Noongar Country 2022: Kaarla Koort-ak: Woonya, Moort, Boodja (Hearts on Fire: Love, Family, Country)

NOONGAR COUNTRY Kaarla Koort-ak: Woonya, Moort, Boodja - Hearts on Fire: Love, Family, Country

2022

WELCOME TO NOONGAR COUNTRY

n• Ka n

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We are the Wardandi People, the Saltwater People of this Country, traditional owners and caretakers of Noongar Country.

We welcome you to Goomburrup, on Wardandi land.

Always was always will be.

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Wudj ari • N jung

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i• d ard a n W • p u ki •W r a m a n • P i n dj m

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lardong • Njak i n ja

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K a a r l a K o o r t - a k : Wo o n y a , M o o r t , B o o d j a Hearts on Fire: Love, Family, Country

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Marjorie Ugle Noongar Elder Being an Elder of the community here on Wadandi Country, my art always represents Boodja. At heart of everything, there is Country, and there is family. The things that are most precious to us are the things that inspire us to make paintings, and the things that we love are the things that exists in our own selves, and come through our hands and enable us to make art.

Art speaks to people where sometimes words cannot. When I see something, I have to paint it. That’s just how my head works.

For myself, art relaxes me, it’s therapeutic.

I believe Whitefellas have got to stop and listen, and us Blackfellas have got to move forward, with our ancestors at our backs. I try not to see colour.

I try to see just people. My art represents that, it represents a moving toward harmony between people.

I welcome you to Noongar Country 2022. Please enjoy my story and what is behind the painting along with every other Aboriginal artist’s story.

I enjoy standing on this land, this Country; our Country.

Mike Bianco

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A word from the Director...

As the Director of the Bunbury Regional Art Gallery, located in the heart of Wardandi Noongar Boodja, it is a privilege to lead a team dedicated to exhibiting the rich forms of cultural production which have existed on this country for millennia.

In my mind, BRAG is more than a gallery; it is a home for the community - a space to gather, reflect, and engage in challenging conversations.

Noongar Country, as an exhibition which has celebrated First Nations artists in the region for over twenty years, exemplifies the gallery’s commitment to these values in every way.

This year’s exhibition comes at a pivotal moment in the gallery’s history, and we are grateful for the community’s ongoing participation in this event.

We are also grateful to all the artists participating in the exhibition, and for the vision and courage of this year’s curatorial team: Amanda Bell, Karen Morgan, and Katelyn Whitehurst. Community, artists, and curators alike, it is a great honour to host you all.

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Curators

Amanda Bell & Katelyn Whitehurst Again.

From our maar and minds

We come to Goomburrup.

Moorditj.

To this space, in this space.

Hear our truth, and feel.

Salt water people - we hold the courage to truth Tell.

And speak through our hands, our bodies, our truths Karnany truth Waangkiny speak Honour Boodja and moort Dawn’s koort beginnings of Gravel Camp to the simple truth of lily beauty In this space We can grieve with a man, an Elder, for the dwert

Bear witness Tell and re-tell With love Woonya wer koort Yaakiny.

In this space, we have had to find ourselves through laws and pale white numbers, year after year, we have had to find this space, take it back, and what do we do now we have fire fought to take it back?

We share it. Can they bear it?

In this space.

And never forget the hurt, and Trauma that has happened and is happening on boodja.

No-one gave it to us.

Shared through the making and painting

But boodja still stands and as we belong to her. Kalyakool yoowarl korl.

We have it to feel

Always return.

In this space

To this space, in this space.

We honour Noongar boodja through story

Kaarla Koort-ak: Woonya, Moort, Boodja

Harley Akers

Boodja Kaadjininy [Land Understanding] 1901 A traditional form of Noongar landscape painting, I created to show the love for the Country, for generations of families that have walked the land and treated it with loving care, which has kept the land heathy and still living, which helps to teach the younger generation to appreciate the land that we live on.

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Ethyn Amat

Cultural Impression This artwork is a contemporary representation of the Aboriginal flag.

Created using acrylic paint on canvas and Ethyn’s ‘finger flick’ method, this artwork represents Ethyn’s unique journey of connecting with his culture as a non-verbal man. Having differing abilities means that Ethyn faces daily challenges and expresses himself in ways that may seem unconventional to the verbal population. Through experimenting with his creative processes, Ethyn has found many new ways of communicating and connecting with his Aboriginal culture and the people around him.

