Nola Yurnangurnu Campbell

REDOT FINE ART GALLERY in collaboration with Warakurna Artists presents

NOLA YURNANGURNU CAMPBELL A Collection of Fine Warakurna Indigenous Art

14 Dec 2020 – 31 Jan 2021

Online Exhibition

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

c o n t e m p o r a r y

i n d i g e n o u s

a r t

Nola working on her Tjukurpa at Patjarr | Source: © Photo Courtesy of Emilia Galatis Projects

ReDot Fine Art Gallery would like to firstly thank Jane Menzies, for her vision and undying commitment to make this show a reality, despite not being the manager of Warakurna for some time now. It has been a 4 year labour of love which she has never allowed to fall through the cracks despite many obstacles, changing managers and the dreaded COVID in 2020 which threatened to derail everything at the final moment.

Warm appreciation also to Tim Pearn and Emilia Galatis for their support of this project, for giving their time to source archive images and share stories with you all, and to the new Manager Jacob Gerrard-Brown and Studio Manager Lara Smith of Warakurna Artists for continuing the positivity around this project when they took office earlier this year.

Finally, the most important thank you to the beautiful Nola, without whom this project would, well not exist!

Giorgio Pilla Director ReDot Fine Art Gallery

Nola’s work drying al fresco in Patjarr Source: © Photo Courtesy of Emilia Galatis Projects

Introduction “Where’s that maku?” I ask Nola as we bounce down the road towards Mina Mina from Patjarr community to collect firewood. Nola grins to reveal the most enormous raw witchetty grub in her mouth, that a few moments earlier was plopped wriggling desperately for freedom on the dashboard as she hoisted herself into the car. “Go on!

Get out” she barks at her dogs as they jostle about her!

Here in Patjarr at the end of the dead-end road, on a spur off the disused Gunbarrel Highway, is the quintessential whitefella’s dead heart of Australia. A place of such superstition and almost unearthly charisma that it draws both Aboriginal and nonAboriginal people back to a place on the edge of things.

Patjarr community sits at the end of the line, looking out into a pre-contact Australian landscape, surrounded by Tjukurrpa (dreamtime) sites and stories. The recent autumnal thunderstorms and following summer rains fill the Karilywara creek and rock hole in the nearby Clutterbuck Hills - a location where Ian Dunlop filmed the renowned Desert People, which features Nola as a young girl, then called by her skin name Nyungala.

“For Nyungala, like all girls of her age, food collecting is a serious business”1 I watched the film with Nola one morning, with its BBC-like starchy narration, and we laughed as friends and family come and go across the screen, trapped in time and space at familiar places like the Tika Tika rockholes south of Patjarr.

‘Look there’s Tjungupi! Manupa! and Mr Carnegie!’1 The film chronicles the daily activities of a Manyjilyjara family living a traditional lifestyle, who have recently ‘come in’ to meet the ever-encroaching reach of contemporary Australia of the 1960’s.

“A mitjitji (white lady - likely a school teacher at the mission) gave me the name Nola,” she says.

And Nola like the other first contact artists remain hard wired to this day to go hunting; a strong wind blows up and people chorus – “hunting- hunting – strong wind yuwa!

Where today? Up towards Kunangurra - Tjamantjarra Rock Hole way!”

1

Ian Dunlop film commentary - The Desert People, Ian Dunlop 1967, 49 minutes.

A ute rattles out of the community to drop ladies off hunting with the dogs noisily circling their owners like electrons round their nuclei, yelping with excitement desperate to get onto the vehicle or chasing it relentlessly.

From a distance either north or south, plumes of smoke rise up from hunting fires set by the women indicating the age old presence of human activity in the vastness of the Gibson Desert.

Patjarr is the only place in Western Australia where I have witnessed people walk out of community to go hunting if vehicles were not available; returning covered in orange karliny-karliny blossoms of the sugary honey Grevillea flowers dripping with nectar.

Later in the day as the sun lowers in the western sky, a ute will trundle back into town – with tales of the day’s catch. How many tirnka (small sand goanna) or meow-meow (feral cat)?

