Kurntumarrajarra - The Estate of Paji Wajina Honeychild Yankarr

ReDot Fine Art Gallery in collaboration with Mangkaja Arts Resource Agency presents:

Kurntumarrajarra The Estate of Paji Wajina Honeychild Yankarr

Wednesday, 5th June to Saturday, 6th July 2013

For a high resolution, downloadable, PDF version of the this catalogue, with pricing, please send us an email to info@redotgallery.com Thank you.

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ReDot Fine Art Gallery would like to advise Aboriginal and Torres Strait Islander readers that this catalogue may contain images or names of deceased people.

PREVIOUS SPREAD Paji Wajina Honeychild Yankarr and Wakartu painting the ‘Images of Power’ banner. Fitzroy Crossing Hall, Jan 1993

“ To watch her paint, there was a sense that she walked around in her paintings, with the broad sweep of the brush, around the places that she walked as a young woman. The waterholes gradually took over the picture plane with the elliptical forms of the centre of the waterhole, bleeding over the edges, reconstructing precisely the view that she would have known as she drew water from the jila.�

A Former Mangkaja Art Centre Manager

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Kurntumarrajarra The Estate of Paji Wajina Honeychild Yankarr

ReDot Fine Art Gallery is honoured and excited to be able to release the last works by the highly esteemed Paji Wajina Honeychild Yankarr some nine years after her passing in what will fittingly be her first ever solo exhibition.

Honeychild was a founding member of Mangkaja Arts Resource Agency in the early nineties and first exhibited work in the exhibition ‘Karrayili’ in Tandanya, Adelaide, 1991. She was also represented in ‘Images of Power: Aboriginal Art of the Kimberley’ - National Gallery of Victoria, 1993. She instantly gained national recognition and became one of the core group of artists at the art centre who continued to paint and exhibit consistently throughout the 1990s with her domestic appeal soon moving internationally, with a major work eventually exhibiting in the AAMU (Museum of Contemporary Aboriginal Art) in Utrecht, Netherlands.

She also worked on the two eminent Ngurrara canvases in 1997, which were pivotal in proving the groups connection to country and later led to their successful Ngurrara Native Title Claim.

Her works are blatant records of her desert country with the recurring theme in her works being the Jila (waterhole) of various sites in the Great Sandy Desert which is one of the major ancestral areas for her people. As she stated in 1994, ‘I put water in my paintings, places we were walking around’ and this was unchanged as her central motif until her passing.

Mangkaja’s then manager beautifully summarises her practice...

To watch her paint, there was a sense that she walked around in her paintings, with the broad sweep of the brush, around the places that she walked as a young woman. The waterholes gradually took over the picture plane with the elliptical forms of the centre of the waterhole, bleeding over the edges, reconstructing precisely the view that she would have known as she drew water from the jila.

This seminal body of work from her estate, aptly titled after her birth place ‘Kurntumarrajarra’, stands testament to an important artist and cultural leader. The inclusion of both early works on paper and her later works on canvas gives depth to her practice and an insight into an artist who’s practice spanned almost twenty years. This wonderful retrospective will forever be revered as the final and only solo exhibition of a pivotal figure in the Aboriginal Art Movement, a fitting finale for a wonderful proponent of the contemporary and modern art movement.

Giorgio Pilla Director ReDot Fine Art Gallery

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Paji Wajina HONEYCHILD YANKARR 1914 - 2004

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Some ninety years ago, a child was born at Kuntumarrajarra, a waterhole in the south central region of the Great Sandy Desert. On Saturday 4th December 2004, Paji Honeychild Yankarr died having completed over these years one of the most inspiring personal journeys of any Australian.

From birth, she lived with her family around Yirtil a permanent, spring fed waterhole surrounded by her beloved sandhill country. They were living here when her mother announced that her husband had come. She moved, not far, to another stand of desert paperbarks skirting the waterhole, and stayed there, a little frightened with her first companion. He was clearly much older and sometime into the relationship, he became ill. She was charged with the responsibility of accompanying him on his departure from the camp and from their world. He died several days after their selfimposed exile and she stayed with his body until she was strong enough to undertake the four-day walk back to Japirnka, the main jila for her family further to the north.

As a young woman she became an accomplished hunter and gatherer of an extremely diverse range of bush fruits, seeds and meat. Mona Chuguna and her husband Peter Skipper remember how well she provided for them in the years in the desert. ‘When we were living in the desert, even in weather like today, parrangka we call it, hot weather time, she would go hunting for animals and bush food. All of the kids had to wait in camp. She was a good hunter for us. She collected all of the bush tucker that she put in her paintings. She found wirlka, (sand goanna) and maliri (Hare wallaby) and all of the seeds like kulparn, lungkurn and puturu’.