Divergent Progression In developing this painting, Ethyn has taken his inspiration from the colours of the Aboriginal flag to produce this contemporary interpretation of unity. Titled ‘Divergent Progression’, this piece represents Ethyn’s experiences as a non-verbal man and his journey towards utilising his artwork as a form of self-expression. Ethyn faces daily challenges with having different abilities yet he still manages to express himself in different ways. Creating this piece has given Ethyn the opportunity to connect with his culture by using techniques that are unique to his talent.

Dawn Alone Burekup Gravel Pit Camp - Hill Clan The Gravel Pit Camp is where my grandparents and some of their children lived with their families. My grandparents had 14 children, 7 boys and 7 girls, who also had large families. The camp which we lived was in a farmer’s paddock, who allowed us to camp freely on, because there was no where else we could live, with our tribe. We didn’t live. These families came and went throughout seasonal work.

Our camp didn’t have electricity or running water so, he provided things as best as he could. We lived off the land, eating bush tucker, kangaroos, wild ducks, fish marron and fruit from the farmers. The creek provided us with fresh running water for drinking, washing, bathing and swimming.

Our grandparents and parents worked very hard for us, during that generation. They provided a home and food plus sent us too school to get an education. Also protecting us from the welfare who was taking children into missions.

My Grandmother had the middle camp, and my grandfather had his own camp, and the other circles represent other camps. Everyone shared their food and supported one another throughout good and sad times. I loved living at the camp, and I miss all the old people who have passed on.

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Cassandra L Bynder Healing on Heart Country (Karlup Mabarn) Modern Parenting sometimes calls for simple solutions that need not be defined. My experience with the scared art of motherhood has been a rocky one, but every time we are on heart county, a sense of peace sweeps over us.

Held by female ancestors that once cared for these running waters, this painting represents a healing journey of connection, learning that just by holding my child with presence and love, generational trauma slowly washes away.

Like My Poppy “Mumma” she begins, “the other kids say I can’t be Aboriginal because I’m not dark enough. I’m not like my Poppy.” The heaviness of my heart lingers as a memory of my own sorrows, sobbing to my dad, reflects back in her trickling tears. History repeats.

“Your Aboriginality is not your skin”, I say “Your ancestors are in every part inside of you, and outside of you. They are waiting all around, guiding you in every moment.” “And you are like Poppy.

You have his nose”

Naomi Bell DNA The hessian backdrop represents time as it unravels. The ‘family yarn’ begins with Country depicted in the coloured bands around wrapped fabrics infused with the colours of our eucalypts.

Our connection to Country is strong through time. The colours of Country extending through time as our foundation and running through us is depicted in the coloured wires running vertically.

My family circles are represented in the coils. They are on the Country. The varying colours in the coils represent our ancestral origins. The DNA ‘ribbons’ contain our hereditary material and our genes. The coloured threads represent epigenetic changes altering the way molecules bind to DNA.

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Tracy Bellotti Manitj and Wardong Noongar country was traditionally divided into two moieties or groups: the Manitj (fair people of the white cockatoo) and Wardong (dark people of the crow).

Every person belonged to either Manitj or Wardong moiety and classification into either of these was determined by descent from our mother (matrilineal) or from our father (patrilineal), depending on the country we came from. Moieties were the basis that determined marriage between a further four class subdivisions, and Noongar people knew that this system of marriage kept the gene pool far enough apart so that there was no inbreeding, thus ensuring survival over thousands of years.

Dellas Bennell I Am Wadandi [People of the ocean] I love the saltwater and the colours of the sea.

It brings me much serenity.

The kwilenas swim together and free.

It’s by the sea my heart always wants to be.

My family are my strength they are – Wardandi.

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Korrine Bennell Karda Mikang [Goanna Moonlight]

Troy Bennell Something Happened My Art story from BRAG – the circles at the base of this painting represent the circles of the first site – a sacred meeting place, before the building was here. I had to put the coat of arms on the BRAG building, this is a play, that is our tucker, we eat the kangaroo and emu, that is our food. Follow the dots through, this is me, my journey lines from here to all of the Cities. My first trip out of BRAG was to Malaysia, exhibiting at the Petronis Tower. Then to Sydney at the Oceanic Art Fair – Noongars on Koorie Country!