Left: Nola Campbell | Source: © Photo Tim Pearn Top Right: Nola Campbell, Kayili Artists studio | Source: © Photo Tim Pearn Bottom Right: Nola Campbell, painting at home, Patjarr | Source: © Photo Tim Pearn

I first met Nola when I was setting up Kayili and Warakurna Artists art centres from 2003, now amalgamated into one art centre servicing artists in Patjarr, Warakurna and Wanarn.

Many of the participants in the Desert People film became acclaimed artists as Kayili Artists enabled them to reach national and international audiences celebrating their surrounding country rich in Tjukurrpa including the nearby contentious Gibson Desert Nature reserve.

The first Kayili Artists exhibition was their debut sell out appearance at Desert Mob 2004 and featured key Patjarr artists including Nola’s late husband - the Zen like master artist; Coiley Campbell.

Coiley Campbell (Dec) was the principal architect of the Kayili Artists Collaborative masterpiece, Yunpalara (Lake Blair); painted at the lake in the heart Gibson Desert Nature Reserve it set a record price in 2019 for a collaborative painting in New York at Sotheby’s fetching AUS $235,000.

Like other first nations people living in extreme landscapes such as the Arctic - people of the Gibson Desert are resourceful and have a great sense of humour tackling the hardships of a challenging environment.

Like Nola’s companionable self her paintings make for good company! They are evocative of the landscape, intimately populated with memories of rituals, family and stories at rock holes and special places dotted throughout the desert that she knows so well and ultimately celebrate her home.

Full of humour, like Nola, but with the power and gravitas of the landscape that hides its wealth of Tjukurrpa and culture amongst the sea of never ending peaks and troughs of sand dunes.

In her later years Nola still an avid hunter would get out of the ute with her dogs in tow, place bags and water at a nearby mulga tree – turn and say “come back after! Palya! I’d reply and watch her with her distinctive walk, crowbar in hand, shuffle out through the spinifex and melt away into the vast space of the desert.

Tim Pearn Creative Development Consultant

Source: © Photo Courtesy of Emilia Galatis Projects

Nola is industrious, hard working, patient, and a dependable loving grand mother with a great sense of humour; the desert is a happy place to share with Nola.

Nola and grandson at Mina Mina, 2016 Source: © Photo Courtesy of Warakurna Artists

Nola working on a large painting on the verandah at Patjarr | Source: © Photo Courtesy of Emilia Galatis Projects

“From daybreak to sunset, Nola Campbell’s artworks define a point of convergence of the past; stories passed down to her, lived experience of the country she and her ancestors have walked across; and the now.”

WORKS ON CANVAS

Ngayuku Ngurra

Ngayuku Ngurra (my home/country) depicts Nola’s country north west of Patjarr, at a series of rockholes around Yirril. Nola was born at Majaputi rockhole, in the vicinity, and grew up walking from one rockhole to the other in search of food and water with her family.

The rockholes depicted include Munmul, Yirril, Majaputi, Tjimari and Patanta. It is a DNA map, if you will, of Nola’s ancestors’ travels, ancient tjukurrpa and Nola’s identity as a strong Ngaanyatjarra woman who lived a nomadic life up until the establishment of the missions.

This painting is about Nola, and where she comes from.

Nola Yurnangurnu CAMPBELL Ngayuku Ngurra Acrylic on Canvas 152.4 x 101.6cm 100-19

All of Patjarr

These paintings are a representation of Patjarr, and specifically to the three diverse and significant dreaming sites across Patjarr, in the Gibson Desert, which Nola continually refers to as subject matter in her paintings. This painting references and pays homage to Nola’s experience of the country around Patjarr, and of the significant sites she walked between as a young girl with her family.

One of those special places is Mina Mina, a sacred site full of bird life and claypans.