She moved further north to the station country with the last wave of her countrymen in the 1960s. She came first to Timber Creek, a watercourse on the fringe of the pastoral country. She stayed there for several months, afraid, watching the foreigners. Her nephew, the late Jimmy Pike had gone ahead to see the station and he came back for her and several others. They went to Old Cherrabun Station where she worked washing clothes, watering the garden, cutting the grass with scissors and cooking for the stock camp.

In tandem with the introduction of the equal pay laws of the early 1970s, she moved into town, living at the old mission near the newly established town community of Junjuwa. She became involved with Karrayili Adult Education Centre and began painting; as Jukuna relates, Honeychild asked herself what she should do now that her work was finished, ‘I will paint my own country, the desert’; and for almost twenty years she did this. Her first images were the product of language classes at Karrayili

and these caught the eye of the publishers at Magabala Books in Broome. In 1990 they produced the Boughshed series of cards that included images from fellow artists such as Nyuju Stumpy Brown, Janyka Ivy Nixon (dec), Nada Rawlins and Jukuja Dolly Snell. These provided the impetus for the first Karrayili group show at Tandanya Aboriginal Cultural Institute in 1991. Honeychild was one member of the core group of artists who continued to paint and exhibit consistently throughout the 1990s with shows nationally and internationally.

Her immediate family include some important artists. Jukuna called her jaja or grandmother, she was ngawiji or father’s mother for Peter Skipper, aunt to Jimmy Pike, sister for Jimmy Nerrimah, aunt for Wakartu Cory Surprise, ngawaji for Walka Molly Rogers, sister to Llanyi Alec Rogers and Murungkurr Terry Murray called her juku or niece.

She worked on the two Ngurrara canvases with these and other artists including her late husband Boxer Yankarr. Her works are blatant records of her desert country.

The inclusion of bush foods as decorative elements in the work was omitted as she grew older. As she stated in 1994, ‘I put water in my paintings, places we were walking around’ and this was unchanged as her central motif. To watch her paint, there was a sense that she walked around in her paintings, with the broad sweep of the brush, around the places that she walked as a young woman. The waterholes gradually took over the picture plane with the elliptical forms of the centre of the waterhole, bleeding over the edges, reconstructing precisely the view that she would have known as she drew water from the jila.

For Jukuna, the reason why she should be remembered in these words was for her unswerving efforts to look after her and her siblings as they were growing up in the desert. It was not an easy task but she was a great carer, provider and she knew all of the bush medicines and their applications. She ‘grew up’ seventeen children although none of them were her own biological offspring. She has many nieces and nephews and is survived by one brother, Watikakarra Stalin.

On Monday 6th December, Mangkaja was closed, in a hopelessly inadequate tribute to a most remarkable individual, hunter, carer and artist.

Artlink Vol 25 no 2, 2005 – in conjunction with Mangkaja Arts

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“Minyarti wangki jilingajangka. Kuluwakarra kuyiwu palurla muupungani marranyanjawurlu. Purlka ngapa manyanangurla pirriyani kurtukurtujangka.

Mangangala manyanta ngapa takuyani, makurrujarrinyala kaninykaniny. Manga nyanarti pa kirrarnumarta, lamparn. Lungani palunyanta.

Pirrilaparnkarranya pajarra jajarlangu kayilungu. Nyanarti marnanya lungujangka pinamani, yanila marnanyanangu, manganga palunyanta nyanayirla linyangurra.

Wali manga marnalu martarnani jirrji kaninypaljarti. Pinya marnalu palpu. Rangarni, wanjijarrinya. Nyanartijangka, yawupunganila palu warlujangkajawurlu kitangarni purtparajarrinya kaninykaniny nyantukurajinyanujarrinya.

Wali ngararra pajarra kayirrarala tikiyani. Manga marna nyanarti warntarni kurrkungjangka yarr parntakarrinyjangka. Warntarnkarranya marna jiljingkurra marnpangkurra parayani. Nyanawurla marnalu jinjinga nganampa kirrarnani.

Ngapa ranyani, pajanani marnapanya nyana. Wali murrmartirla marnalu tikiyani kurlirrara kaninyjurra ngapakarti Jinyipungukarti.”

