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-------- Wool Cushion Covers --------
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Artist: Tjangeli George Tjangeli George is both a batik artist and painter of consistent high quality and flair. Her style is usually symmetrical with flower motifs featuring strongly. This abstract intuitive style is known as ‘walka’ with the images and patterns strongly influenced by her traditional country which is around Fregon and Ernabella on the Anangu Pitjantjatjara Lands of the remote north west region of South Australia. |
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Artist: Tali Tali Pompey Walka |
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Artist: Kathy Maringka This design is taken from an original painting. Kathy’s painting is part of the emergence of exciting work from the Katjiti Arts Centre. The style is described as Walka, which is unique to the Aboriginal women artists of the Pitjantjatjara/Yankunytjatjara Lands, in remote north-west South Australia. Walka refers any meaningful mark or pattern, and is the work used to describe body paint used during traditional Imna or dance ceromonies. Country and culture give Kaltjit Arts works distinctive ingredients that unite them as community creations. |
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Artist: Willie Nungutjara Wilson Willie’s painting is of his brother’s country in the remote north-west of South Australia in the Anangu Pitjantjara/ Yankunytjatjara Lands. His brother has passed away and that is why he is making this story for him. There is a big waterhole – kapi piti. There are kuniya (pythons) lying on the ground, nearby. This waterhole is dry, before the rains have arrived. When it is rain time, the landscape becomes beautiful, full of plantlife and flowers. Willie paints with a vibrant palette and loves bright colour, which is inherent in the desert landscape. He is influenced by his bush skills and his intimate knowledge of country. |
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Artist: Robin Kankapankatja Robin Kankapankatja started painting in July 2004 and this image is taken from an original acrylic on canvas painting of his country. His theme is always |
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Artist: Inawinytji Williamson The design is from an original acrylic on canvas painted by Inawinytji in 2008. The style of art is known as 'walka'. The abstract images are typical of this style, which is unique to the Aboriginal women artists of the Pitjantjatjara/Yankunytjatjara Lands in remote, north-west South Australia. The natural environment influences the images used in Walka work. Inawinytji is a senior woman who is custodian of the knowledge of her |
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Artist: Maylene Russel Maylene Russel is an emerging artist in her later years. She is from Irintata Homelands, Fregon on the Anangu Pitjantjatjara/ Yankunytjatjara Lands. This cushion is taken from an original painting and depicts Maylene’s traditional country. |
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Artist: Maylene Russel Maylene Russel is from Irintata Homelands, Fregon on the Anangu Pitjantjatjara/ Yankunytjatjara Lands. Her preferred mediums are canvas and acrylics, interpreting subjects in an abstract form, which often relate to stories or images from long ago and images of her traditional country. |
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Artist: Iwana Ken Iwana Ken lives in the community of Fregon in the far north west of South Australia. Iwana is a senior woman, born out bush and travelled with her family throughout the country of her parents, learning how to find bushtucker like rabbit, kangaroo, perentie and bush flowers and berries. Iwana is becoming well known for her lively landscapes and her particular style in depicting her country. Mrs Ken is custodian of the stories and cultural lore that shape Anangu and their cosmology. |
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Artist: Iwana Ken This lively image is taken from an original acrylic on canvas painting. Iwana’s painting is of a creek in her country and the wildlife it supports. Iwana is influenced stylistically by Milpatjunany – drawing in the sand, which is a way of passing on traditional knowledge about law and culture as well as about country. Survival meant knowing and understanding every aspect of living off the land and in particular the food and water sources. Visual representation through sand drawings gave clarity to the stories through images. As a senior traditional woman, Mrs Ken is custodian of the stories and cultural lore that shape Anangu life and their cosmology. |
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Artist: Judy Napangardi Watson The design was taken from an original painting by Judy. The country associated with this painting is Mina Mina, a place far west of Yuendumu, significant to Napangardi and Napanangka women who are the custodians of the Dreaming that created the area. It describes the journey of a group of women of all ages who travelled east gathering food, collecint Ngalyipi (Tinospora smilacina or snake vine) and performing ceremonies as they traveled. The women began their journey at Mina Mina where karlangu (digging sticks) emerged from the ground. Taking these, the women traveled east creating Janyinki and other sites. Their journey took them eventually beyond Warlpiri country. The central motif in this painting is Ngalyipi – snake vine, which grows along the trunks and boughs of desert oak. Ngalyipi is a vine sacred to Napangardi and Napanangka women and has many uses – as a ceremonial wrap, as a strap to carry parrajas laden with bush tucker and as a tourniquet for headaches. |
