Keeping Our Story Strong

REDOT FINE ART GALLERY in collaboration with Tjungu Palya Arts presents

Nganampa Tjukurpa Kunpu Kanyinma Keeping Our Story Strong

17 Jan – 28 Feb 2022

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

Sunset at Watarru I © Tjungu Palya Aboriginal Corp

Tjungu Palya Collaborative Tjukurpa Kanpinyatjara - The Creation Stories that Belong to Kanpi Synthetic Polymer on Linen 200 x 500cm 20-015

This painting depicts the tjukurpa of Kanpi. Kalaya Tjukurpa and Minyma Malilu Tjukurpa are intertwined within the work.

Kalaya Tjukurpa (Emu creation story) for Kanpi Community. The emu is walking around the country, leaving travelling tracks where his has walked. He is eating many bush foods as he travels. All his children are gone. They have hidden in the bush. The Kalaya was playing a trick on the Kipara (Bush Turkey Man).

The emu father had many chicks with him, but that poor old bush turkey only had one child. When the bush turkey came by he saw that the emu was sitting all alone and he asked “where are all the children?” The emu replied “I didn’t want all them children, they are too much trouble. They eat too much. So I killed them all!” The emu hadn’t really killed his children, but hidden them in the bush.

The turkey was thinking I might kill my son too. So he killed him, hit him on the head. While the turkey was sitting down at Kanpi he saw the emu come back with all his children. He realised he’d been tricked and was angry. He decided to kill that man. He told the emu to grab his spear thrower and come with him. He hit him in the chest and finished him.

When the kipara got back to Kanpi rockhole all the emu kids were painted up for Inma (sacred dancing). The kipara hid behind a tree and whistled at them. He was frightening them and they thought he was mamu (devil spirit). I was born with the mark where the kipara hit the emu on my chest.

Minyma Malilu (the woman called Malilu) is sitting inside her windbreak close to the underground cave she dug out at Karatjitja. She travelled in search of food and as she walked she left her tracks in the sand. She found ngapari (sweet secretions left by insects on gum leaves) and rolled them into a ball. She continued collecting foods in her hunting area. She collected tjawal tawalpa (an edible berry), kampurarpa (desert raisin) and parka parka (mistletoe).

Later she went hunting for kuka mitika (bettong) and wayuta (possum). She travelled further on to Kanpi rockhole. Here the water first fills up the top rockhole and cascades down through a series of waterholes.

This is a true story from the Tjukurpa (creation time). When you go inside Malilu’s cave you can see her bed and chair which are made of stone and the bones scattered around from her last meal. We take the Kanpi kids to this place and teach them about their culture.

Twelve artists from Tjungu Palya worked side by side, sharing stories and creating the collaborative painting ‘Tjukurpa Kanpinyatjara.’ The painting process was directed by senior artist Marita Baker, who was the first to begin laying out the network of Kalaya footprints. Kalaya Tjukurrpa site is a rockhole near Kanpi community where Marita lives with the artists involved. ‘Tjukurpa Kanpinyatjara’ is interwoven with a vast network of collected stories covering the Murputja homelands and the Watarru community far to the South West, represented by celebrated Watarru artists.

The community of Kanpi is fifteen kilometers from Nyapari, a short drive headed west along a dirt road, which dips in and out of the dry riverbeds that flow down from the spine of the mighty Mann Ranges. Each sign to enter a community in the APY lands is distinguished by the image of an animal of the desert. The Emu (Kalaya) is Kanpi’s.

The collaborative includes the work of many emerging and established artists working together to create one of the largest and more significant documents of dreamings of the western APY lands, and landmark moment of collaboration and an invaluable recording of generational change.

Artists: Kaye Baker, Marita Baker, Teresa Baker, Beryl Jimmy, Imitjala Pollard, Kani Patricia Tunkin, Sammy Tunkin, Sophia Tunkin, Casseyanne Woods, Elaine Woods, Janice Woods, Venita Woods.

Initial discussion on Tjukurpa Kanpinyatjara I © Tjungu Palya Aboriginal Corp

ADDITIONAL ART CENTRE NOTES

Work in Progress – Tjukurpa Kanpinyatjara (20-015)

© Tjungu Palya Aboriginal Corp

Work in Progress (2) – Tjukurpa Kanpinyatjara (20-015)

© Tjungu Palya Aboriginal Corp

MEN’S COLLABORATIVE

Tjungu Palya Men’s Collaborative Piltati, Nyapari Munu Kunamata Synthetic Polymer Paint on Linen 152 x 300cm 19-192

This is a big story about our shared country and the stories within. We are weaving together the tales of three important places, Nyapari, Piltati and Kunamata. These sites are close the community where we live and sit down here so that we can look after these sites and teach the young people how to do the same.

