occurs and where the power is still all pervasive. The symbols or signs denote places and sites or the tracks and pathways of the Ancestor. It is this system of beliefs - known as the Dreamtime (Altyerr) to the Anmatyarr and Alyawarr people of the Eastern Desert region – which form the basis of their law, social structure, kinship and governance. For the Alyawarr and Anmatyarr Bush men, the past is still alive and vital today and the Ancestor Spirits and their powers are present in the forms into which they changed at the end of the 'Dreamtime' or 'Dreaming', as the stories reveal.

Wild Flowers

Sun, 11 May 2008 18:47:23 +0930

Bush Women Dreaming

Sun, 11 May 2008 18:32:44 +0930

Bush Women Dreaming

Sun, 11 May 2008 17:56:37 +0930

In this semi abstract work Susan Pitjara Hunter depicts Awely (Body Paint) women's ceremonial sites or dreaming places where women are gathered. The women’s bodies are decorated with natural ochres and women sit and chant the song lines that have been passed down to them from their ancestors. The intricately detailed background to the painting shows markings and paintings on the ground beside and around the groups of women. Ceremonies:

At dusk each day, women begin the verses of the song cycle that tell of the Ancestor coming to that place. The song ‘brings’ the power closer, with each verse naming the country or plants and telling of incidents on the way. Women paint their upper bodies with ocher during this phase and sing and ‘dance’ the Ancestor along. These Ancestors may appear as super-powerful humans or in the form of animals such as honey ants or snakes.

An extract from Spirit Country by Jennifer Isaacs.

Bush Women Dreaming

Sun, 11 May 2008 17:33:44 +0930

In this semi abstract work Susan Pitjara Hunter depicts Awely (Body Paint) women's ceremonial sites or dreaming places where women are gathered. The women’s bodies are decorated with natural ochres and women sit and chant the song lines that have been passed down to them from their ancestors. The delicate and highly detailed background to the painting shows markings and paintings on the ground beside and around the groups of women.

Bush Plum (Arnwekety) Dreaming

Sun, 11 May 2008 17:18:24 +0930

Awely (Body Paint)

Sun, 11 May 2008 16:36:01 +0930

Kangaroo (Aherr) Dreaming

Sun, 11 May 2008 14:19:11 +0930

Awely (Body Paint)

Sat, 10 May 2008 13:11:05 +0930

Bush Plum (Arnwekety) Dreaming

Sat, 10 May 2008 12:56:12 +0930

Caterpillar (Aylperlayt) Dreaming

Sat, 19 Apr 2008 20:17:28 +0930

Bush Tucker Seeds

Sat, 19 Apr 2008 18:03:18 +0930

In this work, Sandy Pitjara Hunter depicts the Bush Tucker Seeds scattered in a mirage of colour all over his country of Utopia. Seen from an aerial perspective, the coloured seeds form beautiful patterns over a large tract of land. Sandy is renowned for his exquisitely fine exection of dot-work using a wide palette to produce a translucent finish. Well before the arrival of the Europeans, the Aboriginal people made extremely good use of naturally available foods found on the land. Living off the land, meant they had to make use of what was available at any given time of the year, and generally from within their own tribal areas. The seeds are a good source of nutrition for the local people.

Awely-Body Paint

Sat, 19 Apr 2008 17:43:11 +0930

Mary Kemarre Morton’s work symbolizes the different body designs painted on the women for the ceremonies. Underlying the work is layer upon layer of grid-like patterns providing a structure upon which she layers dotting and meandering gotti marks a technique she developed in the 80s and 90s when she was involved in batik making. The marks painted on the women’s bodies represent the subject of the Awely - Body Paint.

Bush Turkey (Arwengerrp) Dreaming

Sat, 19 Apr 2008 17:01:47 +0930

Cowboy Louie Pwerle is one of the highly regarded Elders of Utopia and is senior custodian for the Bush Turkey Ancestor. Here he depicts a very important creation site for the Bush Turkey Ancestor on his land. Cowboy illustrates his Bush Turkey Dreaming using traditional dot symbols on a background of dark, earthy colours. His work is characterised by various geometric shapes outlined in dots representing the tracks of the Bush Turkey as it roams over the bushland in search of tucker. Note: The Bush Turkey spends much of its time walking and is therefore an easy target for the hunter. They are a much sought after source of tucker. Bush Turkey - he goes there - all over my country - he makes tracks to this waterhole. - Cowboy Louie Pwerle

Awely-Body Paint

Wed, 16 Apr 2008 15:24:50 +0930

In this semi-abstract work, Annie HUnter depicts the ochre body art of the women in ceremonial attire. These designs which are painted on the chest, breasts and shoulders are viewed by the artist from an aerial perspective.

Wallaby (Greyeng) Dreaming

Tue, 08 Apr 2008 17:36:47 +0930

This is the ground design for the sacred ceremony of the Wallaby. The designs are prepared on the ground during lengthy song cylces marking the journey of the Ancestors whose design is depicted. The u-shapes represent the indentations made by the man when he sits and the circles are the sacred sites around which the men congregate. The red ochre represents the blood of the Wallaby and the white and grey the bones. Charlie traces the path of the Wallaby Ancestor with meticulous background dot work. This painting is very important and is serious work. This dreaming has been passed down to him from the renowned artists and elder in the Utopia community, Freddy Kngwarreye Jones. Charlie also paints Caterpillar and Kangaroo Dreaming which have also been passed down to him by his father.

Bush Men

Tue, 08 Apr 2008 17:12:04 +0930

Gladdy’s paintings of Bush Men relate to events of at least 100 years ago before white men came to the Central Desert region. Gladdy depicts the confrontations of the Alywarr and Anmatyerr men with other people of the desert. There are scenes of people meeting, talking and sharing tucker together and of hunting and fighting. The varying background colour represents the different areas and the different seasons within her country.

Bush Plum (Arnwekety) Dreaming

Tue, 08 Apr 2008 16:40:59 +0930

Gladdy’s paintings depict the changing seasonal influences of the Bush Plum plant which is of great significance to the Anmatyerr and Alyawarr women of the Eastern Desert region. The Arnwekety is a small black current, rich in vitamin C. The small black berry has a sweet taste with a sour pip. Arnwekety can be found in abundance throughout Utopia from March through to May. Arrarntenh is a larger, grape size fruit and ranges in colour from a transparent skin through to light yellows and oranges, maturing into a bright pink or purple. The fruit is collected by the women into coolamons and is eaten whole or mixed to a paste.

Bush Plum (Arnwekety) Dreaming

Tue, 08 Apr 2008 16:04:54 +0930

Polly’s paintings depict the changing seasonal influences of the Bush Plum plant which is of great significance to the Anmatyerr and Alyawarr women of the Eastern Desert region. The Arnwekety is a small black current, rich in vitamin C. The small black berry has a sweet taste with a sour pip. Arnwekety can be found at Utopia from March through to May. Arrarntenh is a larger, grape size fruit and ranges in colour from a transparent skin through to light yellows and oranges, maturing into a bright pink or purple.