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Artist: Kanytjupai Robin Kanytjupai lives in Fregon in the Anangu Pitjantajtara Lands. Kanytjupai works in a distinctive organic and decorative style that is influenced by her earlier training as a batik artist. She is the daughter of two talented artists, Robin Kankapankatja and Antjala Robin. Kanytjupai is an active member of the art centre in Fregon. |
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Artist: Marita Baker The style is described as Walka, which is unique to the Aboriginal women artists of the Pitjantjatjara/Yankunytjatjara Lands, in remote north-west South Australia. |
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Artist: Mantuwa Treacle Milpatjunany- Sand Drawing |
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Artist: Betsy Lewis Mina Mina Jukurrpa - Mina Mina Dreaming |
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Artist: Kathy Maringka The style is described as Walka, which is unique to the Aboriginal women artists of the Pitjantjatjara/Yankunytjatjara Lands, in remote north-west South Australia. |
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Artist: Alfred George This design is taken from an original painting by Alfred George, a new artist to the centre, and a young man, which is unusual as most of the members are women. Alfred has painted the country around Fregon showing the rocky ranges that are part of the Musgrave ranges, the sparse vegetation and a water hole. The country or Ngura and its features are common themes amongst the Anangu as this is what has provided their livelihood for centuries. |
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The country associated with this Jukurrpa is Mina Mina, a place far to the west of Yuendumu, which is significant to Napangardi/Napanangka women and Japangardi/Japanangka men. All of them are the custodians of the Jukurrpa that created the area. The Jukurrpa story tells of the journey of a group of women of all ages who travelled to the east gathering food, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]) and performing ceremonies as they travelled. The women began their journey at Mina Mina where ‘karlangu’ (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them far to the east beyond the boundaries of Warlpiri country. The ‘ngalyipi’ vine grows up the trunks and limbs of the ‘kurrkara’ (desert oak [Allocasuarina decaisneana]) trees. ‘Ngalyipi’ is a sacred vine to Napangardi and Napanangka women that has many uses. It can be used as a ceremonial wrap, as a strap to carry ‘parrajas’ (wooden bowls) that are laden with bush tucker and as a tourniquet for headaches. |
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Artist: Liddy Walker The main motif of this painting depicts the ‘wakirlpirri’ (dogwood [Acacia coriacea]) tree. ‘Wakirlpirri’ is a very useful tree that grows on the sides of creek beds and near ‘mulga’ trees. The seeds of this tree can be eaten raw or cooked on the fire. A deliciously sweet drink called ‘yinjirrpi’ is made from the seeds when they have been dried. The wood can be used to make weapons such as ‘karli’ (boomerangs) and dancing boards for ceremonies. It is also good wood for burning on the fire because rain cannot extinguish burning Wakirlpirri wood. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, particular sites and other elements. This Jukurrpa travels from Jarrarda-Jarrayi through to Puturlu (Mount Theo) west of Yuendumu. This Jukurrpa belongs to Japanangka/Japangardi men and to Napanangka/Napangardi women. |
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Artist: Juliette Nampijinpa Brown This Jukurrpa belongs to men and women of the Jangala/Nangala and Jampijinpa/Nampijinpa subsections. Pamapardu is the Warlpiri name for the "flying ants" or termites that build the large termite mounds (Mingkirri), found throughout Warlpiri country. After rains the ants emerge from their nests to fly to a new home. They subsequently discard their wings when they find and enter a new mound. The Jukurrpa depicted in this painting shows the journey taken by an ancestral Pamapardu man called Wirliyapirda from country near Utopia to a site known as Warntungurru near to Nyirrpi to the southwest of Yuendumu. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, particular sites and other elements and short bars are often used to represent the Pamapardu's wings and concentric circles represent the Mingkirri mounds. Termites are eaten by goannas and other lizards and by Yapa (Warlpiri people) Women collect them to eat by hitting the Mingkirri with digging sticks and also by collecting the wingless Pamapardu that fall to the ground outside of the Minkirri. |
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Artist: Alma Nangala Robertson Men of the Jampijinpa and Jangala subsections are the Kirda (custodians) for the Emu Yankirri Jukurrpa (Emu Dreaming from this site at Ngarna site. The Ngarna is an important ceremonial site associated to a men’s story and much of it is private. Emus survive on a diet of native vegetation found in the area. Among the most sought after are the Yakajirri (bush currant) and Mukaki (black berries). The painting depicts Yankirri going to and leaving a water hole after having a drink of water. Ngarna is to south of Yuendumu. |