My first solo exhibition was in Milano, Italy, walking up the café strip in thongs! From there to the Australian wine fare in France, playing Didgeridoo in Paris. I was on a Gondola in Venice handing out City of Bunbury hats to tourists. All the time talking Art and Culture, Noongar Culture. Educating about the landscape style, talking about Carrolup style. Putting Noongar Art on the map.

I was offered then to go to New York City, what an amazing trip, showing Athol Farmer and Uncle Swag Taylor and my work, representing Noongar Culture and Noongar Art! Here I am talking Noongar story on Country – this place gave us opportunity; can you imagine the next 22 years!

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Lera Bennell Yarning Time My Mum and Dad, Henry and Violet Bennell worked the land with their sons and daughters. Watching fires burning and burn down, watching embers, fires burning after my family cleared the farmers land in Pingelly.

My father worked hard clearing land – then fencing the land into paddocks. Farming forced our Noongar people off our land. Fire is still important today; families tell stories around fires to pass on story and culture with sadness, loss of culture and connection.

South 32 Mining on Noongar Country. After the trees, vegetation, bush and beauty of our wildflowers, birds and animals are destroyed for minerals and economic wealth. This destroys Culture, sacred sites, language and connection. Mining cuts deep in our hearts, destroys our culture and connection to our land. The river is water of life and heart, a connection of life that is still ongoing.

Tahlia Bennell Kwobidak Noongar Boodja Connections The artwork represents the beauty of our Country and its connections past present and future. Whilst also representing the 6 seasons.

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Tessa Birch Liyan Being on Country, with family makes our spirit [Liyan] feel good.

Country Within Us In this painting I have represented the inseparable relationship between our people, country and culture. These three elements come together through our footprints that have imprinted the earth for thousands of years.

Carlteena Brown Dreamtime Turtle

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Colin Clinch Water Country - Beelyup This painting represents the water ways that connect to Swan River, peace and quietness. I give my healing of mind when I need it. It reminds me of my home land, and a place of identity.

Annette Clohessy (nee Hill) & Shannon Clohessy Koolbardie Moort – Magpie Family Throughout time and across generations we have shared our home with the maggies. Our stories are interwoven. They bring their children to meet us after they have left the nest. Together we whistle and sing our songs to each other. Each new generation learns our connection and adds new notes to the song.

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Shannon Clohessy Wattern Wongi – Ocean Calling The spray of the salt water always brings me home. To feel the first touch of ocean mist, I am instantly transported to a thousand memories. Salt water is everything. In the ocean, I am completely at peace and electrifyingly alive.

Mia Kaala – Home Fire After a long day and whatever it has brought or sometimes for no reason at all my family instinctively gathers around the fire. The fire warms our hearts and the water for the cups of tea. Filling our home with warmth and laughter, making distance disappear. Time stands still as we are together.

Slowly one by one each person drifts off. Our hearts carry the warmth of the fire and the dancing flames burning at our core until the next time we meet.

Forever we will keep the home fires burning.

Violet Coyne Healing Waters Water is mother natures free natural resource that is essential for life. It provides food, recreation and is a powerful healing for our, mind, body and spirit. Noongar people’s lives, travel lines and camping grounds were centred around the waterholes and oceans which provide seasonal food.

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Kaya Dhu Woman’s Journey Woman’s Journey represents women coming together for ceremony on my great-grandfather’s country, Papunya. No matter where I go, the experience of an Aboriginal woman is one that crosses boundary lines, language and time. This is symbolised through the sun, moon and red country.

Erica Dimer Connection With Water On Country From generations passed down from my parents where to go to gather food for our families to share, and connection to Country.

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Djidi Djidi PS Nyingarn Class Djoorabiny Djidi Djidi - Happy Djidi Djidi Students created these Djidi Djidi sculptures using bright, happy colours to bring joy to the viewers koort [heart].

A joyful koort is a koort on fire. The birds came together, united, as our students do everyday as they learn and become Moorditj [strong] on Noongar boodjar.

Djidi Djidi PS Yongka Class Djoorabiny Koort - Joyful Heart Students designed a koort [heart] that reflected what love, moort [family] and boodja [country] means to them. They have used symbols of their home, moort and nature to create a joyful and colourful clay koort. They are displayed on a tree as a symbol in unity, growth and strength.

