LINES IN PARALLEL 3-26 June 2022

ARTITJA FINE ART GALLERY presents

Lines in Parallel new works from BULA'BULA ART & MUNUPI ART

330 South Terrace, South Fremantle, WA 3—26 June 2022

artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

We acknowledge the Traditional Custodians, the Nyoongar people of the Wadjuk nation on whose land we live and work, and pay our respects to Elders, past, present and emerging.

artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

LINES IN PARALLEL Artitja Fine Art Gallery is proud to present AN EXHIBITION OF PAINTINGS & WEAVINGS by artists from BULA'BULA ARTS, RAMINGINING, NT and MUNUPI ARTS, MELVILLE ISLAND, NT

Opening Friday 3 June, 2022 Earlywork | 330 South Terrace, South Fremantle, WA Exhibition continues 4—26 June, 2022 View online: www.artitja.com.au

artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

LINES IN PARALLEL brings together over 40 artworks by artists from two important art centres in the Northern Territory, highlighting the concurrent spiritual, ritual and historic narratives unique to these remote regions.

Referencing the repeated designs of concentric and parallel line-work across all the pieces in the exhibition, LINES IN PARALLEL also draws upon the various ancestral lines that are represented in these works through stories, practices and knowledge.

LINES IN PARALLEL marks a new partnership between Artitja and Bula'bula Arts Aboriginal Corporation; as well as being Artitja's fifth exhibition with the Munupi Art & Crafts Association. Showing Ramingining artworks in Western Australia for the first time in over a decade alongside new works from renowned Tiwi artists, the exhibition brings into focus multiple visions of country coexisting in parallel to one another.

artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

BULA'BULA ARTS

Bula’bula Arts is situated in Gurrwiliny, Yolŋu Country, 400 kilometres east of Darwin among the remote Arafura Wetlands of northeast Arnhem Land. The Centre is a hub for artists residing in Ramingining and several surrounding outstations. Bula’bula plays an important role preserving and fostering Yolŋu culture by not only supporting and promoting their artists’ practices, but also serving as a meeting place where languages and cultural activities can be passed on and continued by younger generations.

Looking at the vast and diverse landscape that constitutes Gurrwiliny, it is easy to see how a deep knowledge of country is central to both the lives and art practices of Bula’bula artists.

Gurrwiliny, known also as Arafura Swamp, is abundant with flora and fauna, being Arnhem Land’s largest freshwater ecosystem and one of Australia’s largest contiguous paperbark swamps. Along with stone escarpments, flood plains, and estuaries, the region provides ample hunting grounds for Yolŋu people

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A complex kinship system underpins many aspects of Yolŋu life, including ceremonial practices, marriage rules, dreamings and more.

Kinships are also mapped onto the lands owned by the Yolŋu placing them in specific relationship to many elements of the natural world; flora and fauna, celestial objects, winds and more. Every person, every thing; every rock, fish, river, etc belongs to one of two Yolŋu moieties — Dhuwa or Yirritja. This system has continued through the generations for thousands of years, connecting and distinguishing different clans to each other and the land.

artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

Language is another intrinsic point of connection for Yolŋu, and is a key modality for keeping the culture alive today. Yolŋu Matha, meaning the 'Yolŋu tongue', actually refers to a multitude of languages, clan varieties and dialects — each one belonging to a specific area of land, cultural group, sacred site and more.

Indeed, the name Bula’bula means the voice or tongue of Gandayala (red kangaroo), Ramingining’s Creation Being. Senior artists coined the name for the centre in 1990, echoing the message used in the song cycle that tells of Gadayala’s journey from the Roper River to the Ramingining region.

The desire to keep culture alive through language, art and story is the driving motivation behind Bula’bula’s thriving activity. As Daphne Banyawarra, Chairperson at Bula’bula tells, “there are about 30 languages that are spoken here in Ramingining — we are still using and speaking them so that our language and our culture won’t fade away. We want to keep it and pass it to new generations.”

Cultural lore is passed on through song lines, story lines, and ceremony. Likewise, senior Bula’bula artists pass on to younger generations the sophisticated knowledge of collecting and preparing art materials, such as pigments for paints and plants for dyeing, as well as tools and design techniques.

With 150 artist members working in a range of media from fibre art to paintings, Bula’bula Arts is a cornerstone in sustaining, practising and promoting traditions that have been passed down by generations of First Nations people for more than 65,000 years.