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Artist: Betsey Lewis This design is taken from an original painting. The country associated with this painting is Mina Mina, a place far west of Yuendumu, significant to Napangardi and Napanangka women who are the custodians of the Dreaming that created the area. |
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This design is taken from an original painting. Kathy’s painting is part of the emergence of exciting work from the Katjiti Arts Centre. The style is described as Walka, which is unique to the Aboriginal women artists of the Pitjantjatjara/Yankunytjatjara Lands, in remote north-west South Australia. Walka refers any meaningful mark or pattern, and is the work used to describe body paint used during traditional Imna or dance ceromonies. Country and culture give Kaltjit Arts works distinctive ingredients that unite them as community creations. |
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Artist: TjInkuma Wells Piltati - Two Sisters Dreaming |
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Artist: Willie Wilson Willie’s painting is of his country in the remote north -western South Australia on the Anangu Pitjantjatjara/Yankunytjatjara Lands. This painting describes Tjurkurrpa – creation story. There are two wati – men sitting either side of the rockhole in the middle of the painting. |
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Artist: Daisybell Kulyuru Walka-Tjulpun Tjulpunpa Daisybell describes this painting as Walka - Walka is any meaningful mark or pattern and may be an image on a cave wall, on rock or on sand and has cultural and ritual significance. It is used on the body during inma or ceremony. This painting depicts tjulpun tjulpunpa or puti – wildflowers from the bush. They can be seen in all forms throughout the lands, especially after the big rains fall. |
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Artist: Angkatji Tiger Piltati Tjukurpa This is a tjukurpa (creation) story from up near Amata. There were two brothers who married two sisters. The sisters are in the top left and right corners of the painting. They are digging for bushtucker near some rockholes. The lines between the holes are where the ladies have been digging – tjawani. The sisters did not come home for a long time, and the brothers said ‘lets go and change into water serpents.’ After all their digging, the sisters are thirsty and get up to go into the water, and the brothers are there, they’re waiting. When the sisters drink the water, the brothers rise up out of the rockhole as water serpents and swallow their wives. |
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Artist: Mulykuya Ken Walka - Ngintaka This painting is a part of a series Mrs Ken has been working on. She is a talented emerging artist and works at the Better World Arts Studios. The story is one that is very usual for Mrs Ken, that of the ngintaka or perentie lizard. The perentie is an important figure in creation stories, and is the totem of Mrs Ken's father - he was custodian of the Ngintaka Tjukurpa (dreaming story). She has traditional permission to paint these stories, and the perentie itself. This painting is a detailed look at the textured skin of the perentie. |
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Artist: Nelly Patterson Ref: BNP937 Size: 30x30cm Price: AUD$38.00 Size: 41x41cm Price: $65.00 Nellie has an intimate knowledge of the Seven Sisters Story – an epic Tjukurpa (creation) story in which a man, Wati Nyiru chases seven sisters across the whole of Australia, shaping the land as they go. The sisters started in Whyalla. Wati Nyiru chased them down to Port Augusta and wouldn’t leave the sisters alone. He wanted to marry the big sister. The sisters left in the middle of the night to try and get away from him while he was sleeping. When Wati Nyiru woke, he wondered where the sisters had gone, but he soon was on their trail again, and found them near Canberra. The eldest sister was worried - she knew he was here again, watching the sisters while they camped. The sisters ran to the Blue Mountains to hide, but Nelly explains that Wati Nyiru was a ‘mad one,’ he knew they were scared but he still followed them. Ten people were in the Blue Mountains, three stayed, and the seven kept traveling – up through New South Wales and to Queensland, going through Cairns and Laura. The Laura mob noticed the seven sisters – they were different people, and sang different songs. The sisters got to Dunsfeld and turned around and went back to near where they were from. They went to Tennant Creek in the Northern Territory, then the sisters traveled around Hermannsburg way. The younger sisters wanted to stay here, but the eldest sister said they had to keep moving. In Tempe Downs, Wati Nyiru got very close to the sisters. The eldest sister was secretly signaling to the sisters that he was nearby; so as to not let Wati Nyiru know she was aware he was there. The sisters ended up in Irawa, and moved through Angas Downs, Curtin Springs, Mulga Park and Cape Bell near Amata in the APY Lands. The man, Wati Nyiru, was singing about how much he wanted the big sister. He did too much dancing, that man, and the sisters ran away. He loved all the girls. The girls kept running. This painting depicts some of these places where the sisters camped. |
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Artist: Inawinytji Williamson Seven Sisters Story |