Djidi Djidi PS Wetj Class Kwobidak Moorditj - Utopia Students have created a scene of kwobidak moorditj [utopia] where hearts are on fire. Students described that being happy, reaching goals, having moort [family] close and being on boodja [country] is when their hearts are alight. They have used bright, jubilant colours and organic lines to convey an imaginary dreamlike world where all peoples live in unity: djoorap koort [love], moort and connection to boodja.

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Arthur Graham Eades Dog Slaughter It took place at the Native Reserve “5 Acres” out on the outskirts of the town. Dogs where our main source of food they caught meat for us, mainly kangaroo. They where our guard dogs and great companions. Dogs are our pets they would protect us especially our children, they guarded our tents.

I witnessed a sight that tormented me for the rest of my life, I was only 10 years old, when the horrible, ruthless act happened. “A police car came to our tents and the two police pulled up and took guns and started shooting our dogs and the went to the spending of our tents and shot any dogs that were in the tents. Blood ran everywhere.” Some of the dogs were wounded and yelping in pain. So, the police shot them again dead. Our families ran for their lives thinking they was next to be shot. I am 81 years old and this happened when I was 10 years old, and traumatised me for 71 years. Telling my story on canvas helps me with my healing and letting go.

Brianna Eades

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Beaufort River Dreaming I called my painting, Beaufort River Dreaming to remember my Great Grandfather Gordon Eades. He worked clearing the land throughout the Southwest. Beaufort River was one area that he and his family lived – on both sides.

He used to swim with his children in the river and carry them on his shoulders.

I painted the river white because it is in the past. All the groups of dots on

all the paintings are the campsites he camped at. The chain around the two big ones are my family chain which back then was very strong. The big circle on the left actually touches the water which represents my family touching the water, compared to the one on the right where we don’t go anymore.

He was never recognised for the work he did there. This artwork tells his story.

28 Leanne Eades My Playground, Swimming Catching Turtles

29 Heather Eades Koolangars in Wagyl Kaip Koolangahs in Wagyl Kaip Noongar Boodja walking around creek beds flooded by the rains. Checking out the creek turtles coming out of the water trying to find a better place.

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Leticia Eades Family Reunion A bright family gathering. Many colours of the skies. Happy times that I imagined with lost loved ones once we are reunited.

Burst of Colours Colours of my land on the Nyoongar Country. Many vibrant colours in the South West including the beautiful oceans, earthy colours of the ground and the beautiful skies.

Yvonne Garlett The Creek

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Glen Garlett Nan Story As a child living in a small tin shack, no running water, no electricity or gas. Outside fire was used for cooking and siting by the fire, keeping warm and listening to the story at night about the stars and moon by dad and mum. Dad’s mum didn’t have a clock, the sunrise and sunset.

My Niece Watching the children growing up on Country. This is a favourite spot at the parade on the estuary, with family crabbing.

Summer Foods Marron and crabbing with the family over summer. Fresh water marron and saltwater crab.

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Robert Gates Underwater Flowers (a) Wombat Serpent (b)

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Serpent made everything we do and breathe. The air shows its journey from end to end.

Forest Flower in Bloom with Whawl (c) A recycled dress given a new life and appearance with paint, energy and love. Wombats aim is to let the energy flow onto the clothes with Ah style paint scrapers.

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Phillip Hansen Untitled I am a Noongar man. My mob are from Busselton, Roelands, up around Brunswick. I’ve been painting for 50 years. I started off in a place called Allawah Grove Aboriginal Settlement in South Guildford. I watched the old people; my mother and aunties painting on bark.

Painting relaxes me, it calms me down. I’m in that painting when I’m painting. Before I even start paining, when I see the canvas, I know exactly what I want to put on that canvas. When I’m painting, I’m there and I don’t have a care in the world, and when that painting’s finished, I know that I have achieved what I set out to do.

Wendy Hayden What About the Rivers The rivers of the South West have been the meeting place for many, many Aboriginal people especially during Christmas time.

The rivers have a very powerful, significant icon for & to our Aboriginal people. I remember from a child, the holidays, packing up the old ute and cramming all the kids into it. The river was, and is today, a happy place for all families.

Even today me and my families & grannies do our traditional journey to the river -is like we have to bath in the river. I call it God’s River & Country. My grandmother Country.

