Artistes : Pauline Wangin, Emma Singer, Betty Campbell

Titre de l'œuvre : Walytja - Family Collaboration

Format : 200cm x 240cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 332-23

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This is a collaborative canvas between Emma Singer, her mother Pauline Wangin and Pauline's sister Betty Campbell. Pauline says about the work : "We’ve painted this big canvas together as a family.

This canvas is about kapi tjukula and soakages around Kinara Mimi, Mimili. Our families would move between rock holes, they’d know them all. They would always be looking for clear drinking water. They lived around Antara and many other named places between Kinara Mimi, Antara, Artutja, Paralpi and Iwantja. All those places are connected, and they used to walk far distances every day. We remember the paths by the songlines that still run through those places. They’d sing the songs, dig for water, and know where to travel. The water was underground, and they’d dig till it seeped upwards. They’d always know. I remember going to Iwantja Soakage with our mother and her showing us how it’s done. We remember this from when we were young, and we want to keep sharing this story for our children and grandchildren. It’s important to remember what we’ve always known."
Pauline Wangin, 2023

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Tuppy Ngintja Goodwin (1952)

Titre de l'œuvre : Antara sacred valley

Format : 198cm x 189cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 374-23

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Explications pour cette peinture d'art Aborigène :

When I paint, it’s like inma (ceremonial dance and song). This is Antara, a sacred place for Anangu, and the Maku (witchetty grub) Tjukurpa. There’s a special rock hole at Antara where women perform inma – ‘inmaku pakani’ – and afterwards there’s enough maku to feed everyone. Antara and Maku Tjukurpa is really important for Mimili women, we paint this place and its stories, keeping them strong.

Artiste : Betty Campbell (1961)

Titre de l'œuvre : Minymaku Tjukurpa (Women's Story)

Format : 198cm x 198cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 91-23

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Explications pour cette peinture d'art Aborigène :

Betty is a senior cultural leader in Mimili Community. She knows a lot of storylines and the corresponding inma (song & dance). A lot of the inma is to be known by initiated women only, others can be celebrated by all. Betty loves to dance and teach the kids these stories that hold important lessons about the land and our relationship to it.

In her artwork, Betty paints Women's Story. This is a story that cannot be spoken about. The lines and markings on the canvas are the markings used as body painting in traditional song and dance. When inma is performed, there is separate songs, dances and paintings for men and women. Whilst the women dance, the men sit, sing and watch, and the other way around.

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Tuppy Ngintja Goodwin (1952)

Titre de l'œuvre : Antara sacred valley

Format : 150cm x 150cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 157-23

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Explications pour cette peinture d'art Aborigène :

When I paint, it’s like inma (ceremonial dance and song). This is Antara, a sacred place for Anangu, and the Maku (witchetty grub) Tjukurpa. There’s a special rock hole at Antara where women perform inma – ‘inmaku pakani’ – and afterwards there’s enough maku to feed everyone. Antara and Maku Tjukurpa is really important for Mimili women, we paint this place and its stories, keeping them strong.

Artiste : Betty Campbell (1961)

Titre de l'œuvre : Minymaku Tjukurpa (Women's Story)

Format : 150cm x 150cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 254-23

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Explications pour cette peinture d'art Aborigène :

Betty is a senior cultural leader in Mimili Community. She knows a lot of storylines and the corresponding inma (song & dance). A lot of the inma is to be known by initiated women only, others can be celebrated by all. Betty loves to dance and teach the kids these stories that hold important lessons about the land and our relationship to it.

In her artwork, Betty paints Women's Story. This is a story that cannot be spoken about. The lines and markings on the canvas are the markings used as body painting in traditional song and dance. When inma is performed, there is separate songs, dances and paintings for men and women. Whilst the women dance, the men sit, sing and watch, and the other way around.

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Tuppy Ngintja Goodwin (1952)

Titre de l'œuvre : Antara sacred valley

Format : 200cm x 150cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 172-23

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Explications pour cette peinture d'art Aborigène :

When I paint, it’s like inma (ceremonial dance and song). This is Antara, a sacred place for Anangu, and the Maku (witchetty grub) Tjukurpa. There’s a special rock hole at Antara where women perform inma – ‘inmaku pakani’ – and afterwards there’s enough maku to feed everyone. Antara and Maku Tjukurpa is really important for Mimili women, we paint this place and its stories, keeping them strong.