“This is a story from the sandhill country. It was the cold season, but kuluwa (winter rain) was falling, and the people were away from camp hunting for animals to eat because they were hungry. Rain poured down on them from a heavy black sky, and a little girl got very wet, chilled right through. She was quite small-just starting to sit up-and people were crying over her, fearing she would die.

My granddaughter and I were sitting a little to the north and we heard the crying, so we ran over to see what was wrong. We held the little girl with her nose down and gave her a thump on the back. She started to breathe again and came back to life. Then people took sand that had been heated by the fire and rubbed it over her body until she warmed up and was her normal self again.

After that the two of us went back. My granddaughter huddled in a hole to keep out of the rain. I took her with me to join the others on the sandhill nearby, where we all sat together waiting for the rain to stop.

The biting cold rain finally moved away, and then we walked back down across the damp sand, south to Jinyipungu waterhole.”

Extract from; Out of the Desert, Stories from Walmajarri Exodus – Magabala Books

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Works On Canvas (2003 - 2004)

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Paji Wajina HONEYCHILD YANKARR

Jirrkany and Gurrlujarti Derivan Matisse Acrylic on Canvas 150 x 120cm pc349/03

This country is in the Great Sandy Desert of Western Australia.These are two jumu (soak waterholes) Jirrkany and Gurrlujarti. We used to live here in the old days before whitemen came. This country is my mothers and fathers and the old generations who went before us. Today we go out visiting these places and to show our young ones.

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Paji Wajina HONEYCHILD YANKARR

Thuori Atelier Artist Acrylic on 11oz Canvas 140 x 100cm pc348/03

When the rain came, this water been fill’em-up... big water, like a lake. There was good drinking water there. Mother and father took us there, we were so tired, all of us. There was my brother and two sisters there too. Only me and my brother still alive... mother and father finished. We dug out that waterhole when the bush tucker ran out, when there was lots of grass. My mother father and brother (he was a big boy) they went hunting & caught two big cattle... good feed.

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Paji Wajina HONEYCHILD YANKARR

Jupurr and Yirtil Jila II Atelier Artist Acrylic on 11oz Canvas 140 x 100cm pc553/04

This is my mother and my father’s country called Jupurr.

There is a cave here with the jila (living water) inside.

There is good yellow ochre here. We used to camp here in the hot weather time. There is always water here in this place.

This is jilji (sandhill) country. There are lots of trees with plenty of seeds to eat. We cook them in the coals and then grind them. These two waterholes Jupurr and Yirtil , are my main living waters, we walked all around here.

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Paji Wajina HONEYCHILD YANKARR

Ngarrjarangu Atelier Artist Acrylic on 14oz Canvas 90 x 120cm pc346/03

This is a wirrkuja (rockhole) called Ngarrjarangu. There is yuka (grass) all around the waterhole and high jilji (sandhills). I lived in this country when I was young.

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Paji Wajina HONEYCHILD YANKARR

Partal Partal Atelier Artist Acrylic on 14oz Canvas 120 x 90cm pc347/03

This is a wirrkuja (rockhole) that fills up after rain. This is my country in the Great Sandy Desert. There are lots of jilji (sandhills) and red ground all around.

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Paji Wajina HONEYCHILD YANKARR

Thuori Atelier Artist Acrylic on 11oz Cotton Duck 120 x 60cm pc121/04

When the rain came, this water been fill’em-up... big water, like a lake. There was good drinking water there. Mother and father took us there, we were so tired, all of us. There was my brother and two sisters there too. Only me and my brother still alive... mother and father finished. We dug out that waterhole when the bush tucker ran out, when there was lots of grass. My mother father and brother (he was a big boy) they went hunting & caught two big cattle... good feed.

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Paji Wajina HONEYCHILD YANKARR

Japinka Atelier Artist Acrylic on 11oz Cotton Duck 120 x 60cm pc321/04

This is an important jila (living spring) in my country.

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Paji Wajina HONEYCHILD YANKARR

Mikulpurrtu Atelier Artist Acrylic on 11oz Cotton Duck 90 x 55cm pc598/04

There is water all around here after the wet. When the palma (small creeks) dry up there is still good living water here. It is a good place to find bush foods. This place is a long way into the desert. It is on the Fitzroy Crossing side of the Canning Stock Route.

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Paji Wajina HONEYCHILD YANKARR

Milkurla Atelier Artist Acrylic on 11oz Cotton Duck 90 x 40cm pc349/04

This is a wirrkuja. These are rockholes which fill up after rain. They have good cool water. Raining time we used to drink here. It gets dry in the cold months.