Bush Women Dreaming

Tue, 08 Apr 2008 12:29:26 +0930

Susan’s inspiration for her paintings is derived from her knowledge of Awely and the ceremonies associated with it. Awely refers to the ceremonial world of women, women’s social structure and ritual knowledge and is commonly known as women’s business. It also includes women’s ceremonial body designs. Susan learnt about Awely designs while painting on the bodies of women about to take part in a ceremony. The many striped designs painted on the upper torsos of ceremonial dancers are the source of inspiration for her paintings.

Bush Women Dreaming

Tue, 08 Apr 2008 11:58:21 +0930

In her paintings, Pitjara Hunter symbolizes all that is associated with Awely - the decorated torsos of the women the women's ceremonial sites or dreaming places where women are gathered and the other representations of the ceremony – digging and music sticks, coolamons and feather adornments. Susan sketches her entire work in pencil before begins applying acrylic paint. She then applies her paint with the finely sharpened end of a stick. The result is a myriad of expertly executed dots forming an abstract whole. She takes months to complete her larger more complex works. Susan’s inspiration for her paintings is derived from her knowledge of Awely and the ceremonies associated with it. Awely refers to the ceremonial world of women, women’s social structure and ritual knowledge and is commonly known as women’s business. It also includes women’s ceremonial body designs. Susan learnt about Awely designs while painting on the bodies of women about to take part in a ceremony. The many striped designs painted on the upper torsos of ceremonial dancers are the source of inspiration for her paintings.

Wild Flowers

Wed, 12 Mar 2008 15:05:10 +0930

Lucky’s source of inspiration for Wild Flowers is from the colours, textures and patterns of the masses of flowering plants which spring up all over her country after the desert rains. She applies layers of exuberant bursts of colour on a black background and then overlays them with a delicate white patterning.

Wild Flowers

Wed, 12 Mar 2008 15:05:10 +0930

Wild Flowers

Wed, 12 Mar 2008 14:59:00 +0930

Bush Plum (Arnwekety) Dreaming

Wed, 12 Dec 2007 22:08:55 +0930

Gladdy Kemarre's painting depicts the changing seasonal influences of the Bush Plum plant which is of great significance to the Anmatyerr and Alyawarr women of the Eastern Desert region. Her palette depicts the changes in the colours of the topography as affected by the seasonal influences on the Bush Plum plants. The Arnwekety is a small black current, rich in vitamin C. The small black berry has a sweet taste with a sour pip. Arnwekety can be found at Utopia from March through to May. Arrarntenh is a larger, grape size fruit and ranges in colour from a transparent skin through to light yellows and oranges, maturing into a bright pink or purple.

Awely-Body Paint

Wed, 12 Dec 2007 21:54:50 +0930

Joy’s inspiration for her paintings is derived from her knowledge of Awely or women’s business which are ceremonies associated with women’s social structure and ritual knowledge. Awely encompasses the painted designs and images associated with women’s rituals. The designs which are painted on the breasts and upper torsos of the women are the source of inspiration for Joy’s work.

Honey Ant (Yerramp) Dreaming

Wed, 12 Dec 2007 21:36:51 +0930

Her inspiration is derived from her two Countries - Ngkwarlerlanem and Arnkawenyerr. The amazing Honey Ant provides the basis for this work. The Honey Ant's swollen nectar filled abdomen is interlaced with markings which form the basis for this design. The Honey Ant is considered a delicacy and is highly sought after by the local people.

Awely-Body Paint

Wed, 12 Dec 2007 21:08:13 +0930

In this painting Elizabeth Kemara Leo depicts women’s bodies decorated in preparation for Women’s Business. They are painted as if seen from an aerial perspective. The paint radiates out from a central group of women which are represnted by the circle. The women sit and chant the songlines that have been passed down to them from their ancestors. At these ceremonial meetings that the women pass on their tribal Dreamings to the younger ones. These Dreamings are the rules of life. One of the most important assets is ritual knowledge--knowledge of the stories and ceremonies connecting the people to particular areas of land or waters, and to the creation sagas of the Dreamtime.

Awely-Body Paint

Wed, 12 Dec 2007 20:28:23 +0930

Joy’s inspiration for her paintings is derived from her knowledge of Awely and the ceremonies associated with it. Awely refers to the ceremonial world of women, women’s social structure and ritual knowledge and is commonly known as women’s business. It also includes women’s ceremonial body designs. Joy Kngwarreye Jones became a painter as she embarked upon her ritual education. She learnt about Awely designs while painting on the bodies of women about to take part in a ceremony. The many striped designs painted on the upper torsos of ceremonial dancers are the source of inspiration for her paintings.

Rainbow (Mpwelarr) Dreaming

Wed, 12 Dec 2007 17:36:41 +0930

Audrey Kngwarreye Morton depicts the patterns of the body of the Rainbow Spirit which comes to life in the form of a rainbow at the end of the storm. The colours of the rainbow are mimicked in the bright, modern colours. Rainbow Dreaming is associated with ceremonies ensuring the fertility of species. It is capable on the one hand of bringing much needed water, but also of causing wild and violent storms. The Rainbow Spirit comes to life in the form of a rainbow at the end of the storm.

Bush Women Dreaming

Wed, 12 Dec 2007 17:11:56 +0930

In her paintings, Susan symbolizes all that is associated with Awely - the decorated torsos of the women the women's ceremonial sites or dreaming places where women are gathered and the other representations of the ceremony – digging and music sticks, coolamons and feather adornments. Susan sketches her entire work in pencil before begins applying acrylic paint. She then applies her paint with the finely sharpened end of a stick. The result is a myriad of expertly executed dots forming an abstract whole. She takes months to complete her larger more complex works. Susan’s inspiration for her paintings is derived from her knowledge of Awely and the ceremonies associated with it. Awely refers to the ceremonial world of women, women’s social structure and ritual knowledge and is commonly known as women’s business. It also includes women’s ceremonial body designs. Susan learnt about Awely designs while painting on the bodies of women about to take part in a ceremony. The many striped designs painted on the upper torsos of ceremonial dancers are the source of inspiration for her paintings. It is this system of beliefs which form the basis of women’s law, social structure, kinship and governance. This set of beliefs maintains order within the community. For the Alyawarr and Anmatyarr ‘Bush men and women’, the past is still alive and vital today and the Ancestor Spirits and their powers are present in the forms into which they changed at the end of the Dreamtime, as the stories reveal. ‘At dusk each day, women begin the verses of the song cycle that tell of the Ancestor coming to that place. The song ‘brings’ the power closer, with each verse naming the country or plants and telling of incidents on the way. Women paint their upper bodies with ocher during this phase and sing and ‘dance’ the Ancestor along. These Ancestors may appear as super-powerful humans or in the form of animals such as honey ants or snakes.’ An extract from Spirit Country by Jennifer Isaacs, Hardie Grant Books, Fine Arts Museum San Francisco.

Bush Women Dreaming

Wed, 12 Dec 2007 16:23:13 +0930

In her paintings, Pitjara Hunter symbolizes all that is associated with Awely - the decorated torsos of the women the women's ceremonial sites or dreaming places where women are gathered and the other representations of the ceremony – digging and music sticks, coolamons and feather adornments. Susan sketches her entire work in pencil before begins applying acrylic paint. She then applies her paint with the finely sharpened end of a stick. The result is a myriad of expertly executed dots forming an abstract whole. She takes months to complete her larger more complex works. ‘At dusk each day, women begin the verses of the song cycle that tell of the Ancestor coming to that place. The song ‘brings’ the power closer, with each verse naming the country or plants and telling of incidents on the way. Women paint their upper bodies with ocher during this phase and sing and ‘dance’ the Ancestor along. These Ancestors may appear as super-powerful humans or in the form of animals such as honey ants or snakes.’ An extract from Spirit Country by Jennifer Isaacs, Hardie Grant Books, Fine Arts Museum of San Francisco.