Ginger Wikilyiri is the traditional owner of Kunamata, he paints the various trees, animals and landforms that can be found there. Keith is the custodian of Nyapari and Piltati, he paints the Wanampi Tjukurpa associated with Piltati and the hills and creeks beds around Nyapari. Both men have a very special connection to these places, the depth of which is imbued in their paintings.

Keith Stevens and Ginger Wikilyiri out bush I © Tjungu Palya Aboriginal Corp

Tjungu Palya Men’s Collaborative Piltati, Nyapari Munu Kunamata Synthetic Polymer Paint on Linen 150 x 300cm 19-008

This is a big story about our shared country and the stories within. We are weaving together the tales of three important places, Nyapari, Piltati and Kunamata. These sites are close the community where we live and sit down here so that we can look after these sites and teach the young people how to do the same.

Ginger Wikilyiri is the traditional owner of Kunamata, he paints the various trees, animals and landforms that can be found there. Keith is the custodian of Nyapari and Piltati, he paints the Wanampi Tjukurpa associated with Piltati and the hills and creeks beds around Nyapari. Both men have a very special connection to these places, the depth of which is imbued in their paintings.

WATARRU COLLABORATIVE

Tjungu Palya Watarru Collaborative Ilpili Synthetic Polymer Paint on Linen 198 x 300cm 19-032

This is the creation story for Ilpili about the Two Sister creation beings. The women were hiding in Tjukulas (rockholes) and one Wati (man) was searching for them but he could not see them. The younger sister was pregnant. Her older sister was looking after her. As they hid in a cave at the base of the hill the man climbed up high to look for them called out “Yaltji, minyma kutjara?”(where are you two women)?

Tjungu Palya Watarru Collaborative Ilpili Synthetic Polymer Paint on Linen 200 x 300cm 18-068a & b

This is the creation story for Ilpili about the Two Sister creation beings. The women were hiding in Tjukulas (rockholes) and one Wati (man) was searching for them but he could not see them. The younger sister was pregnant. Her older sister was looking after her. As they hid in a cave at the base of the hill the man climbed up high to look for them called out “Yaltji, minyma kutjara?”(where are you two women)?

Work in Progress – Ilpili (18-068a & b)

© Tjungu Palya Aboriginal Corp

Tjungu Palya Watarru Collaborative Kuka Mamu Synthetic Polymer Paint on Linen 152 x 300cm 19-012

This is the story for Watarru area about the Wati Mamu (the harmful spirit being). He is sitting with the meat he has collected. He has chopped it up into small pieces. In this country there is kapi tjukula tjuta munu puli tjuta (there are deep rock holes amoungst the rocky out crops). Tjukurpa mulapa (this is the true story from the time of creation). Ngayuku ngura (this is my country).

Tjungu Palya Watarru Collaborative Ilpili Synthetic Polymer Paint on Linen 150 x 300cm 19-031

This is the creation story for Ilpili about the Two Sister creation beings. The women were hiding in Tjukulas (rockholes) and one Wati (man) was searching for them but he could not see them. The younger sister was pregnant. Her older sister was looking after her. As they hid in a cave at the base of the hill the man climbed up high to look for them called out “Yaltji, minyma kutjara?”(where are you two women)?

Work in Progress – Ilpili (19-031)

© Tjungu Palya Aboriginal Corp

Tjungu Palya Watarru Collaborative Ilpili Synthetic Polymer Paint on Linen 150 x 300cm 18-126

This is the creation story for Ilpili about the Two Sister creation beings. The women were hiding in Tjukulas (rockholes) and one Wati (man) was searching for them but he could not see them. The younger sister was pregnant. Her older sister was looking after her. As they hid in a cave at the base of the hill the man climbed up high to look for them called out “Yaltji, minyma kutjara?”(where are you two women)?