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Paji Wajina HONEYCHILD YANKARR

Nurtu Atelier Artist Acrylic on 11oz Canvas 80 x 60cm pc323/04

This is Nurtu Jila. The water stays here all year and there is lots of bush food here. It is a good hunting place. This is my mother and father’s country. My mother had five children.

This is the place where we grew up. It is close to Jupurr and Yirtil, two more jila (permanent waterholes) where we walked around before.

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Paji Wajina HONEYCHILD YANKARR

Milkurla Atelier Artist Acrylic on 11oz Canvas 80 x 60cm pc325/04

This is a wirrkuja (waterhole in rock which fills up after rain). We would drink water from here in the wet time.

In the hot weather time we stayed near the jila (living waterhole). We only stayed in the rocky country for short time after the rain.

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Paji Wajina HONEYCHILD YANKARR

Nurtu Jila Atelier Artist Acrylic on 14oz Canvas 45 x 60cm pc512/04

This country call Nurtu. There is a jila (living water hole) here. My mother and father used to live around this jila when I was a little girl. My parents used to go hunting for bush meats and yams and other foods, and I used to travel around with them.

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Works On Paper (1991 - 2004)

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Kurntumarrajarra Derivan Matisse Acrylic - 250gsm Velin Arches Paper 75 x 152cm wp241/94

Paji Wajina HONEYCHILD YANKARR

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When I did this painting I was thinking about the colours. I was thinking about my language words and English words.

This is rocky country, there are rocks all round here. This is my country, there are turtujarti trees here too. This is a desert tree which has ngarlka nuts.

On Reverse Signed “Honeychild�

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Paji Wajina HONEYCHILD YANKARR

Purrlujarra Derivan Matisse Acrylic - 250gsm Velin Arches Paper 76 x 112cm wp305/92

This is a pirnti (claypan) we called Purrlujarra. During the wet season time this claypan is filled with water which makes a great living and hunting place.

On Reverse Signed “Honeychild”

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Paji Wajina HONEYCHILD YANKARR

Warnti Derivan Matisse Acrylic - 250gsm Velin Arches Paper 76 x 105cm wp172/96

This is a jila (living waterhole) called Warnti. This is the place for jalurn (hail) storms. When the rain comes, the water runs everywhere.

On Reverse Signed “Honeychild�

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Paji Wajina HONEYCHILD YANKARR

Warrnyan Atelier Acrylic, 250gsm Velin Arches Paper 75 x 105cm wp109/01

Warrnyan is the name for this jila. We slept outside, near this jila. There is good water here and lots of flowers. This is my father’s country.

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Paji Wajina HONEYCHILD YANKARR

Pulujarra Atelier Acrylic, 250gsm Velin Arches Paper 75 x 105cm 435/11

This is dry rocky country. It is only good after the rain.

The water sits in the holes in the rock. These are called jiwari or wirrkuja. We found good water to drink in these rockholes.

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Paji Wajina HONEYCHILD YANKARR

Wirrkuja Atelier Acrylic, 250gsm Velin Arches Paper 75 x 105cm 436/11

This is a wirrkuja (waterhole in rock which fills up after rain). We would drink water from here in the wet time.

In the hot weather time we stayed near the jila (living waterhole). We only stayed in the rocky country for short time after the rain.

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Paji Wajina HONEYCHILD YANKARR

Yirritul Atelier Acrylic, 250gsm Velin Arches Paper 75 x 105cm wp469/93

This country is Yirritul two waterhole (jurrputi jila).Two spiritual men (nganpayi) were covering up the waterhole (jila). All the Murrarugurrd little people use to cover up the young boys and girls when they played in the sandhills and Kukurlyrruw (bushes) around the jila. This is my grandfather’s country.

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Paji Wajina HONEYCHILD YANKARR

Yirtil Atelier Acrylic, 250gsm Velin Arches Paper 75 x 105cm wp490/93

This is my mother’s and my father’s country. In the hot weather time we were living here at this jila (living waterhole). In raining time we would go to other places where there were jumu (soakwaterholes). We had to stop here in the hot weather time so that we always had water.

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Paji Wajina HONEYCHILD YANKARR

Dry Place Derivan Matisse Acrylic - 250gsm Velin Arches Paper 75 x 105cm wp296/99

We could only camp in this place during the wet because in the dry time there is no water in this country.

There are rocks and jilji, sand hills all round here.

The rocks are red and dark purple, it is rocky country.