Awelye - My Story

Wed, 12 Dec 2007 15:25:04 +0930

Emily Kame Kngwarreye completed this highly symbolic work in 1996 - the final year of her long rich life. The painting was commissioned by the Chalmers family who had lived on Utopia for many years and had known Emily all their life. In a poignant moment when she had almost completed the work, Emily looked up and gestured over the faintly obscured dark image to the right of the painting saying: 'This me, all finish now- and (gesturing over the crimson large ‘dump-dump’ dots) this, my life - over now.' And indeed it was – Emily passed away shortly afterwards. Emily Kame Kngwarreye (c.1910-1996), Anmatyerre visual artist. Kngwarreye’s art is inextricably linked with her country, Alhalkere: ‘whole lot, that’s all, whole lot. Awelye (my dreaming), Arlatyeye (pencil yam), Ankerthe (mountain devil lizard), Ntange (grass seed), Tingu (dingo puppy), Ankerre (emu), Intekwe (small plant-favourite food of emu), Atnwerle (green bean) and Kame (yam seed). That’s what I paint, whole lot’ From an interview with Rodney Gooch translated by Kathleen Petyarre, 1990. Kngwarreye grew up in a traditional way, learning her responsibilities to her country which inspired her art. Alkhalkere was indeed the subject for all her art; the veils of dots, the bold striped Awelye (body paint) or the underlying pattern of landscape all these forms are part of the whole. ….Emily Kame Kngwarreye’s abstract images transcended her culture to speak to us all. This was her great gift. She showed us a new way to look at the world. Edited extract from The Oxford Companion to Aboriginal Art and Culture, Kleinert and Neale.

Rainbow (Mpwelarr) Dreaming

Wed, 12 Dec 2007 10:07:32 +0930

The colours of the rainbow are mimicked in the bright, modern colours that Sarah uses in her paintings. Rainbow Dreaming, associated with ceremonies ensuring the fertility of species is capable on the one hand of bringing much needed water, but also of causing wild and violent storms. The Rainbow Spirit comes to life in the form of a rainbow at the end of the storm. Here Sarah Kngwarreye Morton depicts the patterns of the body of the Spirit.

Caterpillar (Aylperlayt) Dreaming

Wed, 12 Dec 2007 09:32:32 +0930

Sandy is concerned with Caterpillar Dreaming. His painting depicts an aerial view of his country as created by the Caterpillar Ancestor. Sandy maintains the classical men’s tradition of meticulously laid out geometric lines and circles representing the tracks and marks of the Ancestral journeys. His distinctive work consists of hundreds of thousands of carefully executed minute dots in a broad harmony of colour.

Awely (Body Paint)

Sun, 28 Oct 2007 10:49:18 +0930

Awely (Body Paint)

Sun, 30 Sep 2007 12:51:11 +0930

Annie’s Awely paintings show several groups of women congregated around various ceremonial sites. It is at these ceremonial gatherings that the women, especially the younger ones, are taught the tribal dreamings or rules of life by the elders. Her paintings show different body designs which are painted on the women. These designs are painted on the chest, breasts and shoulders and are painted as if viewed from an aerial perspective.

Awely (Body Paint)

Sun, 30 Sep 2007 12:37:02 +0930

Awely (Body Paint)

Sun, 30 Sep 2007 12:28:22 +0930

Annie Pitjara Hunter's inspiration for her paintings is derived from her knowledge of Awely - Women's Business. Awely includes the painted designs and images associated with women’s rituals. These designs which are painted on the breasts and upper torsos of the women are the source of inspiration for Annie Pitjara Hunter's work.

Awely (Body Paint)

Sun, 30 Sep 2007 12:14:53 +0930

Annie Pitjara Hunter's inspiration for her paintings is derived from her knowledge of Awely - Women's Business. Awely includes the painted designs and images associated with women’s rituals. These designs which are painted on the breasts and upper torsos of the women are the source of inspiration for Annie Pitjara Hunter's work.

Awely (Body Paint)

Sun, 30 Sep 2007 12:07:31 +0930

Annie Pitjara Hunter's inspiration for her paintings is derived from her knowledge of Awely - Women's Business. Awely includes the painted designs and images associated with women’s rituals. These designs which are painted on the breasts and upper torsos of the women are the source of inspiration for Annie Pitjara Hunter's work.

Awely (Body Paint)

Sun, 30 Sep 2007 11:27:03 +0930

Annie Pitjara Hunter's inspiration for her paintings is derived from her knowledge of Awely - Women's Business. Awely includes the painted designs and images associated with women’s rituals. These designs which are painted on the breasts and upper torsos of the women are the source of inspiration for Annie Pitjara Hunter's work.

Awely (Body Paint)

Sun, 30 Sep 2007 11:02:41 +0930

Bush Plum (Arnwekety) Dreaming

Fri, 03 Aug 2007 11:57:54 +0930

Emu (Ankerr) Tucker Dreaming

Fri, 03 Aug 2007 11:46:08 +0930

Using a delicate dotting technique and dramatic juxtaposition of colours, Dolly Petyarre Mills depicts the track marks and grid-like patterns of the highly nomadic Emu. The women’s role as hunter and gatherer of food for the family provide her with the custodial role of the Emu Tucker Dreaming. They roam over her country of Alhalker in search of tucker - leaves, grasses, native plants and insects.

Yam Seed (Anaty) Dreaming

Fri, 03 Aug 2007 11:38:00 +0930

Bush Tucker Seeds

Fri, 03 Aug 2007 11:31:38 +0930

Elizabeth Kamara Leo uses a fine dotting technique to build layer upon layer of colour representing the bush tucker seeds scattered across the country. Dissected by a river of white sand, minute dots of blue, yellow and plum create a shimmering multi-coloured and multi-dimensional landscape.

Awely (Body Paint)

Fri, 03 Aug 2007 11:23:35 +0930

Annie Pitjara Hunter's inspiration for her paintings is derived from her knowledge of Awely - Women's Business. Awely includes the painted designs and images associated with women’s rituals. These designs which are painted on the breasts and upper torsos of the women are the source of inspiration for Annie Pitjara Hunter's work.

Wild Flowers

Fri, 03 Aug 2007 10:53:01 +0930

On Exhibiton at: Australian Arts Projects 303 Tanglin Road, Singapore All Enquires through Gabrielle Cummins +65 6693 5018 Lucky’s source of inspiration for Wild Flowers is derived from the colours, textures and patterns of the masses of flowering plants which spring up all over her country after the desert rains. She applies layers of exuberant bursts of colour on a black background and then overlays them with a delicate white patterning.

Wild Flowers

Tue, 17 Jul 2007 13:41:13 +0930

Lucky’s source of inspiration for Wild Flowers is derived from the colours, textures and patterns of the masses of flowering plants which spring up all over her country after the desert rains. She applies layers of exuberant bursts of colour on a black background and then overlays them with a delicate white patterning.