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Artist: Rama Simpson Mingkiri Tjuta Tjukurpa (Marsupial Mouse Dreaming) Rama’s painting illustrates the Mingkiri Tjukurpa – the dreaming of the marsupial mice near Kuntjanu, Rama's country in remote north-western South Australia. The painting shows the many burrows where the mingkiri live. The mingkiri are digging with their mulya (noses) to block their holes. When Rama talks about the Wanampi Tjukurpa (Rainbow Serpent Dreaming), he says that many stories are all together - tjungu. The Mingkiri people cry when Wanampi is speared by a left handed man, but his son was in the womb of Wanampi's wife, so the rainbow serpent still lives today at the rockhole in Kuntjanu. The kuniya (python) and liru (snake) people are also all here, in this one big story. |
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Artist: Karen Kulyuru Artists from across the APY Lands have become well known for painting walka, a semi-abstract style of painting. Walka describes any meaningful mark or pattern that is painted on the body during inma (ceremony), on rocks or cave walls, and drawn into the sand in a storytelling game known as milpatjunani. This painting depicts rockholes (tjukula), sandhills and the paths worn into the landscape between these sacred places. Karen is influenced by the beautiful colours and shapes of the landscape. She uses both desert tones and brighter hues in her works and often illustrates aspects of nature, from the desert country where she grew up, to the flora here in Adelaide, where she has lived for many years. |
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Artist: Margaret Richards Seed Story Margaret describes her painting as Seed Story. The seeds of some of the desert plants and grasses are ground to a flour to make damper or to cook. Seeds used include Acacia sp – tjuntala, wakalpuka and kumpulpa. Throughout the desert country grinding stones - tjungari still exist. The seeds of the desert mimic the celestial skies and the myriad of stars. As a senior traditional woman, Margaret is custodian of the stories and lore which has sustained her people throughout generations, living in the desert country of South Australia. |
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Artist: Margaret Richards Seed Story Margaret describes her painting as Seed Story. The seeds of some of the desert plants and grasses are ground to a flour to make damper or to cook. Seeds used include Acacia sp – tjuntala, wakalpuka and kumpulpa. Throughout the desert country grinding stones - tjungari still exist. The seeds of the desert mimic the celestial skies and the myriad of stars. As a senior traditional woman, Margaret is custodian of the stories and lore which has sustained her people throughout generations, living in the desert country of South Australia. |
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Artist: Iwana Ken Trees in Wet Season This design is taken from an original acrylic on canvas. Iwana paints lively landscapes and this image is of trees in the wet season. Although Iwana lives in desert country, the bush is vibrant and alive, as Anangu have subsisted on the land for generations. Iwana is very committed to her country. Her intimate knowledge and connection to her country is evident in this series of her work. |
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Artist: Kanytjupai Robin Walka |
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artist: Ungakini Tjangala & Pantjiti Lionel ref: BUTPLC908 |
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artist: Kunytjitja Brown ref: NBR106 |
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artist: Tjinkuma Wells ref: BTWEC914 |
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artist: Tjinkuma Wells ref: btwec907 |
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artist: Mulykuya Ken ref: MKE 069 |
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artist: Kathy Maringka Kathy's designs translate well to the textiles. This abstract image is typical of Walka work, which is unique to the Aboriginal women artists of the Pitjantjatjara Yankunytjatjara Lands, in remote north-west South Australia. The different forms of the desert landscape have a great impact on the artists' use of colour and image construction. The imagery is also influenced by the ancient Aboriginal culture and the land from which it draws its origins. ref: kkmac42 |
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artist: Robin Kankapankatja
ref: krkac86 |
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artist: Iwana Ken This image is taken from an original acrylic on canvas. Iwana paints lively landscapes and this image is of trees in the wet season. Although Iwana lives in desert country, the bush is vibrant and alive, as Anangu have subsisted on the land for generations. Iwana is very committed to her country. Her intimate knowledge and connection to her country is evident in this series of her work. ref: kikec87 |
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artist: Dianne Robinson Tjukula munu Kapi This cushion is from an original painting. Dianne’s painting is of Tjukula – rockholes and water. These sources of water are of great importance in the desert and Anangu know their country intimately, so are aware of every waterhold. Tjukula are regularly maintained by the traditional people. ref: BDROC904 |
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artist: Mulykuya Ken ref: BMKEC916 |
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artist: Rama Sampson Ngayuku ngura/My birthplace This cushion is taken from an original painting. Rama's birthplace is laced with stories of the ancestral beings who created the landmarks and played vital roles in the law giving stories. Ngayuku ngura means My Place and is used by Anangu to refer to the place where their bodies first touched the ground.