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Elsie Jacobs The Kingfisher The Mother Kingfisher represents my loving grandmother. The design is how the Kingfisher prepares her nest & the colours are joy of happiness as she is extremely blessed for her big family.

Maya Hume

Mother Earth Love of Country From the ashes new life is born.

Circle of Life

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Maitland Hill Porongurup Wirin Boodja Porongurup boodja is one of the oldest in the world being over 1 billion years old. It is sacred boodja and commands respects from all who go there.

Meeka-Koort-Boodja Meeka moon shines bright on boodja and the lights the way. Meeka has shone from time of old until now, lighting the way for the old people to travel for hunting and ceremony. Meeka koort shinning bright on boodja for our moort.

Rebecca Jetta Untitled

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Karen Jetta Faith

A cycle of everything that encompasses Love Family and Country. The energy it gives me, makes my heart sing with joy as I celebrate life with my family on my country, of which I love and all blessings that are received every day from above.

“Koort Djoorabiny” Noongar Bindjareb, Wardandi boodja, nidja ngany kaalak, ngany koort, ngany wirriny. Ngalang kwobidak nedigar bworan moort Kalyakoorl ngany djinanginy. Baalabiny wirriny nganykadak Kalyakoorl windji ngany koorl. Ngany moort baalang-kadak kalyakoorl kaadadjiny, djinanging windji ngany koorl, wer ngany barang kadak ngany moort, boola koorliny. Ngalang boodja-mit yang mereny, marlak menditj mereny-ngaarning, doorakiny, keba wer miya. Ngalang boodja-mit kaaradjiny-ak. Boodjak kori kaaradj barang, Kalyakoorl maladjiny. Ngalak boondo-djil kaaradjiny ngalang boodja baranginy. Nidja ngany windji boodja-koop. Ngany koort djoorabiny.

Ngany Woonyah Ngany Moort wer Boodja.

Happy Heart Noongar Bindjareb, Wardandi country is my home, my heart, my spirit. Our beautiful elders and our old people always guiding watching over us. Their spirit is with me wherever I go. My family, they always with me, teaching, showing me and I take them wherever I go. My country is able to give or provide food, bush medicines we eat and drink (the Eucalyptus and Tea Trees), water and shelter and is always caring for us. It already takes care of itself always growing. We should certainly be taking care of it. This is where I belong.

My heart is happy.

“I LOVE MY FAMILY and COUNTRY”

Harry (Harold) Mosleey Dot Painting Waterhole When I created this piece of art I was feeling lost. This represents me and my feelings and where I am, at the moment.

Beautiful Landscape Painting is my therapy, I paint what I am feeling.

At this time in my life I am feeling lost and struggling to deal with my mental health. This picture brings me peace.

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Ross Potter Beware the Giant Reptile 2 (Snake) This snake, found dead on the road near the mouth pf the Margaret River, has been drawn on rectangular panels, symbolising the intersections that we humans pave through nature. Humans create patterns across the landscapes; squares, rectangles and straight line; which directly overthrow the organic flow of nature. When faced with these unnatural impositions on the landscapes, nature suffers the consequences.

Noelene Regan Aliwah!

Aliwa! Look out!

Djidi Djidi wer Kulbardi - Climbing the old mission tree. At Mogumber Mission you’ll find the skeleton of an ancient tree - its towards the back of the mission near what my grandmother Ruby called ‘the boob’ or the jailhouse - “that’s where they chucked the naughty kids” she’d say. I had a feeling Ruby was one of them. Full of sass was my beautiful Nan! Many decades later I stood by the ruins of ‘the boob’ and that ancient mission tree. What stories did it hold? I closed my eyes and tried to imagine my beautiful Ruby and the other children climbing the old mission tree.

Today Djidi Didji wer Kulbardi keep watch over the old mission tree.”

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Diahan Riley Territorial ‘You shouldn’t have say, you’re not from this area!’ or ‘Johnny come lately’ referring to someone who moved to another area or region in Australia.’

Why are WE, Aboriginal people, still hearing phrases like this today? And not from non-indigenous but from our own mob! Are we not Aboriginal people? Do we not all have the same deep passion for our family, land, art and culture?

Not being able to join Community activities like art completions or projects, not being able too express ourselves as an artist because of being constantly pushed back because of nepotism or bullying.