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The Yolngu people of Arnhem Land originate from a spiritual source, fixed in a particular place in their land or the sea. These ‘Spiritual Reservoirs’ are often in the form of special waterholes made by Wangarr (Creative Beings), long ago close to the beginning of time. These creator beings moved across the country side, shaping the land and implanting in each tract of country the spiritual life force for the people who were to own it. These Creative Spirits took many forms. When they gave the land to each group they also gave songs, dances, ceremony, the associated laws and language. The Creation story for Ganalbingu people took place near the middle section of the Glyde River where it becomes the Goyder River. Their land, Ngaliyindi, sits astride the Arafura Swamp in Central Arnhem Land.

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SHANNON ASHLEY

BIOGRAPHY

Shannon is an early career artist who comes from a long line of strong female painters. Her great-grandmother was one of the earliest recognised female painters in Ramingining.

Now Shannon paints alongside her mother and grandmother at Bula’bula, reflecting her family’s stories through her paintings in a dynamic and vibrant style. With bold block sections, abstract patterns and rarrk crosshatching techniques, her works often feature the earth and sky of her three different ancestral countries.

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Shannon Ashley | Raypiny Dhawu (Fresh Water Story) | 2022 | 50 x 60cm | Acrylic on Canvas | ART244-22SA

In this painting, Shannon has depicted freshwater totems from the Swamp. These include catfish (ginginy), crocodile (baru), file snake (bapi), Darwin prawns (dakawa), Barramundi (ratjuk), water lilies (yalman) and bubbles in the water.

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artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

BILLY DURBUMA BLACK

BIOGRAPHY

Billy Durbuma Black is a senior artist at Bula’bula Arts and is known for his exquisitely fine line painting known as rarrk. Born in 1954 in Central Arnhem Land, Black was taught to paint by his father. Billy paints stories from his Dhuwa homeland in north east Arnhem Land.

Black is known for his depiction of the Murrungun Morning Star story and the illustration of animal totems such as: the Blackheaded Python, Longneck Tortoise, Butterflies and Sawfish. In Billy’s canvases, rarrk is often used to invoke water, air or wind. Billy is also an actor, and played a lead role in De Heer's 2005 award winning film 10 Canoes.

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Billy Durbuma Black | Sword Fish | 89 x 80 cm | Acrylic on Canvas ART548-21BDB

When Billy was a little boy his dad used to go out on the waters around Millingimbi in a canoe to catch swordfish with a spear. Billy says "They are the biggest out that way!" His dad would catch them and bring them back to camp for the whole family.

One of these paintings also features the dupun (hollow log coffin) for swordfish.

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Billy Durbuma Black | Sword Fish | 2021 | 88 x 118cm | Acrylic on Canvas | ART946-21BDB

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Billy Durbuma Black | Banda ga Ratjuk | 2022 | 50 x 60cm | Acrylic on Canvas | ART248-22BDB

Banda (long necked turtle) ga (and) Ratjuk (barramundi) are dreaming totems for the freshwater people, the Ganalbingu, whose country includes the Arafura Wetlands. To Yolngu, banda is considered a major Creative Being, responsible for shaping the land during creation. Here the rarrk background represents water, upon which Billy incorporates totemic storylines connected to him through his ancestors.

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Billy Durbuma Black | Hunting Story | 2022 | 61 x 87cm | Acrylic on Canvas | ART110-22BDB

Billy's painting shows us the old way of hunting for food.

There is a spear, spear thrower and a stone axe. The man and woman are collecting the food. The woman has two dilly bags to collect the food.

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artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

BOBBY BUNUNGGURR

BIOGRAPHY

Born in 1947 with his birth registered at Milingimbii Island, NT, Bobby Bununggurr was an inquisitive child — constantly asking questions about his culture and art. After attending school at the Milingimbi Mission, Bununggurr worked on the Milingimbi housing team, first as a stockman at Nangalala station and later at the Murwangi Cattle Station near Mulgurrum. Bununggurr's work has been exhibited in over 20 group exhibitions, and his work is held in both public and private collections. Bununggurr is also an actor and song man for his community, and with numerous mediums of expression including music, painting, carving and film, Bununggurr continues to be a sought after artist.