Artiste : Betty Campbell (1961)

Titre de l'œuvre : Minymaku Tjukurpa (Women's Story)

Format : 152cm x 122cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 577-23

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Explications pour cette peinture d'art Aborigène :

Betty is a senior cultural leader in Mimili Community. She knows a lot of storylines and the corresponding inma (song & dance). A lot of the inma is to be known by initiated women only, others can be celebrated by all. Betty loves to dance and teach the kids these stories that hold important lessons about the land and our relationship to it.

In her artwork, Betty paints Women's Story. This is a story that cannot be spoken about. The lines and markings on the canvas are the markings used as body painting in traditional song and dance. When inma is performed, there is separate songs, dances and paintings for men and women. Whilst the women dance, the men sit, sing and watch, and the other way around.

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Betty Campbell (1961)

Titre de l'œuvre : Minymaku Tjukurpa (Women's Story)

Format : 183cm x 122cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 279-23

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Explications pour cette peinture d'art Aborigène :

Betty is a senior cultural leader in Mimili Community. She knows a lot of storylines and the corresponding inma (song & dance). A lot of the inma is to be known by initiated women only, others can be celebrated by all. Betty loves to dance and teach the kids these stories that hold important lessons about the land and our relationship to it.

In her artwork, Betty paints Women's Story. This is a story that cannot be spoken about. The lines and markings on the canvas are the markings used as body painting in traditional song and dance. When inma is performed, there is separate songs, dances and paintings for men and women. Whilst the women dance, the men sit, sing and watch, and the other way around.

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Betty Campbell (1961)

Titre de l'œuvre : Minymaku Tjukurpa (Women's Story)

Format : 122cm x 122cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 804-23

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Explications pour cette peinture d'art Aborigène :

Betty is a senior cultural leader in Mimili Community. She knows a lot of storylines and the corresponding inma (song & dance). A lot of the inma is to be known by initiated women only, others can be celebrated by all. Betty loves to dance and teach the kids these stories that hold important lessons about the land and our relationship to it.

In her artwork, Betty paints Women's Story. This is a story that cannot be spoken about. The lines and markings on the canvas are the markings used as body painting in traditional song and dance. When inma is performed, there is separate songs, dances and paintings for men and women. Whilst the women dance, the men sit, sing and watch, and the other way around.

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Betty Campbell (1961)

Titre de l'œuvre : Minymaku Tjukurpa (Women's Story)

Format : 122cm x 122cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 811-23

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Explications pour cette peinture d'art Aborigène :

Betty is a senior cultural leader in Mimili Community. She knows a lot of storylines and the corresponding inma (song & dance). A lot of the inma is to be known by initiated women only, others can be celebrated by all. Betty loves to dance and teach the kids these stories that hold important lessons about the land and our relationship to it.

In her artwork, Betty paints Women's Story. This is a story that cannot be spoken about. The lines and markings on the canvas are the markings used as body painting in traditional song and dance. When inma is performed, there is separate songs, dances and paintings for men and women. Whilst the women dance, the men sit, sing and watch, and the other way around.

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Betty Campbell (1961)

Titre de l'œuvre : Minymaku Tjukurpa (Women's Story)

Format : 200x150cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 92-23

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Explications pour cette peinture d'art Aborigène :

Betty is a senior cultural leader in Mimili Community. She knows a lot of storylines and the corresponding inma (song & dance). A lot of the inma is to be known by initiated women only, others can be celebrated by all. Betty loves to dance and teach the kids these stories that hold important lessons about the land and our relationship to it.

In her artwork, Betty paints Women's Story. This is a story that cannot be spoken about. The lines and markings on the canvas are the markings used as body painting in traditional song and dance. When inma is performed, there is separate songs, dances and paintings for men and women. Whilst the women dance, the men sit, sing and watch, and the other way around.

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Betty Campbell (1961)

Titre de l'œuvre : Minymaku Tjukurpa (Women's Story)

Format : 150cm x 150cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 790-23

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Explications pour cette peinture d'art Aborigène :

Betty is a senior cultural leader in Mimili Community. She knows a lot of storylines and the corresponding inma (song & dance). A lot of the inma is to be known by initiated women only, others can be celebrated by all. Betty loves to dance and teach the kids these stories that hold important lessons about the land and our relationship to it.