Awely (Body Paint)

Tue, 17 Jul 2007 13:35:54 +0930

Awely (Body Paint)

Tue, 17 Jul 2007 13:23:41 +0930

Awely (Body Paint)

Tue, 17 Jul 2007 13:04:22 +0930

Bush Women Dreaming

Tue, 17 Jul 2007 12:51:20 +0930

In her paintings, Susan Pitjara Hunter symbolizes all that is associated with Awely - the decorated torsos of the women the women's ceremonial sites or dreaming places where women are gathered and the other representations of the ceremony – digging and music sticks, coolamons and feather adornments. Susan sketches her entire work in pencil before begins applying acrylic paint. She then applies her paint with the finely sharpened end of a stick. The result is a myriad of expertly executed dots forming an abstract whole. She takes months to complete her larger more complex works.

Bush Tucker Seeds

Tue, 17 Jul 2007 12:43:40 +0930

This painting depicts the different kinds of Bush Tucker Seeds found in outback Australia. Bush Tucker is Australian Native Food & Plants. The seeds are found all over Sandy’s country and are a good source of nutrition for the people of this country. Well before the arrival of the Europeans, Australian Aboriginal people made extremely good use of naturally available foods found on the land. Living off the land, meant that the Aboriginal people had to make use of what was available at any given time of the year, and generally from within their own tribal areas. This local knowledge includes the best times to harvest the seeds as some can be toxic at certain times throughout the year.

Awely (Body Paint)

Tue, 17 Jul 2007 12:27:22 +0930

Yam Seed (Anaty) Dreaming

Tue, 17 Jul 2007 12:17:34 +0930

Using a delicate dotting technique and dramatic juxtaposition of colours, Dolly Petyarre Mills calls these paintings Yam Seed dreaming. She represents the yam roots spreading in a colourful complex of muted pastel squares. A few months after rainfall, the plant surface will die off, and it takes certain skills by the senior women to find the yams. Vast areas are foraged in their search to find the roots, which are the edible part of the plant. In the Yam Seed Dreaming the artist is paying homage to the spirit of the yam plant so that it regenerates year after year.

Rainbow (Mpwelarr) Dreaming

Tue, 17 Jul 2007 11:44:38 +0930

Lucky Kngwarreye Morton depicts the patterns of the body of the Rainbow Spirit which comes to life in the form of a rainbow at the end of the storm. Rainbow Dreaming is associated with ceremonies ensuring the fertility of species. It is capable on the one hand of bringing much needed water, but also of causing wild and violent storms. In this remarkably intricate painting, Lucky depicts the colours of the Rainbow Ancestor in bold vibrant colours obscuring these with delicate petals of white patterning.

Bush Plum (Arnwekety) Dreaming

Tue, 17 Jul 2007 11:39:38 +0930

On Exhibiton at: Australian Arts Projects 303 Tanglin Road, Singapore All Enquires through Gabrielle Cummins +65 6693 5018 Polly Ngala's applies layers of yellow, orange and white dots depicting Bush Plum dreaming in her country of Arlparra. Utopia is home to two varieties of Bush Plum - Arnwekety and Arrarntenh. The Arnwekety is a small black current, rich in vitamin C. The small black berry has a sweet taste with a sour pip. Arnwekety can be found at Utopia from March through to May. Arrarntenh is a larger, grape size fruit and ranges in colour from a transparent skin through to light yellows and oranges, maturing into a bright pink or purple.

Bush Plum (Arnwekety) Dreaming

Tue, 17 Jul 2007 11:29:15 +0930

Polly Ngala paints the Dreaming, Bush Plum. Her paintings depict the changing seasonal influences on a plant that is of great significance to the Anmatyarr and Alyawarr women of the Eastern Desert region. Utopia is home to two varieties of Bush Plum - Arnwekety and Arrarntenh. The Arnwekety is a small black current, rich in vitamin C. The small black berry has a sweet taste with a sour pip. Arnwekety can be found at Utopia from March through to May. Arrarntenh is a larger, grape size fruit and ranges in colour from a transparent skin through to light yellows and oranges, maturing into a bright pink or purple. In this painting Polly Ngala applies layer upon layer of yellows, oranges and reds creating a fusion of colour and an atmospheric surface of movement and depth.

Awely (Body Paint)

Tue, 17 Jul 2007 11:07:15 +0930

Wallaby (Greyeng) Dreaming

Tue, 17 Jul 2007 10:31:43 +0930

This is the very important ground design for the sacred ceremony of the Wallaby whose designs are prepared on the ground during the long song cycles depicting the journey of the Wallaby Ancestor. This painting represents an aerial view of the lay of the land as created by the Wallaby Ancestor. 'My father he taught me about the Wallaby Dreaming - the Wallaby very important to us' - Charlie Petyarre Jones

Honey Ant (Yerramp) Dreaming

Mon, 16 Jul 2007 19:07:18 +0930

Emu (Ankerr) Tucker Dreaming

Mon, 16 Jul 2007 16:21:38 +0930

The delicate patterning and subtle colours of Dolly's work depicts her country of Alhalker, Utopia. In fine patterning and subtle colours, Dolly depicts the track marks and grid patterns of the Emu as they roam over her country in search of tucker. This is a companion painting to DM687/07 . They can also be sold individually. Please refer to the painting next to this one back in the art gallery.

Emu (Ankerr) Tucker Dreaming

Mon, 16 Jul 2007 15:45:03 +0930

The delicate patterning and subtle colours of Dolly's work depicts her country of Alhalker, Utopia. In fine patterning and subtle colours, Dolly depicts the track marks and grid patterns of the Emu as they roam over her country in search of tucker. This is a companion painting to DM688/07 . They can also be sold individually. Please refer to the painting next to this one back in the art gallery.

Awely (Body Paint)

Tue, 10 Jul 2007 15:07:52 +0930

Annie Pitjara Hunter's inspiration for her paintings is derived from her knowledge of Awely - Women's Business. Awely includes the painted designs and images associated with women’s rituals. These designs which are painted on the breasts and upper torsos of the women are the source of inspiration for Annie Pitjara Hunter's work. 'We sing all night to the young ones - all night' - Annie Pitjara Hunter

Arlparra Country

Tue, 10 Jul 2007 15:04:13 +0930

To depict an image of her country of Arlparra, Angeline uses intense areas of dotting which are built up over a dark background. The changes in depth and intensity of her dotwork produce a beautiful multi-dimensional surface. Extract from the Oxford Companion to Aboriginal Art and Culture Her canvases characteristically feature an intense concentration of dots which produce the effect of movement or shadows, across the surface. Her work is distinct from that of other artists in the community in the clarity of her colour schemes. Placed on dark backgrounds, the dots take on a pure, ephemeral quality. S. Kleinert and M. Neale, The Oxford Companion to Aboriginal Art and Culture, 2000, Oxford University Press, NSW.