Another referenced in these paintings is Tika Tika. The Tika Tika rockholes are south of Patjarr, and there are eight rockholes there. They were made by Ngirntaka the perenti goanna ancestor who travelled from the west to Warburton. He was digging around hunting for tirnka (sand goanna) for food. He found two tirnka to eat. He stopped one night and kept going in the morning. People were camping at Tika Tika before Patjarr community was developed. Nola lived there as a young girl and walked around with her uncles and aunties, hunting and learning. They often walked from Yalara rockholes to Tika Tika carrying water in a wooden dish called a kilpi.

The third site is Yunpalara (Lake Blair), a large lake bed west of Patjarr. It is more often dry than not, relying on rainfall to fill it. After rain the lake is home to many water birds.

The surface cracks as it dries. Ngirntaka (the perentie goanna) travelling from Well 33 on the Canning Stock Route came through this area and made Yunpalara on his way with a large sweep of his tail.

These works are significant as they serve as documentation of three sacred sites in the vast landscape of the Gibson Desert, and the Gibson Desert Nature Reserve, culturally rich and powerful places for the Patjarr people, immortalising and maintaining them in the living memory for many more years to come.

Patjarr Creek Full after the Rains Source: © Photo Courtesy of Warakurna Artists

Nola Yurnangurnu CAMPBELL All of Patjarr Acrylic on Canvas 101.6 x 121.9cm 986-17

Finalist : Hadley Art Award 2018 – Hadley’s Orient Hotel. Hobart, TAS, Australia.

Nola Yurnangurnu CAMPBELL All of Patjarr Acrylic on Canvas 101.6 x 121.9cm 975-17

Nola Yurnangurnu CAMPBELL All of Patjarr Acrylic on Canvas 76.2 x 152.4cm 101-19

Nola Yurnangurnu CAMPBELL All of Patjarr Acrylic on Linen 76 x 152cm 174-19

Nola Yurnangurnu CAMPBELL All of Patjarr Acrylic on Canvas 76.2 x 152.4cm 273-19

The road to Patjarr from the Gunbarrel Highway | Source: © Photo Tim Pearn

Nola Yurnangurnu CAMPBELL All of Patjarr Acrylic on Canvas 76 x 152.4cm 295-19

Nola Yurnangurnu CAMPBELL All of Patjarr Acrylic on Canvas 76.2 x 152.4cm 466-19

Nola Yurnangurnu CAMPBELL All of Patjarr Acrylic on Canvas 60.5 x 121.9cm 202-19

Nola Yurnangurnu CAMPBELL All of Patjarr Acrylic on Canvas 70.2 x 101.6cm 249-19

Nola Yurnangurnu CAMPBELL All of Patjarr Acrylic on Canvas 101.6 x 50.8cm 386-19

Nola Yurnangurnu CAMPBELL All of Patjarr Acrylic on Canvas 76.2 x 76.2cm 483-18

Nola Yurnangurnu CAMPBELL All of Patjarr Acrylic on Canvas 38.1 x 76.2cm 407-18

Yunpalara

Yunpalara (Lake Blair) is a large lake bed west of Patjarr. It is more often dry than not, relying on rainfall to fill it. After rain the lake is home to many water birds. The surface cracks as it dries. Ngirntaka (the perentie goanna) travelling from Well 33 on the Canning Stock Route came through this area and made Yunpalara on his way with a large sweep of his tail.

Nola Yurnangurnu CAMPBELL Yunpalara Acrylic on Canvas 76.2 x 152.4cm 73-18

Nola Yurnangurnu CAMPBELL Yunpalara Acrylic on Canvas 76.2 x 152.4cm 150-18

Nola Yurnangurnu CAMPBELL Yunpalara Acrylic on Canvas 76.2 x 152.4cm 167-18

Nola Yurnangurnu CAMPBELL Yunpalara Acrylic on Canvas 76.2 x 152.4cm 168-18

Nola Yurnangurnu CAMPBELL Yunpalara Acrylic on Canvas 101.6 x 76.2cm 284-18

Exhibited at DesertMob 2018, Araluen Arts Centre, Alice Springs, NT, Australia.