In her artwork, Betty paints Women's Story. This is a story that cannot be spoken about. The lines and markings on the canvas are the markings used as body painting in traditional song and dance. When inma is performed, there is separate songs, dances and paintings for men and women. Whilst the women dance, the men sit, sing and watch, and the other way around.

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Tanya Umatji Tjapalyi (1974)

Titre de l'œuvre : Ngayuku Ngunytjunku Tjukurpa (My Mother’s story)

Format : 152 cm x 122 cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 290-23

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Umatji is a Yankunytjatjara woman born in Indulkana Community on the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in the far north west of South Australia. Umatji’s mother, Kunmanara (Kathleen Injiki) Tjapalyi was one of the founders and senior artists at Mimili Maku Arts. Growing up, Umatji learned from her mother and father about their country and their storylines. Today, Umatji paints her mother’s country, which forms part of the Antara storyline, and is celebrated in Women’s Ceremony.

“I am proud to share what I was taught when I was a little girl. I am keeping my mother’s knowledge strong, keeping her country healthy and well. I was watching for a long 􀆟time, watching country, watching my mother paint. Now I am ready to tell my own story.”

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Betty Campbell (1961)

Titre de l'œuvre : Minymaku Tjukurpa (Women's Story)

Format : 122cm x 122cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 789-23

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Explications pour cette peinture d'art Aborigène :

Betty is a senior cultural leader in Mimili Community. She knows a lot of storylines and the corresponding inma (song & dance). A lot of the inma is to be known by initiated women only, others can be celebrated by all. Betty loves to dance and teach the kids these stories that hold important lessons about the land and our relationship to it.

In her artwork, Betty paints Women's Story. This is a story that cannot be spoken about. The lines and markings on the canvas are the markings used as body painting in traditional song and dance. When inma is performed, there is separate songs, dances and paintings for men and women. Whilst the women dance, the men sit, sing and watch, and the other way around.

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Tanya Umatji Tjapalyi (1974)

Titre de l'œuvre : Ngayuku Ngunytjunku Tjukurpa (My Mother’s story)

Format : 101 cm x 101 cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 585-23

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Explications pour cette peinture d'art Aborigène :

Umatji is a Yankunytjatjara woman born in Indulkana Community on the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in the far north west of South Australia. Umatji’s mother, Kunmanara (Kathleen Injiki) Tjapalyi was one of the founders and senior artists at Mimili Maku Arts. Growing up, Umatji learned from her mother and father about their country and their storylines. Today, Umatji paints her mother’s country, which forms part of the Antara storyline, and is celebrated in Women’s Ceremony.

“I am proud to share what I was taught when I was a little girl. I am keeping my mother’s knowledge strong, keeping her country healthy and well. I was watching for a long 􀆟time, watching country, watching my mother paint. Now I am ready to tell my own story.”

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Betty Campbell (1961)

Titre de l'œuvre : Minymaku Tjukurpa (Women's Story)

Format : 150cm x 122cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 724-23

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Explications pour cette peinture d'art Aborigène :

Betty is a senior cultural leader in Mimili Community. She knows a lot of storylines and the corresponding inma (song & dance). A lot of the inma is to be known by initiated women only, others can be celebrated by all. Betty loves to dance and teach the kids these stories that hold important lessons about the land and our relationship to it.

In her artwork, Betty paints Women's Story. This is a story that cannot be spoken about. The lines and markings on the canvas are the markings used as body painting in traditional song and dance. When inma is performed, there is separate songs, dances and paintings for men and women. Whilst the women dance, the men sit, sing and watch, and the other way around.

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Tanya Umatji Tjapalyi (1974)

Titre de l'œuvre : Ngayuku Ngunytjunku Tjukurpa (My Mother’s story)

Format : 152cm x 122cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 664-23

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Explications pour cette peinture d'art Aborigène :

Umatji is a Yankunytjatjara woman born in Indulkana Community on the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in the far north west of South Australia. Umatji’s mother, Kunmanara (Kathleen Injiki) Tjapalyi was one of the founders and senior artists at Mimili Maku Arts. Growing up, Umatji learned from her mother and father about their country and their storylines. Today, Umatji paints her mother’s country, which forms part of the Antara storyline, and is celebrated in Women’s Ceremony.