Arlparra Country

Tue, 10 Jul 2007 14:49:04 +0930

Angeline Pwerle Ngala depicts her country of Alparra while it is still wet and glistening after rain. She depicts her country in shades of green, yellow, blue and red from an aerial perspective. Viewed from above, the country is dominated by the colours of the local flora. This my country - Arlparra country. - Angeline Pwerle Ngala

Emu (Ankerr) Tucker Dreaming

Mon, 09 Jul 2007 12:58:38 +0930

The women’s role as hunter and gatherer of food for the family provide her with the custodial role of the Emu Tucker Dreaming. The Emu roams over her country of Alhalker in search of tucker - leaves, grasses, native plants and insects. Dolly Petyarre Mills employs a unique delicate dotting technique juxtaposing colour upon colour to create a vivid palette. The patterns created within this palette depict the meandering tracks and grid-like patterns of the highly nomadic Emu. 'Emu - he runs everywhere - all over my country.' - Dolly Petyarre Mills

Emu (Ankerr) Tucker Dreaming

Mon, 09 Jul 2007 12:45:58 +0930

The women’s role as hunter and gatherer of food for the family provide her with the custodial role of the Emu Tucker Dreaming. The Emu roams over her country of Alhalker in search of tucker - leaves, grasses, native plants and insects. Dolly Petyarre Mills employs a unique delicate dotting technique juxtaposing colour upon colour to create a vivid palette. The patterns created within this palette depict the meandering tracks and grid-like patterns of the highly nomadic Emu. 'Emu looks everywhere for tucker.' - Dolly Petyarre Mills

Caterpillar (Aylperlayt) Dreaming

Mon, 09 Jul 2007 11:35:34 +0930

Sandy Pitjara Hunter's dreaming is Caterpillar Dreaming. His painting depicts an aerial view of the lay of the land as created by the Caterpillar Ancestor. These designs are almost like transfers of the ground designs used in ceremonies to celebrate the Caterpillar Ancestor. Pitjara Hunter’s paintings are characterized by meticulously executed minute dot-work.

Awely (Body Paint)

Tue, 19 Jun 2007 18:58:15 +0930

In her paintings Susie Pitjara Hunter depicts women's ceremonial sites or dreaming places where women are gathered. The women’s bodies are decorated with natural ochres of red, white and yellow. They are painted as if seen from an aerial perspective. The women sit and chant the songlines that have been passed down to them from their ancestors. It is at these ceremonial meetings that the women pass on their tribal Dreamings to the younger ones. These Dreamings are like the rules of life. 'We paint our bodies here and here and we sing and dance' - Susan Pitjara Hunter

Awely (Body Paint)

Tue, 19 Jun 2007 17:56:50 +0930

Joy Jones’ inspiration for her paintings is derived from her knowledge of Awely or women’s business and the painted designs and images associated with these rituals. The Custodian Women paint their upper bodies for these ceremonies. It is at these ceremonial gatherings that the women, especially the younger ones, are taught the tribal dreamings, or rules of life by the senior women. 'We hear all about our womens law - we paint our bodies here and here.' - Joy Kngwarreye Jones

Bush Turkey (Arwengerrp) Dreaming

Tue, 19 Jun 2007 15:59:35 +0930

Cowboy Louie Pwerle is one of the highly regarded Elders of Utopia and is senior custodian for the Bush Turkey Ancestor. Here he depicts a very important creation site for the Bush Turkey Ancestor on his land. Cowboy illustrates his Bush Turkey Dreaming using traditional dot symbols on a background of dark, earthy colours. His work is characterised by various geometric shapes outlined in dots representing the tracks of the Bush Turkey as it roams over the bushland in search of tucker. Note: The Bush Turkey spends much of its time walking and is therefore an easy target for the hunter. They are a much sought after source of tucker. 'My Dreaming - Bush Turkey - see the tracks - he goes there and there - all over my country - he makes tracks on this big soakage on my country' Cowboy Louie Pwerle

Bush Turkey (Arwengerrp) Dreaming

Tue, 19 Jun 2007 15:36:29 +0930

This painting depicts an aerial view of Cowboy's country as created by the Bush Turkey Ancestor. His distinctive work consists of hundreds of carefully executed minute dots painted from an aerial perspective. Cowboy uses iconography and abstract imagery to depict the sacred ceremony and the sites pertaining to that dreaming. The sacred sites are where the Dreaming occurs and where the power is still all pervasive. The symbols or signs denote places and sites or the tracks and pathways of the Ancestor. It is this system of beliefs - known as the Dreamtime (Altyerr) to the Anmatyarr and Alyawarr people of the Eastern Desert region – which form the basis of their law, social structure, kinship and governance. For the Alyawarr and Anmatyarr Bush men, the past is still alive and vital today and the Ancestor Spirits and their powers are present in the forms into which they changed at the end of the 'Dreamtime' or 'Dreaming', as the stories reveal.

Women Dancing

Wed, 30 May 2007 13:51:03 +0930

All of us women dance and sing when we make women's business

Janelle Napaltjarri Stockman

Emu (Ankerr) Tucker Dreaming 12

Mon, 07 May 2007 19:01:23 +0930

Using a delicate dotting technique and dramatic juxtaposition of colours, Dolly Petyarre Mills depicts the track marks and grid-like patterns of the highly nomadic Emu. The women’s role as hunter and gatherer of food for the family provide her with the custodial role of the Emu Tucker Dreaming. They roam over her country of Alhalkere in search of tucker - leaves, grasses, native plants and insects. 'Emu looks for tucker - we look for emu.' - Dolly Petyarre Mills

Awely - Body Paint 8

Mon, 07 May 2007 15:31:34 +0930

Bush Plum (Arnwekety) Dreaming

Thu, 26 Apr 2007 16:05:04 +0930

Kathleen’s paintings depict the changing seasonal influences of the Bush Plum plant which is of great significance to the Anmatyerr and Alyawarr women of the Eastern Desert region. Her interpretation is quite different to other artists that paint the same dreaming.

Rainbow (Mpwelarr) Dreaming

Thu, 26 Apr 2007 15:45:52 +0930

The colours of the rainbow are mimicked in the bright, modern colours that Audrey uses in her paintings. Rainbow Dreaming is associated with ceremonies ensuring the fertility of species is capable on the one hand of bringing much needed water but also of causing wild and violent storms. The Rainbow Spirit comes to life in the form of a rainbow at the end of the storm. Here Audrey Kngwarreye Morton depicts the patterns of the body of the Spirit.

Wildflower Seeds

Thu, 26 Apr 2007 15:33:52 +0930

Hazel Morton depicts here masses of multi-coloured wildflower seeds scattered across her country - the aftermath of severe winds. 'Wildflower seeds make beautiful patterns all over our country.' - Hazel Kngwarreye Morton

Wild Flowers

Sun, 25 Mar 2007 18:31:16 +0930

Sarah Kngwarreye Morton depicts the myriad of colours that she interprets from seeing the wildflower seeds scatter across her country after severe northerly winds. The seeds from these wild flowers are a result from the much needed rain that recently fell on her country.

Wildflower Seeds

Sun, 25 Mar 2007 18:14:59 +0930

This is Audrey Kngwarreye Morton's impression of wildflower seeds swirling scattered across her country. Layers of pinks, greys, taupes are built up over a dark background and covered in white using the gutta instrument which she also uses for batik making.