Karilywara Creek | Source: © Photo Tim Pearn

Tika Tika

Tika Tika rockholes are south of Patjarr, there are eight rockholes there. They were made by Ngirntaka the perenti goanna ancestor who travelled from the west to Warburton. He was digging around hunting for tingka (sand gaonna) for food. He found two tingka to eat. He stopped one night and kept going in the morning. People were camping at Tika Tika before Patjarr community was developed. Nola lived there as a young girl and walked around with her uncles and aunties, hunting and learning. They often walked from Yalara rockholes to Tika Tika carrying water in a wooden dish called a kilpi.

Nola Yurnangurnu CAMPBELL Tika Tika Acrylic on Canvas 152.4 x 76.2cm 956-17

Nola Yurnangurnu CAMPBELL Tika Tika Acrylic on Canvas 101.6 x 50.8cm 370-16

A Day in the Life of Nola It’s 8am, it’s hot, and there’s a percussive knock at the Patjarr Art House door accompanied by a cacophony of clanging and barking as the tails of Nola’s dogs, Whitey and Fluffy, hit the fly screen door. I open the door and Nola shuffles in, manoeuvring herself between a small gap in the doorway, pushing the dogs back outside, despite their insistence that they too are invited inside. The dogs go wherever Nola goes, but not inside the art house when we can both help it.

Nola sits down at the table, with her stick to her side and we sit down to a cup of tea.

She talks in dulcet tones to the dogs who have moved around to the other side of the house so they can see her through the glass sliding door. Whitey is the special one.

He’s a big white roo dog who looks like a mixed breed greyhound. Nola takes Whitey with her everywhere. If she goes to Wanarn, (a three hour drive south east on a bumpy, corrugated road) Whitey goes with; if she goes to Patjarr, so does Whitey, and so on across the vast expanse that is the Ngaanyatjarra lands.

The dogs are whining, and Nola tries to calm them, until she gets fed up and yells, then starts laughing. More dogs have arrived now, and they’re jostling for attention. There must be around eight or so. She has a name for all of them, like Kungka, Mima, Blacky, Browny, Dingo, and Yama Yama.

When the dogs have quietened down, she’ll start to tell me a story in a mix of English and Ngaanyatjarra, some of which I understand, most of which I ask her to repeat until I get it. She’ll give me one of her broad gorgeous smiles and nod her head and index finger with a ‘Yuwao’ and then I know I’ve got it. Then she needs to use the phone to speak with her son.

Her family live in Wanarn for most of the year, however, she’ll come to Patjarr for painting workshops or with other family members to inspect and care for country over extended periods.

After a few stories, lots of laughing, a cup of tea, toast and jam, Nola will walk back to her house to shower and do some washing, and I’ll go down later and pick her up, and some of the other artists who are in Patjarr, for a day of painting.

Often the preamble to painting is madly chaotic, there’s a lot of driving around (sometimes in circles around the community); negotiation and organization of the day. Shopping is done to ensure there is food at the end of it. Nola and her contemporaries make sure family members are looked after before they go out to

work; and if going out bush, supplies, water, fuel, canvases, and paint are all packed and ready to go.

Whilst it’s a hectic start, as soon as we get on the road, or sit down to begin painting, the tension in the air subsides and a different energy takes over. Watching Nola paint is a thing to be cherished, and spending time with her is greater still.

She has a quiet seriousness, which is interspersed by moments of humour, when you least expect it. Like when a dog runs across her canvas after she has laid down some beautiful marks. She’ll chastise the dog, and then laugh at it. Then she’ll be quiet again.

I try not to interrupt her too much.

Left: Source: © Photo Courtesy of Emilia Galatis Projects Right: Nola’s dogs | Source: © Photo Jane Menzies

As she paints, her movements are slow, circumspect, and purposeful; and to one looking on, it’s meditative and transfixing, as though you’re witnessing something truly out of this world. And, while I may not ever fully comprehend the profundity of a Nola Campbell painting, the meaning of sublime to me is the work she produces, and of having the privilege to work with and get to know Nola.

Nola first learnt the lines and markings of the various stories she paints from her husband Mr Campbell (Dec), and her works bear the architecture of Mr Campbell’s design and artistry.