On reverse Signed “Honeychild�

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Paji Wajina HONEYCHILD YANKARR

Kurntumarrajarra Atelier Acrylic, 250gsm Velin Arches Paper 105 x 75cm wp363/04

This painting is for a country called Kurntumarra jarra. This is a waterhole in the hills. There are also lots of wirrkuja there too. Wirrkuja is rockholes full of water after the rain.

When this waterhole dries up there is still some water in the wirrkuja.

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Paji Wajina HONEYCHILD YANKARR

Mukurrurtu Atelier Acrylic, 250gsm Velin Arches Paper 105 x 75cm wp364/04

This is my country called Mukurrurtu. This is desert country. There are big high jilji (sandhills). We call them pilyurr pilyurr.

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Paji Wajina HONEYCHILD YANKARR

Mukurrurtu Atelier Acrylic, 250gsm Velin Arches Paper 105 x 75cm wp365/04

This is my country called Mukurrurtu. This is desert country. There are big high jilji (sandhills). We call them pilyurr pilyurr.

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Paji Wajina HONEYCHILD YANKARR

Ngarrjarang Atelier Acrylic, 250gsm Velin Arches Paper 56 x 76cm 462/11

This is my mother and father’s country. It is called Ngarrjarang. This water is a wirrkuja (rockhole which fills up with water after rain). When I was a kid we would swim here lots of times while our parents would light fires and get food ready for us.

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Paji Wajina HONEYCHILD YANKARR

Kirrirti Atelier Acrylic, 250gsm Velin Arches Paper 56 x 76cm 464/11

This country is called Kirrirti. The water hole is a karru, (creek) but it dries out It is same like wirrkuja (rockhole where water collects after rain). After the rain this creek gets very full. There is also lots of big shade trees along the banks of the creek. When we were living in the desert, we would camp around here for days before moving to another water hole. Sometime we would stay here until it dried up.

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Paji Wajina HONEYCHILD YANKARR

Mukurrurtu Acrylic Matt Paint on 300gsm S&W Paper 56 x 76cm wp12/92

This is my country called Mukurrurtu. This is desert country. There are big high jilji (sandhills). We call them pilyurr pilyurr.

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Paji Wajina HONEYCHILD YANKARR

Wakurra Derivan Matisse Acrylic - 250gsm Velin Arches Paper 56 x 76cm wp430/91

This is high jilji (sandhill) country. After the rain the water lies between the jilji. The jilji are very high here.You cannot see over them.

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Paji Wajina HONEYCHILD YANKARR

Wakurra Derivan Matisse Acrylic - 250gsm Velin Arches Paper 56 x 76cm wp62/92

This is high jilji (sandhill) country. After the rain the water lies between the jilji. The jilji are very high here.You cannot see over them.

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Paji Wajina HONEYCHILD YANKARR

Nurti Atelier Acrylic, 250gsm Velin Arches Paper 56 x 75cm 448/11

We lived in this country, my mother, father and my two sisters and myself. I was small when I lived here. I had no husband yet.

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Paji Wajina HONEYCHILD YANKARR

Palpinjalany Atelier Acrylic, 250gsm Velin Arches Paper 54 x 75cm 438/11

There are a lot of red flowers in this country and different coloured flowers too. In rain time the water fills up the waterholes. There is no living water here. The water finishes in the cold weather time. It is very rocky country.

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Paji Wajina HONEYCHILD YANKARR

Jupurr Atelier Acrylic, 250gsm Velin Arches Paper 75 x 53cm 456/11

Jupurr this is my country.

Some people are camping here. There is grass here, it is soft after the rain, like lawn. There are birds and flowers in the trees.

On Reverse Signed “Honeychild”

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Paji Wajina HONEYCHILD YANKARR

Jarjupi Country Atelier Acrylic, 250gsm Velin Arches Paper 53 x 75cm 457/11

This is my country Jarjupi it is a ngapa jila (living waterhole).

Jarjupi is surrounded by huge jiljiwarnti (sandhills), pirnti (claypans) and the jila is always full with water all year round.

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Paji Wajina HONEYCHILD YANKARR

Jarjupi Country Derivan Matisse Acrylic - 250gsm Velin Arches 53 x 75cm wp141/96

This is my country Jarjupi it is a ngapa jila (living waterhole).

Jarjupi is surrounded by huge jiljiwarnti (sandhills), pirnti (claypans) and the jila is always full with water all year round.

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Paji Wajina HONEYCHILD YANKARR

Wirrkuja Atelier Acrylic, 250gsm Velin Arches Paper 52 x 75cm 461/11

This is a wirrkuja (waterhole in rock which fills up after rain). We would drink water from here in the wet time.