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Bobby Bununggurr | Nylalindi | 2022 | 41 x 51cm Acrylic on Canvas | ART64-22BB

In these paintings Bobby depicts the vastness of Gurwliny (Arafura Wetlands) in North East Arnhem Land and in particular his homeland of Nylalindi. These are the second biggest wetlands in the world (Florida has the largest). In these two paintings Bobby is showing the colours of the dry season sunsets; of the Earth and sky; and of the landscape scorched by fires used to control growth and for hunting. Here we see the wilderness of the grasslands and paperbark tree forests lining the freshwater billabongs at Gurwlinuy; so abundant in food and birdlife.

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Bobby Bununggurr | Nylalindi | 2022 | 50 x 60 cm | Acrylic on Canvas | ART282-22BB

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artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

JOY BURRUNA

In this painting, the artist has depicted Gumang (magpie geese), which are sacred to the Ganalbingu people. To the east of the Arafura Swamp is a freshwater billabong which is said to have been made by the Goose Spirit and is in the shape of a goose nest. As a result, geese, their eggs and their nests are sacred.

BIOGRAPHY

Born in 1959, Joy loves to paint stories about Morning Star; the very special and spiritual ceremony that is particular to her family and a few other clans in this region. She also paints the King Brown snake, lizards and fruit bats as well as fresh water stories about long neck turtles and crocodiles. These stories are part of her family knowledge.

As well as being an artist for Bula’bula Arts, Joy is one of the directors.

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Joy Burruna | Gumang (Magpie Geese) | 2022 | 61 x 87cm | Acrylic on Canvas | ART137-22JB

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Joy Burruna | Wurrutjara (Sand Palm) | 2021 | 64 x 92cm | Acrylic on Canvas | ART961-21JB

Seen in and around Ramingining, the sand palm is a small, slender palm, growing to about 7 m tall. It is fire tolerant and usually grows in environments where it is exposed to frequent fires. Aboriginal people use this palm as the fruits are edible and the heart can be eaten, either raw or roasted. The core of the stem is pounded and made into a drink which was used to treat coughs, colds, chest infections, diarrhoea, and tuberculosis.

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Joy Burruna | Dhulumburrk (Waterlily) | 2022 | 61 x 87cm | Acrylic on Canvas | ART95-22JB

This painting depicts Dhulumburrk (Nymphaea violacea), a fresh waterlily. The flowers and lily pads of fresh waterlilies can be seen far and wide across the Arafura wetlands, providing coverage for many animal species including Banda (long-necked turtle) and Baru (crocodile). The flowers come in many beautiful colours, in particular a vibrant purple.

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artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

JB FISHER

BIOGRAPHY

JB Fisher was born in 1970 and started painting for Bula’bula Arts in 1994. He spends his time between Ramingining and Maningrida, painting for both art centres; he has also worked as a conservator for both art centres.

JB paints stories from his Dhuwa homeland in northeast Arnhem Land, passed on to him by his ancestors. JB is committed to painting in natural bush ochres, and also specialises in bark paintings and hollow logs which often depict stories about honey, (colloquially known as sugarbag) and bush tucker.

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JB Fisher | Djanda (lizard) | 2022 | 50 x 60cm | Acrylic on Canvas | ART243-22JF

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EVONNE GAYUWRRI

BIOGRAPHY

Evonne is the third generation of artists to paint at Bula’bula Arts. Her mother is Joy Burruna and her grandmother D. Djukulul, who paved the way for Yolngu women to be recognised not just as weavers but also painters. Evonne is known for her iconic buliya (catfish) paintings.

These paintings illustrate elements from the Wagilag Sisters' Creation story. Ngambi are the stone spear heads that the sisters collected at Ngilipitji on their way to Mirarrmina.

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Evonne Gayuwrri | Ngambi (limestone spearheads) | 2022 | 61 x 87 cm Acrylic on Canvas | ART197-22EG

The Wagilag Sisters' Story is primarily an account of how in the distant past the two Wagilag Sisters came out of the southern interior and came across the countryside to the Liyagalawumirr waterhole at Mirarrmina. There the younger sister profaned the pool of the great Python by accidently allowing her blood to fall into the waterhole. Because of this the women and the children were swallowed by the Olive Python, Wititj, along with all the water from the waterhole. The other snakes heard about this and demanded Wititj spit out the sisters.

Wititj vomited the women out, along with the water, creating the first monsoon rains.

artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

Evonne Gayuwrri | Ngambi (limestone spearheads) | 2022 | 61 x 87 cm | Acrylic on Canvas | ART142-22EG

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artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

GARY SMITH

BIOGRAPHY

Gary is traditional owner for Gaatchi, a homeland just outside of Ramingining. He is privy to a part of the Mewal story, the creator of the sugar bag tribe, who hunts across the lands of Gaatchi.