Wildflower Seeds

Sun, 25 Mar 2007 11:16:15 +0930

Hazel Morton depicts here the myriad of wildflower seeds scattered across her country - the aftermath of severe northerly winds. 'Wildflower seeds make beautiful patterns all over our country.' - Hazel Kngwarreye Morton

Awely - Body Paint

Tue, 13 Feb 2007 12:53:58 +0930

In this series of paintings Elizabeth Kamara Leo depicts women’s bodies decorated in preparation for Women’s Business. They are painted as if seen from an aerial perspective. The paint radiates out from a central group of women which are represented by the circle. The women sit and chant the songlines that have been passed down to them from their ancestors. At these ceremonial meetings that the women pass on their tribal Dreamings to the younger ones. These Dreamings are the rules of life. One of the most important assets is ritual knowledge--knowledge of the stories and ceremonies connecting the people to particular areas of land or waters, and to the creation sagas of the Dreamtime. 'We sing our secret business to the young women.' - Elizabeth Kamara Leo

Rainbow (Mpwelarr) Dreaming

Sun, 04 Feb 2007 16:06:47 +0930

The colours of the rainbow are mimicked in the bright, modern colours that Lucky uses in her paintings. Rainbow Dreaming is associated with ceremonies ensuring the fertility of species is capable on the one hand of bringing much needed water but also of causing wild and violent storms. The Rainbow Spirit comes to life in the form of a rainbow at the end of the storm. Here Lucky Kngwarreye Morton depicts the patterns of the body of the Spirit.

Awely - Body Paint

Sun, 04 Feb 2007 16:04:43 +0930

Joy Jones’ inspiration for her paintings is derived from her knowledge of Awely or women’s business and the painted designs and images associated with these rituals. The Custodian Women paint their upper bodies for these ceremonies. It is at these ceremonial gatherings that the women, especially the younger ones, are taught the tribal dreamings, or rules of life by the senior women. 'We sing them - we dance - we tell our stories.' - Joy Kngwarreye Jones

Awely - Body Paint

Sun, 04 Feb 2007 16:00:31 +0930

Joy Jones’ inspiration for her paintings is derived from her knowledge of Awely or women’s business which are ceremonies associated with women’s social structure and ritual knowledge. Awely also describes the painted designs and images associated with women’s rituals. The Custodian Women paint their upper bodies for these ceremonies. These designs which are painted on the breasts and upper torsos of the women are the source of inspiration for Kngwarreye Jones’ work. Joy Kngwarreye Jones’ principal theme is in this painting is Awely (Women’s Business). The traditional ceremonial designs painted on the chest, breasts and shoulders of the women are represented by small vertical brush strokes which in turn form concentric circles creating a shimmering effect. 'We sing all night all our stories' - Joy Kngwarreye Jones

Bush Flowers

Sun, 04 Feb 2007 15:56:36 +0930

Here Gladdy depicts tufts of multi-coloured bush flowers spreading across a vast canvas layered in smoky greys and white. Bush flowers appear in abundance across Gladdy's country after the winter rains.

Bush Men 6

Sun, 04 Feb 2007 15:54:02 +0930

Gladdy is one of the only women in this area painting scenes depicting tribal life (hunting, fighting, meeting) at the turn of the twentieth century. In this historical picture relating to events of at least 100 years ago before white men came to the Central Desert region, Gladdy Kemarre depicts the relationships between the different tribes of the region. Here we see the Alyawarr men with other people of the desert, hunting and gathering tucker, sharing food, meeting and warring.

Bush Men

Sun, 04 Feb 2007 15:52:08 +0930

Gladdy Kemarre is one of the few women in this area painting scenes depicting tribal life (hunting, fighting, meeting) at the turn of the twentieth century. In this historical picture relating to events of at least 100 years ago before white men came to the Central Desert region, Gladdy Kemarre depicts the relationships between the different tribes of the region. Int his painting Gladdy joyfully paints the desert in vivid green after the wet season. Alyawarr men are hunting and gathering tucker, sharing food, meeting and warring. 'Lots of tucker here after rain - we all hunt for kangaroo.' - Gladdy Kemarre

Bush Plum (Arnwekety) Dreaming 4

Sun, 04 Feb 2007 15:49:34 +0930

Gladdy Kemarre paints the Bush Plum when the country is still wet and glistening shortly after rain. Her aerial view of her country in varying shades of greens is over-laid with blues and yellows representing the desert foliage. The Bush Plum has always been an important source of food and of great significance to people in this area. 'After rain...Bush Plum everwhere.' - Gladdy Kemarre

Bush Men 8

Sun, 04 Feb 2007 15:25:43 +0930

In this important historical series, Gladdy Kemarre depicts scenes of the life of the Alyawarr and Anmatyarr men. These scenes relating to events of at least 100 years ago before white men came to the Central Desert region. She depicts scenes from their daily life and as well as significant tribal confrontations. There are scenes of people meeting, talking and sharing bush tucker together and of hunting and fighting. The varying background colour represents the different tracts of country.

Bush Plum (Arnwekety) Dreaming 3

Sun, 04 Feb 2007 15:17:35 +0930

Gladdy Kemarre paints her interpretation of the much sought after Arnwekety which is a form of bush tucker that the women gather to feed to their families. The Arnwekety is a small berry that can be used for many purposes.

Bush Plum (Arnwekety) Dreaming

Sun, 04 Feb 2007 15:05:48 +0930

Polly is a senior custodian of the Bush Plum Dreaming at Arlparra and her paintings depict the bright yellow and rich oranges of the seeds as they lay scattered across the desert landscape. Using a stick, Polly applies layer upon layer of oranges, yellows and golds creating a shimmering morass of colour. 'Bush plum is my Dreaming and my sisters too - this is our dreaming - our country.' - Polly Ngala

Kangaroo (Aherr) Dreaming

Tue, 30 Jan 2007 15:43:39 +0930

This work depicts – from an aerial perspective - the ground designs for the sacred ceremonies for Freddy Kngwarreye Jones’s Dreaming – the Red Kangaroo. The Red Kangaroo leaves tracks stretching for hundreds of kilometres each track linking a series of Dreaming sites at waterholes. The painting can be viewed as a map of the journey of the Kangaroo Dreaming. The four Dreaming sites in this painting are identified with the Dreamtime being - the Kangaroo - who jumped up, or stopped or went down there. The u-shapes represent the indentations made by man when he sits and the circles represent the men whose bodies are covered in down, paint and ocher, sitting in circles ‘singing in’ the young men. Meticulously executed because of the importance of his subject matter, Freddy Kngwarreye Jones’s work is precise and extremely masculine. 'I dream kangaroo - just like my father and his father.' - Freddy Kngwarreye Jones

Emu (Ankerr) Tucker Dreaming

Tue, 30 Jan 2007 15:37:01 +0930

Using a delicate dotting technique with subtle pastels, Dolly Petyarre Mills depicts the track marks and grid-like patterns of the highly nomadic Emu. They roam over her country of Alhalker in search of tucker - leaves, grasses, native plants and insects. 'Big bird the Emu it travels long way looking for tucker.' - Dolly Petyarre Mills

Yam Seed (Anaty) Dreaming

Tue, 30 Jan 2007 14:56:46 +0930

Dolly Petyarre Mills calls these paintings Yam Seed Dreaming. She says the ‘yam it spread everywhere’. She represents the yam roots spreading in a colourful complex of muted pastel squares. A few months after rainfall, the plant surface will die off, and it takes certain skills by the senior women to find the yam the roots. Vast areas are foraged in their search to find the roots, which are the edible part of the plant. In the Yam Seed Dreaming the artist is paying homage to the spirit of the yam plant so that it regenerates year after year. 'The yam seed - everywhere, all over my country.' - Dolly Petyarre Mills