In the hot weather time we stayed near the jila (living waterhole). We only stayed in the rocky country for short time after the rain.

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Paji Wajina HONEYCHILD YANKARR

Jarjupi Atelier Acrylic, 250gsm Velin Arches Paper 52 x 75cm wp044/96

This is my country Jarjupi it is a ngapa jila (living waterhole).

Jarjupi is surrounded by huge jiljiwarnti (sandhills), pirnti (claypans) and the jila is always full with water all year round.

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Paji Wajina HONEYCHILD YANKARR

Jupurr Atelier Acrylic, 250gsm Velin Arches Paper 50 x 65cm 451/11

This is my mother and my father’s country called Jupurr.

There is a cave here with the jila (living water) inside.

There is good yellow ochre here. We used to camp here in the hot weather time. There is always water here in this place.

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Paji Wajina HONEYCHILD YANKARR

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Group Exhibitions 2012 ‘Mangkaja Arts 21 Year Anniversary: Wirrinyiya ngaragngarag birra ngamoo ngamoo’ - Tandanya, Adelaide, SA 2008 ‘Divas of The Desert’ - Gallery Gondwana, Sydney, NSW 2007 ‘Women Artists of Fitzroy Crossing’ - Raft Artspace, Darwin, NT ‘Jila, Jilji and Miyi – Mangkaja Arts’ - Cool-Art Gallery, Coolum Beach, QLD ‘New Legend’ - KALACC and William Mora Galleries 2006 ‘Divas of the Desert’ - Gallery Gondwana, Alice Springs, NT ‘Big Country’ - Gallery Gondwana, Alice Springs, NT ‘Mangkaja Group Show’ - Boutwell Draper Gallery, Sydney, NSW 2005 ‘Jiljijanka Marnin [Women from the Sandhills]’ - Alcaston Gallery, Melbourne, VIC ‘Surprise; Cory & Friends’ - ReDot Gallery, Singapore 2004 ‘Broken Promises’ - Short St Gallery, Broome, WA ‘Ngurrara Canvas’ - Perth Concert Hall, Perth International Arts Festival, WA 2003 ‘Water and Food’ - Cullity Gallery, University of Western Australia ‘Fitzroy Fusion’ - Raft Artspace, Darwin, NT 2002 ‘Group Show’ - Flinders Lane Gallery, Melbourne, VIC ‘Recent works from Mangkaja Arts’ - Short St Gallery, Broome, WA ‘Short on Size’ - Short St Gallery, Broome, WA 2001 ‘Mangkaja Arts 10 Years On’ - Tandanya, National Aboriginal ‘10 Year Anniversary Exhibition’ - Cultural Institute, Adelaide, SA ‘Ngurrara Canvas’ - National Gallery of Australia, ACT ‘Past modern, Australia Square’ - Short St Gallery, Sydney, NSW ‘Fitzroy Women’ - Short St Gallery, Broome, WA ‘Short on Size’ - Short St Gallery, Broome, WA

2000 ‘Past modern, Australia Square’ - Short St Gallery, Broome, WA ‘Short on Size’ - Short St Gallery, Broome, WA 1999 ‘Ngurrara’- Japingka Gallery, Fremantle, WA ‘Short On Size’ - Short St Gallery, Broome, WA 1998 ‘Group Exhibition’ - Rebecca Hossack Gallery, London 1997 ‘Group Exhibition’ - Hogarth Gallery, Sydney, NSW 1996 ‘Broken Promises’ - Tandanya National Aboriginal Cultural Institute, Adelaide, SA ‘Mangkaja Group Exhibition’ - Hogarth Gallery, Sydney, NSW 1995 ‘Group Exhibition’ - Australian Perspectives Gallery, Brisbane, QLD 1994 ‘Ngajakura Ngurrara Mainyarti [This Is My Country]’ - Artplace, Perth, WA 1993 ‘Images of Power’ - National Gallery of Victoria ‘Mangkaja Women’ - Fremantle Arts Centre, Perth, WA 1992 ‘Group Show’ - Hogarth Gallery, Sydney, NSW 1991 ‘Karrayili’ - Tandanya National Aboriginal Cultural Institute, Adelaide, SA

Collections Berndt Museum University of Western Australia, Perth Edith Cowan University, Perth Museum and Art Gallery of the Northern Territory (MAGNT), Darwin National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Charles Darwin University, Darwin Pat Corrigan Collection The Lepley Collection

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