Tjungu Palya Watarru Collaborative Minyma Kutjara Synthetic Polymer Paint on Linen 180 x 198cm 19-011

Nyangatja Minyma Kutjara Tjukurpa Ilpililanguru (this is the creation story for Ilpili about the Two Sister creation beings). The women were hiding and one man Wati Kawalpa (Preying Mantis Man) was searching for them. Minyma malyanpa paku kangkuru kanyini (The younger sister was very tired and her elder sister was taking care of her). The younger sister was pregnant. As they hid in a cave at the base of the hill the man climbed up high to look for them called out “Yaltji, minyma kutjara?”(where are you two women)? The women were painting sacred designs on themselves.

They painted concentric circles on the younger sisters big tummy and straight lines on the elder sisters breasts. Then they had Inma (ceremony).

MAJOR WORKS

Maringka BAKER Minyma Kutjara Tjukurpa Synthetic Polymer Paint on Linen 150 x 240cm 19-075

This is Minyma Kutjara Tjukurpa (the creation story of the two sisters). The big sister was travelling with her younger sister back to their homeland. The little sister was reluctant to head further and further north as she had been living with a different family near the ocean to the south. She had been lost for a long time and was unfamIliar with the landscape the big sister was showing her.

Eventually the older sister gave her a piggyback and tried to comfort her. She continued to teach her all about the country they travelled through. Sometimes when they stopped they performed Inma (sacred singing and dancing). They camped at Punuwara and Irrunytju rockhole before heading further north to Docker River.

In my paintings you can see all the different parts of these landscapes as they were shown to the younger sister and as they change into each other.

Exhibited - Of the Sun, curated by Gina Mobayed (6 Dec 2019 - 15 Jan 2020). Goulburn Regional Art Gallery, Goulburn, NSW, Australia.

Keith STEVENS Nyapari Tjukurpa Synthetic Polymer Paint on Linen 198 x 183cm 20-071

Kuka Mamu; there’s an animal crouching down there in Nyapari. Two men making (tjara) shields.

They go to hunt that kuka by spearing him. Share with family and then we go down to Watarru way.

Family sitting down the bottom rock hole (Iwarawara). There’s plenty of water there.

FINALIST - 37th Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia.

Keith Stevens with a finished artwork I © Tjungu Palya Aboriginal Corp

Work in Progress – Nyapari Tjukurpa (20-071)

© Tjungu Palya Aboriginal Corp

Ginger WIKILYIRI Lukupupu Tjukurpa Synthetic Polymer Paint on Linen 150 x 300cm 19-007

This is the lukupupu’s area. His tracks are everywhere. The lukupupu is looking for kuka (meat), like minga (black ants). He is going all around and going home again. You can see the lukupupu in his underground home.. One goes one way, another going another way. Going all over the place. Many lukupupu hunting for their dinner. Panangka unngu ankupai, mana anannyi (the lukupupu is skimming over the ground, he moves backwards, bottom first). Piti tjuta (many holes dug in the ground) nyinapai unngu (they live inside there).

Work in Progress – Lukupupu Tjukurpa (19-007)

© Tjungu Palya Aboriginal Corp

Ginger WIKILYIRI Kunamata Synthetic Polymer Paint on Linen 150 x 243cm 20-076

Kunamata, this is my ngura (homeland). There are many different plants, animals and landforms at Kunamata. There is karu pulka (a big creek) that runs from the apu (rocky hills). Itjulu is on the other side and apu tjuta (rocky hills) are everywhere with different manta (ground) and different punu (trees). There is Ili (native fig) growing at Kunamata and underneath is Minkulpa Tjuta (lots of native tobacco). Kunamata is a very special place for my family.

The snake is panakura (desert death adder). Each day he ventures out to the cave to paint sacred designs on the cave walls, before returning home again. His home is in the sand hills close to Kunamata. Sometimes I also paint two Liru’s (snakes) kunga and Wati (female and male), coming from Kunamata. Along the way they hunt for mingkiri (mice) at night. In my paintings you will sometimes see the mingkiri tracks. They are going out collecting food and water and returning to their cave. The mingkiri always hide underground in their warren.

Meanwhile, during the daytime, that tjalku (bilby) was looking for tjala (honey ant) inside the tjala’s nest. Walawuru (eagle) was waiting for him to appear out in the open. Eventually tjalku did so and Walawuru eats him. This country where this story is, is called Ilpin. There are sand hills, rock holes and rock boulders. This country is sacred country.

FINALIST - 37th Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia.