Territorial- too much of them and us. Whether we are from the North, West, South or eastern parts of Australia WE should be one. ONE culture untied together.

James Riley Dumbleyung Lake Dumbleyung Lake is the largest inland lake in WA. 90 – 100 years ago the water was fresh enough to drink and the Aboriginal families lived in the area of the lake because of the variety of food that was in supply like the duck eggs, marron in the lake, kangaroos in abundance. If you have time to stroll around the lake there is beauty everywhere to be seen, there is a corrobboree area at the lake, the little lizards used to be caught in the rock traps. The family still visit the lake as it holds a huge significance to our family. When the lake was low in water my father and grandfather rode across the lake on horses many years ago.

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Melissa Riley My Nannas Back Beach

Candy Riley Baat [Water Rushes] This painting represents the large water resources in the Southwest. The rivers, water holes, creeks and lakes. Water is so precious and important.

I have fond memories of spending family time swimming and other recreation activities.

Our family regularly return to bush and country and walk the bush trails our ancestors walked along, show the koolangkas [kids] native food and seeds and in winter make a fire to sit by and warm up with some good yarns.

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48 Jodie Riley

Noongar Moort Dandjoo Boola Noongar moort Many Noongar families are connected across Noongar country. Moort [family] is at the koort [heart] of our culture.

Our Language Our land My connection to culture is language and going bush, this painting show’s my love for language and Kambarang the season of the wildflowers.

During Kambarang season, we see an abundance of colours and flowers exploding all around us. The yellows of many acacias continue to abound, along with some of the banksias and many other smaller delicate flowering plants including the kangaroo paw and orchids.

Ngalang warayin, nglang boodja.

Jennifer Riley Autumn Leaves

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SWAMS Yoka Yaanginy Our stories reflect on who we are in our hearts, this piece reflects the motion and beauty of hearts coming together and growing, its not only new stories but uplifting who we are in our community, family and friendships. Art is a recurring theme within a group that enlightens talents and creates the opportunity to share who we are in the creative medium. Each gum leaf in this piece is reflective of an individual’s story, reflective of the feelings that come from the heart when creating the piece. As part of the reflection in this collection of pieces that make the wing structure, we focus on the support this group gives whilst amid creating something new, it is something we can fine-tune in our time that we enjoy together.

Balga Yorgas

Delphine Schwarze Love and Connection Connection to our culture and what this can do to help us feel within, feeling stronger and connected. Always finding growth in how we choose to love ourselves and others.

Coming Home Coming Home to country to family and strong kinships. Strong connections to home and knowing our belonging.

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Brianna Shaw DNA

ECU Sharing Grief and Hope Collective Ecological Grief and Hope We come together as a collective to share our ecological grief and hope.

We gathered leaves from the bush and then wrapped them in calico and steamed them so the natural tannins would come to the service and be seen; just like our grief. Working together we shared stories as we embellished the calico to make our hopes larger and more visible. In the process we become stronger and joined together as a collective. This work represents how sharing our fears about ecological grief and talking hope as a collective is heart making.

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Graham (SWAG) Taylor Untitled The two paintings are connected – the black cockatoos and the red gum trees. I grew up in the bush, from Kellerberrin being surrounded painting and loving the bush, birds, and animals as well. Living in the city now, all I see is buildings, cars.

I paint where I want to be. We are closed in the cities and town.

In the bush you relax more, you feel free. The bush is my home.

I hope people can see what I see, and what I love. It’s my love for Country.

Marjorie Ugle Harmony The season of Djeran is April/ May. Kearlodijin Boodja [Country] – all people black and white to live in harmony.

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Charlotte Ugle Djinda Nedigar [Star, Ancestors]

Rhona Wallam My Country I am fortunate growing up as a child of my father Henry and mother Violet Bennell (now Hill) and all. Our extended family as we were able to maintain our strong connection to our family, country, our stories and our Nyoongar culture and community. When I paint, I feel the connection with a passion and can maintain this strong connection with each piece of my artwork and love to share the story and meaning with our children. My painting depicts the Australia from the Nyoongar perspective and my connection with our beautiful land and people.

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Janine Wallam Nature Beauty Celebrating the many colours of nature and lillies

Melba Wallam Koort-ak Kaarla: Woonyah, Moort, Boodja Woonyah [Love]: Love is a small word but it has a lot of meanings, love for our children, families and friends that gives us a wonderful feeling in our hearts in everything we say and do for one another.