“I am proud to share what I was taught when I was a little girl. I am keeping my mother’s knowledge strong, keeping her country healthy and well. I was watching for a long 􀆟time, watching country, watching my mother paint. Now I am ready to tell my own story.”

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Pauline Wangin Minmila

Titre de l'œuvre : Ngayuku Ngunytjunku Tjukurpa (My Mother’s story)

Format : 122 cm x 122 cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 665-23

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Pauline (1970) is painting tjukurpa (story) about the journey of water, explaining how to care for kapi tjukula (water holes), particularly in the area around paralpii (Victory Well). This tjukurpa was passed on to her by her mother.

“One time when I was a little girl, my mother and me went out driving to collect bush tucker. It was a very hot day, and our car broke down. We didn't have any water with us, and I was scared, but my mother led me away from the car to kapi tjukula really closeby.

She taught me how to find it, and how to care for it. After emptying the kapi (water) with mara munu punu (hands and sticks) the empty tjukula is cleaned. We place punu tjuta (many sticks and branches) over the top of the tjukula and use puli pulka (big rock) to stop them blowing away. Now no animals can dirty the new water that will soon collect."

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Tuppy Ngintja Goodwin (1952)

Titre de l'œuvre : Antara sacred valley

Format : 198cm x 198cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 361-23

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Explications pour cette peinture d'art Aborigène :

When I paint, it’s like inma (ceremonial dance and song). This is Antara, a sacred place for Anangu, and the Maku (witchetty grub) Tjukurpa. There’s a special rock hole at Antara where women perform inma – ‘inmaku pakani’ – and afterwards there’s enough maku to feed everyone. Antara and Maku Tjukurpa is really important for Mimili women, we paint this place and its stories, keeping them strong.

Artiste : Anita Pumani (1982)

Titre de l'œuvre : Maku Dreaming

Format : 152 cm x 122 cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 396-23

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Explications pour cette peinture d'art Aborigène :

This painting is about Antara, a site close to Mimili Community that is very important to my family. Kungka Kutjara ananyi tjukula. A long time ago two women went to apu katu, to the hill around Antara. They were singing inma (song) and hittng the rock with a punu (stick). Maku tjuta (a lot of witchetty grubs) came from the tree we call Maku Ilykuwara (Witchetty Bush).

When we go out to Antara and sing inma, we collect maku tjuta and other bush tucker the next day. My auntie Milatjari Pumani taught me how to respect Maku Tjurkurpa for Mimili Community. I also teach my daughters what Maku Tjurkurpa means. I am proud to be custodian of that country.

Mimili Community is home to 300 Pitjantjatjara and Yankunytjatjara people who have been living in the area for millennia in harmony with nature and acting as custodians of the land and the Tjukurpa (creation stories). Mimili was formerly known as Everard Park, which was a cattle station that was returned to Aboriginal ownership through the 1981 APY Lands Act. Mimili Community was incorporated as an Aboriginal Community in 1975.

Artiste : Betty Mula (1973)

Titre de l'œuvre : Punu tjuta (many trees)

Format : 152 cm x 122 cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 406-23

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Explications pour cette peinture d'art Aborigène :

This painting is about the many different trees I have grown up with. Each tree, bush and flower has its own story. In recent years we've had big rains and many trees that we hadn't seen in many years were flowering again for the first time.

With it came many birds we haven't heard here in many years. Whenever I travel away from country, I miss the trees and flowers the most. They show us the changes in seasons, show us where there are soakages, river beds, foods - we can read those signs from far away, it's like my country's own language that I'm sharing in my painting.

Artiste : Betty Mula (1973)

Titre de l'œuvre : Punu tjuta (many trees)

Format : 152 cm x 101 cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 848-23

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Explications pour cette peinture d'art Aborigène :

This painting is about the many different trees I have grown up with. Each tree, bush and flower has its own story. In recent years we've had big rains and many trees that we hadn't seen in many years were flowering again for the first time.

With it came many birds we haven't heard here in many years. Whenever I travel away from country, I miss the trees and flowers the most. They show us the changes in seasons, show us where there are soakages, river beds, foods - we can read those signs from far away, it's like my country's own language that I'm sharing in my painting.