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This painting depicts the billabong at Gary's homeland of Gaatchi. The billabongs teem with life including ratjuk (barramundi) that swim beneath the fresh waterlilies.

Gary Smith | Gaatchi Billabong | 2021 | 50 x 60cm | Acrylic on Canvas | ART127-22GS

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Traditionally, Nganiyal (conical mats) were used as an insect screen when erected, and as a sitting mat when folded. They are used in Ceremony as well as a functional item.

Nowadays, artists weave many different shapes including flat, round and oblong.

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MARY DHAPALANY (1)

BIOGRAPHY

Mary Dhapalany was born in the 1950s in North East Arnhem Land. She is a proud Mandhalpuy woman who learnt traditional weaving through knowledge passed down by generations of women in her family. Mary is the twin sister of Yolŋu actor David Gulpilil.

Since her early teenage years, Dhapalany has been creating fibre art pieces for utilitarian and ritual purposes. Her work includes mindirr (dilly bags), pandanus mats, djerrk (bush string bags) and fish traps. A renowned and highly regarded artist, her works have been acquired for collections around the world.

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artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

Mary Dhapalany (1) | Woven Mat | 2022 | 220 x 120cm | Gunga (Pandanus Spiralis) and natural dyes | ART163-22MD

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artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

KATHLEEN MALPAMBA

Kathleen Malpamba | Woven Mat | 2022 | 154 x 147cm | Gunga (Pandanus Spiralis) and natural dyes | ART70-22KM

BIOGRAPHY

Kathleen Malpamba is the daughter of renowned weaver Robyn Djunginy Malibirr and her style is reminiscent of her mother's, from whom she learnt to weave. Kathleen creates dynamic colour palettes with the dyes she makes from natural materials harvested from the jungle in her home in Gurrwiliny. She also makes a rare luminescent green from the inside of the pandanus tree which is something inherent in her family's work.

Kathleen is an extraordinary weaver who also works hard on the community in the women's safe house. She is also highly skilled at hunting and fishing.

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Kathleen Malpamba | Woven Mat | 2022 | ⌀160cm | Gunga (Pandanus Spiralis) and natural dyes | ART96-22KM

artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

Kathleen Malpamba | Woven Mat | 2022 | ⌀130cm | Gunga (Pandanus Spiralis) and natural dyes | ART181-22K

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artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

MELINDA GEDGEN

Melinda Gedjen | Woven Mat | 2022 | ⌀65cm | Gunga (Pandanus Spiralis) and natural dyes | ART156-22MG

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In the middle of the road there’s a bush [...] the road to Darwin. I drive through there, slowly. Mary had seen that colour and she said “stop here” and I said ok I’ll stop here, and they jumped out with the axe and shovel. A green colour. When they dig the roots of the tree it’s yellow, inside the roots.

There are colours they can use: red, yellow, orange or they can make black mixed with the leaves of the tree. They know everything.

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Joy Burruna on driving Mary Dhapalany and the Bula'bula weavers into the bush

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artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

JANICE DJUPUDUWUY

Fish traps are placed into the river to face the oncoming fish. The woven tunnel traps the fish and prevents their escape. The traps are tapered so when they are submerged in the water, the water pressure wedges them into place. Traditionally, the fish traps are operated at night time.

Janice Djupuduwuy | Dhawurr/batjbarra fish trap | 2022 | 91 x 40cm Gunga (Pandanus Spiralis) and natural dyes | ART161-22JD

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JULIE SADLY, YIKAKI

BIOGRAPHY

Julie Sadly has been a member of Bula’bula Arts since its inception and like many weavers, her knowledge of collecting, processing and dyeing were taught to her by her mother. Julie enjoys creating fibre art pieces with her daughter Linda Dalparri.

Julie Sadly, Yikaki | Dhawurr/batjbarra fish trap | 2021 | 100 x 35cm Gunga (Pandanus Spiralis) and natural dyes | ART769-21JS 32

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JOE MOSCA

Joe Mosca | Shell with barramundi | 2021 | 27 x 18 x 10cm | Acrylic on shell | ART729-21JM

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QUINCEY RENKIN

Quincey Renkin | Shell | 2021 | 23 x 13x 8cm | Acrylic on shell | ART750-21QR

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MUNUPI ARTS

Situated eighty kilometres north of Darwin, along Melville Island’s remote northwest coastline at Pirlangimpi (Garden Point), lies Munupi Arts & Crafts Association. Across the narrow Apsley Strait is Melville’s neighbour Bathurst Island and together with nine other smaller islands they comprise the Tiwi Islands.