However from about 2014 and after numerous conversations and encouragement from former Manager, Emilia Galatis (who Nola has a long working relationship and Top Left: Source: © Photo Courtesy of Warakurna Artists Top Right: Source: © Photos Courtesy of Emilia Galatis Projects Bottom Left: Source: © Photo Casey Ayres, Courtesy of Warakurna Artists Bottom Right: Source: © Photos Courtesy of Emilia Galatis Projects

friendship with), Nola gained the confidence to add her own voice and style to the canvas. The works that have followed since, in my view, have taken on a freer and more painterly immediacy; ones that now bear the hallmarks of a ‘Nola Campbell’ painting.

A painter’s painter, Nola’s intuitive and astute process teamed with her graciousness, elegance, professionalism and generosity is an honour to work alongside. She surveys the canvas as though surveying her country, counting and checking the accuracy of the map she is transcribing. Sometimes singing, her works to me are more than just topographies of place.

They are the point of convergence of the past; stories passed down to her, lived experience of the country she and her ancestors have walked across; and the now.

After an hour or so, Nola will stop to have a sleep, eat some lunch, and then pick back up again or go home for the day. After a full day of painting, we might drive out to the creek to check on the water level, often with Nola’s grandkids who get in the car for the trip and a few dogs.

Invariably we end up with more dogs than humans.

If we don’t take the dogs, they’ll chase us the 20kms down the road and then we end up having to put them in the car anyway. I scowl and yell at the dogs to get out, and then realise I am fighting a losing battle.

I look over at Nola who seems to be stifling a laugh at my expense, and then I let out a resigned sigh. She laughs, I laugh reluctantly, and we drive out to the creek as the sun is rounding out its last hours, with layers of pastel blue, orange and pink stacked on top of each other over the horizon.

We arrive back at twilight, Nola and her grandkids get out, not before the dogs do, scrambling to ensure they don’t get left behind, and then we say goodnight.

Jane Menzies Warakurna Artists/Kayili Artists Manager (2015-2019)

WORKS ON PAPER

Ngikin Ngikin (older works)

The Ngikin Ngikin paintings depict Nola working in a new style and medium. Depicted in these works is a tjanpi man, a tree and grasses.

The Ngikin Ngikin is a tjukurrpa depicting quiet and shy dreamlike figures that are the height of grass. They have stringy like qualities and live in families on the other side of Patjarr between two rock-holes. They are nervous people that only come out in the afternoons and make a sound like spears in the wind. Sometimes they fight with each other and they live in wiltjas.

Nola Yurnangurnu CAMPBELL Ngikin Ngikin Ink on Paper 65 x 50cm 626-17

Nola Yurnangurnu CAMPBELL Ngikin Ngikin Ink on Paper 50 x 65cm 639-17

Nola Yurnangurnu CAMPBELL Ngikin Ngikin Ink on Paper 50 x 65cm 640-17

Nola Yurnangurnu CAMPBELL Ngikin Ngikin Ink on Paper 55 x 77cm 641-17

Nola Yurnangurnu CAMPBELL Ngikin Ngikin Ink on Paper 55 x 77cm 645-17

Ngikin Ngikin (recent works)

The Ngikin Ngikin paintings depict Nola working in a new style and medium. Depicted in these works is a tjanpi man, a tree and grasses.

The Ngikin Ngikin is a tjukurrpa depicting quiet and shy dreamlike figures that are the height of grass. They have stringy like qualities and live in families on the other side of Patjarr between two rock-holes. They are nervous people that only come out in the afternoons and make a sound like spears in the wind. Sometimes they fight with each other and they live in wiltjas.