Artiste : Marina Pumani Brown (1984)

Titre de l'œuvre : Ngayuku Ngura Kuwari (My Home Now)

Format : 152 cm x 122 cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 430-23

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Explications pour cette peinture d'art Aborigène :

My name is Marina Pumani Brown, I am a 35-year-old Anangu woman. My family has lived around the present day location of Mimili Community on the APY lands of South Australia forever. My work captures a long line of cultural knowledge, knowledge that I am proud to be the custodian of, responsible for keeping it safe and passing it on to the next generation.

Whilst my mother strictly paints Antara, a sacred ceremonial site close to Mimili, I have broadened my practice to include other knowledge that is important to me. This knowledge speaks of traditions that are very much part of our day-to-day life out here in Mimili, traditions that are eternally old but ever present. My paintings are about trips to the area around Antara and Paralpii (Victory Well), where we collect Mingkulpa (bush tobacco) and care for the local tjukula (rock holes). Particularly after kapi pulka (big rains), the land becomes so fertile, and we harvest bush foods like the gnurru (lollie tree) and camp out on country like the old people used to.

My paintings are both literal maps of the landscape and objects of meaning removed from any physical representation. Though not always depicted, the importance of Antara is never lost in my work. The site has been integral to the existence of Anangu culture since the beginning of time. Today my life is different to that of my ancestors and my work is a tool to document my part in a story that spreads across timespans bigger than our imagination.

Artiste : Betty Mula (1973)

Titre de l'œuvre : Punu tjuta (many trees)

Format : 152 cm x 122 cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 834-23

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Explications pour cette peinture d'art Aborigène :

This painting is about the many different trees I have grown up with. Each tree, bush and flower has its own story. In recent years we've had big rains and many trees that we hadn't seen in many years were flowering again for the first time.

With it came many birds we haven't heard here in many years. Whenever I travel away from country, I miss the trees and flowers the most. They show us the changes in seasons, show us where there are soakages, river beds, foods - we can read those signs from far away, it's like my country's own language that I'm sharing in my painting.

Artiste : Pauline Minmila Wangin (1970)

Titre de l'œuvre : Kapi Tjukula (Water Hole)

Format : 152cm x 122cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 559-23

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Explications pour cette peinture d'art Aborigène :

Pauline is painting tjukurpa (story) about the journey of water, explaining how to care for kapi tjukula (water holes), particularly in the area around paralpii (Victory Well). This tjukurpa was passed on to her by her mother.

“One time when I was a little girl, my mother and me went out driving to collect bush tucker. It was a very hot day, and our car broke down. We didn't have any water with us, and I was scared, but my mother led me away from the car to kapi tjukula really closeby. She taught me how to find it, and how to care for it. After emptying the kapi (water) with mara munu punu (hands and sticks) the empty tjukula is cleaned. We place punu tjuta (many sticks and branches) over the top of the tjukula and use puli pulka (big rock) to stop them blowing away. Now no animals can dirty the new water that will soon collect."

Artiste : Marina Pumani Brown (1984)

Titre de l'œuvre : Ngayuku Ngura Kuwari (My Home Now)

Format : 152 cm x 122 cm

Provenance et certificat : centre d'art aborigène de Mimili Maku

Référence de cette peinture aborigène : 561-23

Demander le prix de l'œuvre

Explications pour cette peinture d'art Aborigène :

My name is Marina Pumani Brown, I am a 35-year-old Anangu woman. My family has lived around the present day location of Mimili Community on the APY lands of South Australia forever. My work captures a long line of cultural knowledge, knowledge that I am proud to be the custodian of, responsible for keeping it safe and passing it on to the next generation.

Whilst my mother strictly paints Antara, a sacred ceremonial site close to Mimili, I have broadened my practice to include other knowledge that is important to me. This knowledge speaks of traditions that are very much part of our day-to-day life out here in Mimili, traditions that are eternally old but ever present. My paintings are about trips to the area around Antara and Paralpii (Victory Well), where we collect Mingkulpa (bush tobacco) and care for the local tjukula (rock holes). Particularly after kapi pulka (big rains), the land becomes so fertile, and we harvest bush foods like the gnurru (lollie tree) and camp out on country like the old people used to.

My paintings are both literal maps of the landscape and objects of meaning removed from any physical representation. Though not always depicted, the importance of Antara is never lost in my work. The site has been integral to the existence of Anangu culture since the beginning of time. Today my life is different to that of my ancestors and my work is a tool to document my part in a story that spreads across timespans bigger than our imagination.