Ginger Wikilyiri in his troupee I © Tjungu Palya Aboriginal Corp

Ginger WIKILYIRI Kunamata Synthetic Polymer Paint on Linen 200 x 150cm 12189

This is country close to Kunumata on the back road from Nyapari to Watarru. Apu tjuta (there are many rocky outcrops) here, close to Kunamata, tjukula tjuta (and deep rockholes). The earth is red and there are many sandhills. Tali kutjupa kutjupa (different sands). In this area there are special rocks that Anangu use to make knives, kanti. The rock chips are lying on the earth where men for many years have been making weapons. The piece of sharpened stone is attached to the end of the spear thrower with kangaroo sinew and can be used to cut up meat.

Ginger WIKILYIRI Kunamata Synthetic Polymer Paint on Linen 126 x 240cm 18-131

Kunamata, this is my ngura (homeland). There is karu pulka (big creek) that runs from the apu (rocky hills). Itjulu is on the other side and apu tjuta (rocky hills) everywhere with different manta (ground) and different punu (trees). The snake is panakura (desert death adder). Each day he ventures out to the cave and paint sacred designs on the cave walls, before returning home again.

His home is in the sand hills close to Kunamata.

Ginger WIKILYIRI Kunamata Synthetic Polymer Paint on Linen 120 x 200cm 11351

Kunamata, this is my ngura (homeland). There is karu pulka (big creek) that runs from the apu (rocky hills). Itjulu is on the other side and apu tjuta (rocky hills) everywhere with different manta (ground) and different punu (trees). The snake is panakura (desert death adder). Each day he ventures out to the cave and paint sacred designs on the cave walls, before returning home again.

His home is in the sand hills close to Kunamata.

Ginger Wikilyiri in the studio with a work in progress I © Tjungu Palya Aboriginal Corp

Iyawi WIKILYIRI Ngura Ngarutjara Synthetic Polymer Paint on Linen 120 x 200cm 13408

Ngura Ngarutjara, a place near Ernabella. Tjukula tjuta (many waterholes), this is the Wanampi’s ngura (water-snake’s home). They are dangerous snakes; you can’t go near the Wanampi. There is a male and female Wanampi. The Wanampi have water all around them, always surrounded by water.

There’s a big punu (tree) near the water, the roots go right into the water. There’s another tree nearby. This tree is for the women to make the wana (digging stick) for getting goanna and rabbit and other foods.

Iyawi WIKILYIRI Wati Kutjara Synthetic Polymer Paint on Linen 120 x 150cm 12187

Wati Kutjara Tjukurpa (the creation story for the two serpent men). The two Wanampi, father and his son travel from rockhole to rockhole in country around Wingellina. The father travelled away to another country and left his son behind at the rockhole Pukara. The people living there didn’t like the son. They thought that the son was sneaking around their camps at night while they slept and stealing their food. They thought he looked strange and could not be trusted. When the son grew up he came back to Pukara and ate all the people there. Tjuratja tjuta (lots of sweet nectar) grows at Pukara. Kaliny-kalinypa (honey grevillea). The flowers can be sucked for the sweet honey like nectar or soaked in water to make a sweet drink.

Beryl JIMMY Kapi Tjukula Synthetic Polymer Paint on Linen 200 x 300cm 18-055

Kapi Tjukula Watarru (these rockholes are Watarru). Manta, Puli, Putipula, Punu Munu Bushpa (the surrounding country is diverse with sandy patches, rocky hills, bush flowers and trees). Ngayuku ngura Wirunya (my country is beautiful). Minyma Tjuta Tjala Tjuta Tjawanpai (all the women would dig for honey ants).

Beryl JIMMY Nyangatja Watarru Synthetic Polymer Paint on Linen 180 x 196cm 18-011

Nyangatja Watarru (this is a place called Watarru). Watarru is my home. This is Anangu Tjuta (many Anangu (people)). Anangu Tjuta are moving around, moving between waterholes and creeks, and looking for food. They go out in the daytime, looking around that country, looking through the bush.

They look for food and bring what they find back to the kids at the camp. When the water finishes at one place, they move on to the next waterhole. If there’s no water, they keep walking until they find something. Knowing where to find the water is special knowledge. There is water in a lot of unlikely places. There are creeks, waterholes, rockholes, soakages and springs. Kapi Wiru (good water).

Work in Progress – Nyangatja Watarru (18-011)

© Tjungu Palya Aboriginal Corp

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