Nola Yurnangurnu CAMPBELL Ngikin Ngikin Acrylic on Archive Paper 57 x 77cm 240-19

Nola Yurnangurnu CAMPBELL Ngikin Ngikin Acrylic on Archive Paper 57 x 77cm 242-19

Nola Yurnangurnu CAMPBELL Ngikin Ngikin Marker Pen on Archive Paper 77 x 57cm 282-19

Nola Yurnangurnu CAMPBELL Ngikin Ngikin Marker Pen on Archive Paper 57 x 77cm 283-19

Nola Yurnangurnu CAMPBELL

Nola Yurnangurnu CAMPBELL | Source: © Photo Courtesy of Western Australian Museum 2016. Photographer Eva Fernández

Birth Date Place of Birth Language Skin/Clan

1948 Patjarr Ngaanyatjarra, Manyjilyjarra Napaltjarri

Nola Campbell was born out bush on the other side of Tatjarr (close to Patjarr) in the late 1940s. She grew up travelling in the Country between Kiwirrkurra and Kunawarritji. She is related to Charlie Wallabi (Walapayi) Tjungurrayi and Nangkatji Josephine Nangala, whom she called father and mother, and Kumpaya Girgaba, her aunt. Nola lost her parents when she was young and was brought up by Norma Giles’ (nee Carnegie) mother and father, Mankatji Carnegie and Mr Carnegie. Nola was taken to Warburton as a young woman and there she married her first husband, Mr Butler. She moved to Wiluna and later Patjarr, where she later married artist Coiley Campbell.

Nola has been the subject of an Indigenous Community Stories produced film, titled Nola’s Story. The film aired during the 2016 Fremantle Art Centre Revealed Program in conjunction with the Maritime Museum and Indigenous Community Stories.

From Nola: “I remember when I was a little girl, walking to collect water from Tika Tika and taking it back to my family. I remember when Ian Dunlop came out in the 1960s to take photos and film, and I remember my first ‘acting’ job. I remember walking around with family, hunting tirnka (sand goanna), linga (lizards) and lungkarta (blue tongue lizard). I also remember working with Norma Giles, Pirnkanku Carnegie, Mankatji Carnegie, Aubrey Carnegie, Neil Carnegie, Bruce Carnegie and Yeri Carnegie at Patantja (a lake, far from Patjarr). I was a young girl at the time, and I went and got the water, like we did in the early days. I also remember when I was a little girl, staying at Patantja, it was my uncle’s place, my father’s place and all the Brody, Ward and Morgan families. A helicopter would come and drop food off and then leave again. It was a big lake and you could see out a really long way.

When I was a bit older, I went to Warburton for school. I’d stay at the creek, Wirrkili creek, go to school at the mission and then come back to our camp spot by the creek. Sometimes we’d go back to Patjarr, and then one time Mr McDougall found us and took us back to Warburton, when they were testing missiles at Woomera. I stayed there a little while, then I got married and went off to Wiluna. I had my baby close by in Meekatharra. Then I came along back here to Patjarr. I have one son and that’s enough for me.

The stories I tell in my paintings are from my dreaming, which is yurranpa dreaming (honey tree), and from my husband’s dreaming, which is Yunpalara and Wirrwul. I paint my husband’s dreaming because he said I could and it keeps his dreaming alive and strong; it’s also my country. The yurranpa dreaming paintings I did when I painted in Warburton. One of my favourite paintings is one I did called Near the Canning Stock Route. I did this one for John Carty when he came out talking to us about the Canning Stock Route exhibition. I later went to the National Museum in Canberra with Norma Giles for that exhibition.

I like being able to paint the country I grew up in, was born in, to keep it alive. It also makes me think about my mother and my family who used to walk this country long before me.

The country I paint is their country too. It’s my husband’s, my nguntu (mother’s), ngayuku kaparli (my grandmother’s) and ngayuku tjamu (my grandfather’s).”

Collections Queensland Art Gallery of Modern Art (QAGOMA), Brisbane, QLD, Australia.

Lagerberg-Swift Collection, Perth, WA, Australia.

The Luczo Collection, San Francisco, CA, USA. The Marshall Collection, Adelaide, SA, Australia.

The Merenda Collection, Fremantle, WA, Australia.

South Australian Museum (SAM), Adelaide, SA, Australia.

Western Australian Museum, Perth, WA, Australia.