With lush rainforests, sandy beaches and waterholes, these islands are accessible only by barge or light aircraft.

Since its establishment in 1990, Munupi Arts has been a vital centre for the Tiwi people of the Pirlangimpi community — providing employment, continuing cultural practices and cultivating a strong sense of pride amongst the community. At Munupi, local artists work with both traditional and contemporary mediums to record, share and celebrate Tiwi culture.

As the oldest-known creative tradition in Australia, Tiwi art is distinctively different from other mainland indigenous art.

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The Tiwi traditionally paint their body for ceremony and it is these ceremonial body markings that are often reflected on Tiwi canvases and carvings.

Transfixing patterns and rhythms are characteristic to Tiwi art, much like the experience of being immersed in the shimmering natural environment of the islands.

Tiwi art is often recognisable by the ochre palette and intricate dot-markings. The designs are created using both traditional tools such as the Pwoja (wooden comb), as well as implements fashioned out of sticks, grass or regular paint brushes.

artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

Although their artworks may depict shared creation stories, for the Tiwi, stories are constantly shifting, changeable and personal to the artist. Rather, the works might be understood as a reflection of how these stories are experienced through the land and in ceremonial life. As Judith Ryan wrote in 1997 (Art & Australia), "For Tiwi people, to sing is to dance is to paint" — Tiwi art is inextricably linked with ceremonial song and dance.

Repeated concentric circles often appear as the main element of contemporary Tiwi patterns, referencing the circular dancing ground used in Kulama ceremony. The Kulama ceremony is a celebration of life and is performed towards the end of the wet season each year.

The other major ceremony for Tiwi is Pukumani; a mortuary ceremony carried out six months after the deceased community member has been buried. Relatives and in-laws carve totem poles to signify the status and prestige of the deceased, and ceremony is performed to ensure that the Mobuditi (spirit) leaves the living world and enters the spirit world.

Ceremony is the backbone of Tiwi culture.

Being an oral culture, art and design have played an important role in recording and interpreting Tiwi traditions, and passing them down to future generations. Munupi Art, in its 30+ years, represents an expansion of traditional artistic practices, supporting a diversity of mediums and styles that truly capture the lively Tiwi spirit, reflect the natural environment, and preserve ancient Tiwi creation stories.

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The Tiwi Islands of Bathurst and Melville were created at the beginning of time during the dreaming or Palaneri. Before this time there was only darkness and the earth was flat.

Mudungkala, an old blind woman arose from the ground at Murupianga in the south east of Melville Island. Clasping her three infants to her breast and crawling on her knees she travelled slowly north. The fresh water that bubbled up in the track she made became the tideways of the Clarence and Dundas Straits, dividing the two islands from the mainland. She made her way slowly around the land mass and then, deciding it was too large, created the Aspley Strait, which divides the Islands. Mudungkala then decreed that the bare islands be covered with vegetation and inhabited with animals so that her three children left behind would have food. After the Islands were made habitable she vanished. Nobody knows from where she came or, having completed her work, where she disappeared to.

Maryanne Mungatopi, Palaneri - The Creation Period, 1998

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artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

JOSEPHINE BURAK

BIOGRAPHY

Josephine Burak is the daughter of Lydia Burak, a respected custodian of traditional medical knowledge. Having gained her mother's carving and painting skills Josephine Burak often prepares her own pwoja (comb/painting tool) to shape it to her exact needs. Josephine's paintings often feature the significant Kulama Ceremony and her designs are also wonderfully reminiscent of astronomic star charts. A committed artist, Josephine has in previous years been one of the directors of the Art Centre. She is currently employed as Assistant Manager of the Art Centre, where she contributes significantly to its day-to-day management and operations.

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Josephine Burak | Pupuni Jilamara | 2021 | 120 x 80cm Ochre on Canvas | ART21-444JB 40

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KARINA COOMBES

BIOGRAPHY

Karina is the daughter of Florence Puruntatameri-Coombes, and Graeme Coombes. Her mother is a Tiwi woman from Pirlangimpi Community on Melville Island. Her father originated from Queenstown, New Zealand but married Florence as a young man and called Pirlangimpi home for over 30 years.