Bush Turkey (Arwengerrp) Dreaming

Tue, 30 Jan 2007 14:47:56 +0930

Cowboy Louie Pwerle is one of the highly regarded Elders of Utopia and is senior custodian for the Bush Turkey Ancestor. Here he depicts a very important creation site for the Bush Turkey Ancestor on his land. Cowboy illustrates his Bush Turkey Dreaming using traditional dot symbols on a background of dark, earthy colours. His work is characterised by various geometric shapes outlined in dots representing the tracks of the Bush Turkey as it roams over the bushland in search of tucker. Note: The Bush Turkey spends much of its time walking and is therefore an easy target for the hunter. They are a much sought after source of tucker. 'My Dreaming - Bush Turkey - see the tracks - he goes there and there - all over my country - he makes tracks on this big soakage on my country' - Cowboy Louie Pwerle

Rainbow (Mpwelarr) Dreaming

Tue, 30 Jan 2007 14:39:47 +0930

Rainbow Dreaming associated with ceremonies ensuring the fertility of species is capable on the one hand of bringing much needed water but also of causing wild and violent storms. The Rainbow Spirit comes to life in the form of a rainbow at the end of the storm. Here Audrey Kngwarreye Morton depicts the patterns of the body of the Spirit.

Awely - Body Paint

Tue, 30 Jan 2007 14:31:54 +0930

Annie paints her experiences of being a part of the Women's business that is a tribal tradition for her people. The colours in her paintings mimic those that are used in the ceremonies.

Awely - Body paint

Tue, 30 Jan 2007 14:29:14 +0930

In this painting Annie Pitjara Hunter depicts her semi-abstract perception of women’s bodies painted in preparation for Women's Business. They are decorated with red, yellow, white and purple - painted as if seen from an aerial perspective. The women sit and chant the songlines that have been passed down to them from their ancestors. It is at these ceremonial meetings that the women pass on their tribal Dreamings to the younger ones. In Aboriginal law, this ritual knowledge of the stories and ceremonies connecting people to their country is essential for everyday living and survival.

Bush Plum (Arnwekety) Dreaming 1

Tue, 30 Jan 2007 14:22:40 +0930

In this series Annie depicts the changing seasonal influences on the Bush Plum (Arnwekety)spraying the black background in a profusion of purples, reds and blues. The Arnwekety is a small black current shaped fruit, rich in vitamin C. It has a sweet taste with a sour pip. Arnwekety can be found at Utopia from March through to May 'This my country - beautiful country' - Annie Pitjara Hunter

Bush Plum (Arnwekety) Dreaming

Tue, 30 Jan 2007 14:19:35 +0930

Annie Pitjara Hunter paints the Bush Plum after the long summer months when it has dried out and its seed and husk are scattered all over the country. The landscape shimmers with mauves and pinks under the summer sun.

Awely - Body Paint

Tue, 30 Jan 2007 13:45:52 +0930

In this painting Annie Pitjara Hunter depicts Body Paint. Women’s bodies are decorated in preparation for Awely - Women's Business. The women paint their upper torsos in various clays and ochres and sit and chant the songlines that have been passed down to them from their ancestors. At these ceremonial meetings that the women pass on their tribal Dreamings to the younger ones. Paint all over here and here and sing - we sing all the time Annie Pitjara Hunter

Bush Plum (Arnwekety) Dreaming 9

Tue, 30 Jan 2007 11:46:08 +0930

Angeline Pwerle Ngala uses intense areas of white dotting built up over a dark background. She has applied a spray of orange and turquoise coloured dots to vary the depth and intensity of the overall palette creating a multi-dimensional surface. Extract from The Oxford Companion to Aboriginal Art and Culture Her canvases characteristically feature an intense concentration of dots which produce the effect of movement or shadows, across the surface. Her work is distinct from that of other artists in the community in the clarity of her colour schemes. Placed on dark backgrounds, the dots take on a pure, ephemeral quality. Kleinert & Neale, 2000, The Oxford Companion to Aboriginal Art and Culture

Bush Plum (Arnwekety) Dreaming 6

Sat, 27 Jan 2007 20:59:35 +0930

Kathleen Ngala paints the Dreaming - Bush Plum which is a vital source of food and of great importance to the Anmatyerr and Alyawarr people in this Eastern Desert region. She begins with a dark background and builds up layer upon layer of pinks and purples and overlays these with creams and whites thereby creating a multi-dimensional effect. The over-dotting varies in intensity to reveal the topographical aspects of her country such as claypans, soakages and spinifex mounds. 'Bush plum - pretty one, pretty one - all over - everywhere.' - Kathleen Ngala

Bush Men 7

Fri, 26 Jan 2007 14:54:57 +0930

In this important historical series, Gladdy Kemarre depicts scenes of the life of the Alyawarr and Anmatyarr men. These scenes relating to events of at least 100 years ago before white men came to the Central Desert region. She depicts scenes from their daily life and as well as significant tribal confrontations. There are scenes of people meeting, talking and sharing bush tucker together and of hunting and fighting. The different background colours represents the different tracts of country. 'My grandmother and my mother - they tell me these stories.' - Gladdy Kemarre

Rainbow (Mpwelarr) Dreaming

Thu, 25 Jan 2007 16:58:44 +0930

Here Sarah Kngwarreye Morton represents the designs on the body of the Rainbow Spirit in pale blues and mauves obscured with white feathering applied with a gutta nib. The Rainbow Serpent or Snake is considered one of the most powerful and important Ancestral spirits throughout Aboriginal Australia. It is associated with ceremonies ensuring the fertility of species but can also be destructive if the laws of the land are broken. It is capable on the one hand of bringing much needed water but also of causing wild and violent storms. The Rainbow Spirit comes to life in the form of a rainbow at the end of the storm.

Bush Plum (Arnwekety) Dreaming

Thu, 25 Jan 2007 16:35:35 +0930

In her mini Autumn series Ollie Kemarre depicts the Bush Plum Dreaming saturating the canvas in a profusion of oranges, reds and yellows to create richly atmospheric and multi-layered landscapes.

Rainbow (Mpwelarr) Dreaming

Thu, 25 Jan 2007 15:58:17 +0930

Sarah depicts the body of the Rainbow Spirit, as it emerges after a storm, in yellows, violets, greens and blues. She feathers the landscape in fine white clustered lines. The Rainbow Serpent or Snake is considered one of the most powerful and important Ancestral spirits throughout Aboriginal Australia. It is associated with ceremonies ensuring the fertility of species but can also be destructive if the laws of the land are broken. It is capable on the one hand of bringing much needed water but also of causing wild and violent storms. The Rainbow Spirit forms a rainbow at the end of the storm.

Rainbow (Mpwelarr) Dreaming

Thu, 25 Jan 2007 15:53:21 +0930

Lucky depicts the body design of the Spirit of the Rainbow Snake. The Rainbow Serpent or Snake is considered one of the most powerful and important Ancestral spirits throughout Aboriginal Australia. It is associated with ceremonies ensuring the fertility of species but can also be destructive if the laws of the land are broken. It is capable on the one hand of bringing much needed water but also of causing wild and violent storms. The Rainbow Spirit comes to life in the form of a rainbow at the end of the storm.