Awards 2019

2017

2010

2007

Finalist - 36th Telstra National Aboriginal & Torres Strait Island Art Award (NATSIAA) - Museum & Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia.

Encouragement Award - Port Hedland Art Awards Finalist - Hadley Art Award – Hadley’s Orient Hotel. Hobart, TAS, Australia.

Finalist - 27th Telstra National Aboriginal & Torres Strait Island Art Award (NATSIAA) - Museum & Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia.

Finalist - 24th Telstra National Aboriginal & Torres Strait Island Art Award (NATSIAA) - Museum & Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia.

Selected Solo Exhibitions 2015 Patjarr Walka - RAFT Artspace, Alice Springs, NT, Australia.

Selected Group Exhibitions 2019 Contemporary Desert Art, Frewen Arts, Cheltenham, UK.

Desert Mob - Araluen Arts Centre, Alice Springs, NT, Australia.

36th Telstra National Aboriginal & Torres Strait Island Art Award (NATSIAA) Museum & Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia.

2018 Artists of Wanarn, Aboriginal and Pacific Art, Sydney, NSW, Australia.

Salon des Refusés, Charles Darwin University, Darwin, NT, Australia.

Pampa Tjilpi Art (Group Show) - Short Street Gallery, Broome, WA, Australia.

Hadley Art Award, Hadley’s Orient Hotel. Hobart, TAS, Australia.

Welcome to Paradise: Interpretations of home from Warakurna Artists - Japingka

Gallery, Perth, WA, Australia.

2017 Praxis Gallery, Adelaide, SA, Australia.

Ngurra: Home in the Ngaanyatjarra Lands - South Australian Museum, SA, Australia.

Desert Mob - Araluen Cultural Centre, Alice Springs, NT, Australia.

2016 Salon des Refuses – Outstation Gallery, Darwin, NT, Australia.

2015 Palya: Martumili Artists, Tjarlirli Art and Warakurna Artists of Western Australia

Ngaanyatjarra Group show - Tandanya Exhibition, Art Gallery of South Australia

(AGSA), Adelaide, SA, Australia.

2014 Desert Mob - Araluen Cultural Centre, Alice Springs, NT, Australia.

Boards from the Edge - Raft Artspace, Alice Springs, NT, Australia.

2013 Desert Boards - Raft Artspace, Alice Springs, NT, Australia.

2010 Canning Stock Route, National Gallery of Australia (NGA), Canberra, ACT, Australia.

Telstra National Aboriginal and Torres Strait Islander Awards - Museum & Art

Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia.

2009 Tjitirn-tjitirn Manta Kutu Kurukurra - Short Street Gallery, Broome, WA, Australia.

Kutipitjaku Purti-Bush Tripping - Chapman Gallery, Canberra, ACT, Australia.

2007 Telstra National Aboriginal & Torres Strait Islander Art Award, Museum & Art

Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia.

Patjarr Painters: Kayili Art Centre - Short Street Gallery, Broome, WA, Australia.

Western Desert Mob, Kutju – One - Lawrence Wilson Art Gallery, The University

of Western Australia, Perth, WA, Australia.

Kayili Canvas (Collaborative) - Power & Beauty: Indigenous Art Now - Heide

Museum of Modern Art, Melbourne, VIC, Australia.

Source: © Photo Courtesy of Emilia Galatis Projects

2007 Kayili Canvas (Collaborative) - Perth International Arts Festival - Lawrence &

Wilson Gallery, Perth, WA, Australia.

Desert Mob - Araluen Cultural Centre, Alice Springs, NT, Australia.

2006 Desert Mob - Araluen Cultural Centre, Alice Springs, NT, Australia.

Kayili Artists - New Works - William Mora Galleries, Melbourne, VIC, Australia.

2005 Desert Mob - Araluen Cultural Centre, Alice Springs, NT, Australia.

Rockhole to Rockhole Exhibition - Suzanne O Connell Gallery, Brisbane, QLD, Australia.

2004 Desert Mob - Araluen Cultural Centre, Alice Springs, NT, Australia.

The gravel road out to Karilywara creek Source: © Photo Jane Menzies

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