Karina lives permanently at Pirlangimpi with her three children. She works for the Tiwi Islands Training and Employment Board.

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Karina's artistic career began in mid 2010 under the direction of her grandfather, Justin Puruntatameri, and her mother — both of whom gave Karina invaluable advice on what she could correctly portray as defined by her Tiwi family ties. She has since progressed to portraying the various incarnations of the night sky as it appears over the Tiwi Islands.

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Karina Coombes | Yamparriparri & Tapalinga | 2022 Ochre on Canvas | 120 x 80cm | ART22-20KC

This painting depicts the Tiwi story of the shooting star, or Yamparriparri. Yamparriparri are viewed by Tiwi people as a very bad omen, a type of demon similar to a vampire. The custom on the Tiwi Islands when a shooting star is observed is to spit several times on the ground to mitigate potential bad luck. Tapalinga is the general Tiwi term for a star, or group of stars in the night sky.

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VIRGINIA GALARLA

BIOGRAPHY

Virginia Galarla was born in 1951 at Wurrumiyanga. Her maiden name was Pangiraminni.

As a young woman Virginia worked in health centres and hospitals in Pirlangimpi and Darwin. After marrying in 1973 she relocated to Maningrida with her husband, before returning to Wurrumiyanga in 1974, where they had 5 children. The family moved to Pirlangimpi in 1979. After her children grew up she returned to the work at the Health Centre in Pirlangimpi until she retired in 2010.

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Virginia Galarla | Woven Mat and Dilly Bags | 2021 | 71 x 51cm Natural Ochre on Arches Paper | ART21-497VG

When Virginia retired she began making baskets at home, until she joined the Munupi Art Centre in 2014 and started to paint as well. Her paintings have become highly sought after, evolving to depict seasons, ceremonies, bush foods, bush medicine, insects, and ceremonial objects.

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Virginia Galarla | Parlini Jilamara | 2021 | 100 x 100cm | Ochre on Canvas | ART21-298VG

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Francesca Puruntatameri and Susan Wanji Wanji painting up before yoi

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During ceremony on the Tiwi Islands a series of ‘yoi’ (dances), are performed; some are totemic (inherited from the person's Mother) and some serve to act out the narrative of newly composed songs. Participants in these ceremonies are painted with turtiyanginari (the different natural ochre colours) in varying designs, transforming the dancers and, in some cases, providing protection against recognition by mapurtiti (spirits). These designs can be applied in different ways, using the finger or a brush. Painting of the face also occurs. These significant artistic designs collectively are called ‘Jilamara’.

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ALEXANDRINA KANTILLA

BIOGRAPHY

Alexandrina Kantilla was born on Warnatuwu country in Wurrimiyanga Bathust Island in 1974. Her Dreaming is wild pig on her father's side and buffalo on her mother's side.

Alexandrina has been painting since she was in her 20s, as part of Ceremony and by watching her family paint.

Alexandrina works at Ngaruwanajirri Inc in Wurumyianga, as well as at Munupi Arts in Pirlangimpi when she comes to visit her family.

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Alexandrina Kantilla | Pupuni Jilamara | 2021 | 71 x 51cm Natural Ochre on Arches Paper | ART21-538AK 48

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OSMOND PANGIRAMINNI

BIOGRAPHY

Osmond Pangiraminni was born at Bathurst Island in 1958. Osmond joined the Munupi Art Centre in 1990.

Osmond learned his skills as an artist and ceremonial leader from watching his father paint and carve Tutunis (ceremonial poles). He is known for creating intricate paintings depicting ceremonial designs.

Osmond's Tutunis have been acquired for public and private collections, including the South Australian Art Gallery Collection.

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Relating to the passing of a Tiwi person, the Pukamani pole (or Tutini) is a ceremonial carving/sculpture positioned around the grave site of the deceased that tells the story of, and celebrates, the person's life. The burial ceremonies of the Tiwi, based on the Pukamani of the mythical man Purrukapali are by far the most important events in ceremonial life. These ceremonies allow full expression of grief and provide at the same time a complete cultural outlet for philosophical beliefs, through music, art and dance.

Osmond Pangiraminni | Tutini (Pukamani Pole) | 2022 90 x 70 cm | Ochre on Canvas | ART22-18OP

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ALISON PURUNTATAMERI Alison remembers her grandfather taking the family hunting when she was young.