ref: BRSA010 |
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artist: Rama Sampson Kuntjanu – My Ngura Rama’s image illustrates the Wanampi Tjukurpa - Rainbow Serpent Dreaming. This is a very important Tjukurpa story, where the snakes represent men. Rama says there is one Wanampi tjilpi – he is the rainbow serpent, his name is Kuntjanu. There are other people there, kuniya, mingkiri, and liru. The Kuniya is a big python with a black back and yellow front. Mingkiri are the mouse people, and liru are the snake people. Liru wati wakanu Wanampi, Wanampi pakanu ngarangu, the snake men speared Wanampi for nothing, he rose out of the waterhole and was speared, but he is still alive, in the waterhole. The image for this cushion is taken from an original painting. Rama's birthplace is laced with stories of the ancestral beings who created the landmarks and played vital roles in the law giving stories. Ngayuku ngura means My Place and is used by Anangu to refer to the place where their bodies first touched the ground.
ref: BRSA912 |
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artist: Whiskey Kalaya - Emu Dreaming ref: BWHIC902B |
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artist: Willie Wilson ref: BWWIC906 size:30X30cm |
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artist: Kathy Maringka ref: DYM 922 |
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artist: Kathy Maringka ref: kkmac117 |
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artist: Manyitjanu Lennon ref: KMLEC130 |
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artist: Mantuwa Treacle ref: KMTRC131 |
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artist: Rita Rolley ref: KRRO133 |
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artist: Margaret Richards ref: MRIC920 |
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artist: Rama Sampson ref: RSA 924 |
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artist: Leah Brady ref: tlbrc304 |
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artist: Ruby Williamson Wati munu Minymaku Walka This cushion is taken from an original painting. Ruby has depicted a ‘Husband and Wife' story. Wati translates as man, minyma as woman and walka as design or drawing. This story is about a family camping and hunting for their favourite bush tucker. The men are the larger 'u' shapes with a kali (boomerang) and spear at their side. The women can be seen with their children or tjitji camped under a wiltja or shelter around a camp fire. The orange areas are the camp fires. The larger circles down the middle are the rock holes where water can be found, while the blue and green striped areas are the creeks. ref: TRWIC302B |
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artist: Liddy Walker This cushion is taken from an original painting. The main motif of this painting depicts the Wakirlpirri (Dogwood - Acacia coriacea) tree. Wakirlpirri is a very useful tree that grows on the sides of creek beds and near Mulga trees. The seeds can be eaten raw or they can be cooked on the fire and a deliciously sweet drink called Yinjirrpi is made from the seeds when they have been dried. The wood can be used to make Karli (boomerangs), other weapons and dancing boards for ceremony and is good wood for burning on the fire - rain cannot extinguish burning Wakirlpirri wood. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, particular sites and other elements. The Jukurrpa travels from Jarrarda-Jarrayi through to Puturlu (Mount Theo) west of Yuendumu. This Jukurrpa belongs to Japanangka and Japangardi men, and Napanangka and Napangardi women. ref: WLWAC503 |
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artist: Paddy Stewart ref: WPSTC502 |
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artist: Paddy Stewart ref: WPSTC507 |
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artist: Willie Wilson ref: WWIC921 |