Moort [Family]: Where would we be without our family who are our strength and support whenever we need it. in the good times and the sad times we can always know they are there. I love my families.

Boodja [Country] I love my sunburnt country Australia, I have travelled around. It is our home, always was and always will be. It has the feelings of being loved and wanted wherever we go.

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Anita Williams Mothers Garden During the hardship of rearing a large family, mum found her peace in gardening flowers. Her favourite colours were shades of pink, mother was part of the Stolen Generation, but when she had her own family, she would plant her flowers and be soothed by their beauty and sweet smell.

The scent from the flowers, gave her healing in her heart and soul.

Jenny Woods Butterflies

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BRAG Noongar Arts Program The Pandemic Response!

As artists we respond socially, politically, environmentally and to many things. Now a global pandemic is on us, reflecting on what our visual response could be; what it made us feel, what we did in lock down, how we will navigate and process… individually artists sent their creations through Australia Post to form a “hands free” collaborative work!

Artists adorned Australia Post packs with their designs!

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Exhibition: Saturday 28th May to Sunday 21st August Exhibition: Saturday May Sunday 21st August 2022 2022 Entries Open Tuesday 1st 28th February –to Close Sunday 6th March 2022 TOTAL PRIZE POOL of more than $10,000 OPEN TO ALL INDIGENOUS ARTISTS LIVING ON NOONGAR COUNTRY Exhibition: Saturday 28th May to Sunday 21st August 2022

ACKNOWLEDGMENTS

Bunbury Regional Art Gallery Team

Noongar Country 2022 Sponsors & Supporters

Michael Bianco

Director BRAG

City of Bunbury

Amanda Bell

Noongar Country Exhibition Curator

Alcoa

Katelyn Whitehurst Noongar Country Assistant Curator

South West Development Commission

Karen Morgan

Noongar Arts Coordinator

Umbrella Realty

Anna Edmundson

Administration and Operations Coordinator

Geographe Wine Industry Association

Simon Long

Exhibitions Officer

Photography - Christopher Young

Caroline Lunel

Collections Curator/Registrar

Catalogue Design - A&L Printers

Molly Werner

Education Officer

Sheree Dohnt

Customer Service Gallery Officer

Dee Mosca

Gallery Officer

Paula Thompson

Marketing Officer

BRAG and the City of Bunbury acknowledges the Wardandi Noongar People as the traditional custodians of the land we are standing on.

We pay respect to Elders, past, present and emerging.

“The views and opinions expressed in this catalogue are those of the artists and authors and do not necessarily reflect the official position of the Bunbury Regional Bunbury Regional Art Gallery is owned and managed by the City of Art Gallery or its affiliates. Any content provided by our artists or authors are of their Bunbury Government Partners Department of Government, Sport and opinion, and are not intended to malign any religion, ethnic groups, organisations or Image: Rhona Wallam, Landscape. photo credit: Paul Webster Image: Rhona Wallam, Landscape. photo credit: Paul Webster Cultural Industries IVAIS (Indigenous Visual Arts Industry Support) The stories have been printed verbatim.”

Image: Rhona Wallam, Landscape. photo credit: Paul Webster Image: Rhona Wallam, Landscape. photo credit: Paul Webster Image: Rhona Wallam,individuals.

Landscape. photo credit: Paul Webster Image: Rhona Wallam, Landscape. photo credit: Paul Webster

Katelyn Whitehurst, Josef Quinn & Claudia Stiglmayer Gallery Attendants

NOONGAR COUNTRY 2022 Kaarla Koort-ak: Woonya, Moort, Boodja Hearts on Fire: Love, Family, Country

Image: Rhona Wallam, Landscape. photo credit: Paul Webster

NOONGAR COUNTRY 2022 Kaarla Koort-ak: Woonya, Moort, Boodja Hearts on Fire: Love, Family, Country

ARTIST INFORMATION BOOKLET Entries Open Tuesday 1st February – Close Sunday 6th March 2022 TOTAL PRIZE POOL of more than $10,000 OPEN TO ALL INDIGENOUS ARTISTS LIVING ON NOONGAR COUNTRY Exhibition: Saturday 28th May to Sunday 21st August 2022