Rainbow (Mpwelarr) Dreaming

Fri, 19 Jan 2007 14:07:23 +0930

In this painting, Sarah Kngwarreye Morton depicts the body design of the powerful Rainbow Spirit in yellows and mauves. The Rainbow Serpent or Snake is considered one of the most powerful and important Ancestral spirits throughout Aboriginal Australia. It is associated with ceremonies ensuring the fertility of species but can also be destructive if the laws of the land are broken. It is capable on the one hand of bringing much needed water but also of causing wild and violent storms. The Rainbow Spirit comes to life in the form of a rainbow at the end of the storm.

Bush Plum (Arnwekety) Dreaming 2

Fri, 19 Jan 2007 13:13:12 +0930

Here Gladdy Kemarre paints the Bush Plum after the long summer months when it has dried out and its seed and husk are scattered all over the country. The landscape shimmers under the radiant summer sun. 'Dry everywhere now – we wait for kwaty.' - Gladdy Kemarre

Bush Plum (Arnwekety) Dreaming 5

Sun, 14 Jan 2007 17:37:10 +0930

This Dreamtime story was given to her by her Grandmother and here she depicts the Bush Plum when the country is still wet and glistening shortly after rain. She depicts her country in shades of green, yellow, blue and purple from an aerial perspective. Viewed from above, the flora on the ground is dominated by the colour of this species. This fruit is abundant on Utopia. It has large leaves and small round edible berries. The fruit is collected by the women and it is eaten whole or mixed to a paste. We look for Bush Plum-good tucker.' - Gladdy Kemarre

Awely - Body Paint

Sun, 14 Jan 2007 15:17:29 +0930

This very fine painting is Mary’s representation of body designs which are painted on the women for their Women's Business ceremonies. In ceremonies women’s bodies are marked to represent the subject of the story. Here Mary uses bold splashes of colour in reds, pinks, oranges and yellows. She then overlays those colours with a series of white arc-shaped lines (using a gutta nib an instrument used in batik making representing the shapes of the design.

Emu (Ankerr) Tucker Dreaming

Sun, 14 Jan 2007 13:46:45 +0930

Awely - Body Paint

Sun, 14 Jan 2007 12:36:48 +0930

The women’s ceremonial body designs form the inspiration for Elizabeth Kemara Leo's new series of paintings. Elizabeth Kamara Leo paints brightly coloured body designs radiating out from a central point - the inner circle of the women's business. The source of her inspiration is from designs which are painted on the women for 'making Awely' ceremonies. Elizabeth's vision of these painted women is from above – from an aerial perspective. 'The women paint themselves all over their upper body and sing and dance.' - Elizabeth Kemara Leo

Bush Flowers

Sun, 14 Jan 2007 12:07:44 +0930

Here Gladdy depicts in exhuberant bursts of colour the wild flowers which flourish all over her country after a good season. 'Flowers everywhere - pretty flowers.' Gladdy Kemarre

Emu (Ankerr) Tucker Dreaming

Sat, 13 Jan 2007 16:54:24 +0930

Bush Turkey (Arwengerrp) Dreaming

Sat, 13 Jan 2007 16:23:26 +0930

Cowboy Louie Pwerle is one of the highly regarded Elders of Utopia and is senior custodian for the Bush Turkey Ancestor. Here he depicts a very important creation site for the Bush Turkey Ancestor on his land. Cowboy illustrates his Bush Turkey Dreaming (Altyerr) using traditional dot symbols on a background of dark, earthy colours. His work is characterised by various geometric shapes outlined in dots representing the tracks of the Bush Turkey as it roams over the bushland in search of tucker. Note: The Bush Turkey spends much of its time walking and is therefore an easy target for the hunter. They are a much sought after source of tucker.

Honey Ant (Yerramp) Dreaming

Wed, 10 Jan 2007 12:41:12 +0930

The Honey Ant is considered a delicacy by the Utopian women. The women search the country for the nests of honey ants and then dig holes to extract them. They collect the ants in their coolamons. In this painting Lucky Morton depicts the various nests of the honey ants. 'The Honey Ant is very good tucker.' - Lucky Kngwarreye Morton

Awely - Body Paint

Wed, 10 Jan 2007 12:11:26 +0930

Mary Morton’s entire oeuvre is devoted to Awely which refers to the ceremonial world of women’s business and includes women’s ceremonial body designs. These ceremonies are associated with women’s social structure and ritual knowledge. The women’s ceremonial body designs form the inspiration for Morton’s paintings. The energy and passion Morton feels for her role as senior custodian of the Awley is reflected in the intensity of her work. Here she uses the gutta (used in her batik making) instrument and brush work to represent the Awely. 'I sing all the young ones all the time' - Mary Kemarre Morton

Yam Seed (Anaty) Dreaming

Wed, 10 Jan 2007 12:00:54 +0930

Emu (Ankerr) Tucker Dreaming

Wed, 10 Jan 2007 11:19:10 +0930

Using a fine dotting technique Dolly Petyarre Mills depicts the track marks and grid-like patterns of the highly nomadic Emu. The women’s role as hunter and gatherer of food for the family provide her with the custodial role of the Emu Tucker Dreaming. The Emus roam over her country of Alhalker in search of tucker - leaves, grasses, native plants and insects.

Bush Plum (Arnwekety) Dreaming

Tue, 09 Jan 2007 14:40:01 +0930

Angeline Pwerle Ngala's painting of Bush Plum depicts the changing seasonal influences on a plant that is of great significance to the Alyawarr and Anmatyerr women of the Eastern Desert region. Angeline is the youngest of the four sisters and her technique is much tighter and precise than that of her sisters. Angeline uses intense areas of multi-coloured dotting which are built up over a dark background. 'Bush Plum everywhere - all over Alparra - good for us - Angeline Pwerle Ngala

Awely - Body Paint

Tue, 09 Jan 2007 13:17:04 +0930

In this painting Annie Pitjara Hunter depicts women's ceremonial sites or dreaming places where women are gathered in nine groups. The women’s bodies are decorated with natural ochres of red and yellow. They are painted as if seen from an aerial perspective. 'Women sit down and sing all the time' - Annie Pitjara Hunter

Awely - Body Paint

Tue, 09 Jan 2007 12:48:34 +0930

In this semi-abstract work Annie Hunter depicts the body paint the women apply for their women's business ceremonies. 'We paint it this way and that - all over here' - Annie Pitjara Hunter

Awely - Body Paint

Sat, 06 Jan 2007 09:44:53 +0930

Joy Kngwarreye Jones’ principal theme is in this painting is Awely (Women’s Business). The traditional ceremonial designs painted on the chest, breasts and shoulders of the women are represented by small vertical brush strokes which in turn form concentric circles creating a shimmering effect. 'My sisters we all dance and sing' - Joy Kngwarreye Jones

Wild Flowers

Fri, 05 Jan 2007 16:46:51 +0930

Here Lucky Morton depicts masses of blooming wildflowers which flourish all over her country after the summer rains. 'Wild Flowers all over my country - everywhere, everywhere' - Lucky Kngwarreye Morton