He used to teach them how to cook wallabies and mussels the old way; placing lots of foods all together under the ground wrapped in paperbark.

In 2022 Alison received a number of significant accolades for her paintings: she was named a finalist in the Telstra National Aboriginal and Torres Strait Islander (NATSIAA) awards, the Alice Prize and the Wynne Prize.

BIOGRAPHY

Alison was born in 1984 in Pirlangimpi on Melville Island. Alison started painting at Munupi Arts Centre in late 2011.. She has one daughter, known locally as Sugar Plum, who is a great favourite at Munupi.

It was Alison’s grandfather, Justin Puruntatameri (deceased) a senior law man who encouraged Alison to start painting. He knew all the old songs and remembered visits by the Maccassans to the Tiwi Islands when he was a boy.

Alison would listen to his stories at the art centre and on country.

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This painting tells a story about Pwonga, the spider woman who gave us the designs of the web lines. When Tiwi look for water they look for the spider webs which tell us there is water near.

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Alison Puruntatameri | Pwonga | 2022 | 120 x 80cm | Ochre on Linen | ART22-62AP

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CAROL PURUNTATAMERI

BIOGRAPHY

Carol Puruntatameri was born in 1959 on Wurrumiyanga (Bathurst Island). When Carol was 10 years old the family moved to Pirlangimpi (Melville Island)— her father's country. Carol would watch her uncle painting at the art centre, and learned to paint by copying her father.

Carol has been painting at Munupi Arts since 2010.

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When old man, my father’s brother Justin Puruntatameri, did painting he brought all us children and grandchildren to the Munupi Art Centre teaching us to carry on. I used to watch my father paint Pukumani poles and during Kuluma ceremony he was painting his body by holding the mirror.

Our fathers told all us girls: “Go down and cut sticks from mangroves to use in the ceremony”. The sticks were put in a circle around the middle circle and the men go out and collect the Kulama (bush yam). We were all there, all my family, when our fathers were doing Kuluma ceremony.

Carol Puruntatameri | Pupuni Jilamara | 2022 | 120 x 80 cm Ochre on Canvas | ART22-10CP 54

artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

DEBORAH PURUNTATAMERI

BIOGRAPHY

Deborah Puruntatameri was born in 1967 and went to school at Kormilda College.

She returned home to Snake Bay Milikapiti after school, where she stayed with her family and worked at the local shop.

Deborah was a painter at Jilamara Arts and Crafts before she moved to Garden Point and started working as a painter at Munupi Art Centre.

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Deborah Puruntatameri | Tunga | 2021 | 90 x 70 cm Ochre on Canvas | ART21-506DP

These paintings depict the traditional Tiwi bark basket, used to carry food when out getting bush tucker.

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Deborah Puruntatameri | Tunga | 2021 | 90 x 60 cm | Ochre on Canvas | ART21-525DP

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FRANCESCA PURUNTATAMERI

BIOGRAPHY

Francesca Purutatameri was born in 1965 in Pirlangimpi. After finishing highschool in Darwin, Francesca returned to her home town, working in the bank and library and studying book keeping at the Darwin Community College.

She made an impression at Munupi Arts with her decorated canvas paintings and gouaches on paper. She is also skilled at printmaking and assists with fabric screenprinting at Munupi. Francesca served as President of Munupi Art from 2009 - 2013.

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Francesca Puruntatameri | Jilamara Design | 2021 90 x 70 cm | Ochre on Canvas | ART21-440FP

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JACQUELINE PURUNTATAMERI

BIOGRAPHY

Jacqueline Puruntatameri was born in 1970 in Darwin and grew up at Pirlangimpi on Melville Island. She has one son, who lives in Darwin. Jacqueline's love of painting began as a young girl following her grandfather, Black Joe; a highly respected and nationally recognised artist.

Jacqueline has been painting at Munupi Arts for many years, and has exhibited in many group exhibitions. Her work is held in the permanent collection of the Art Gallery of South Australia.

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Jacqueline Puruntatameri | Parlini Jilamara (Old Design) | 2021 100 x 50 cm | Ochre on Canvas | ART21-438JP

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Jacqueline Puruntatameri | Parlini Jilamara (Old Design) | 2021 | 120 x 80 cm | Ochre on Canvas | ART21-463JP

This painting depicts an old Jilamara design used in ceremonial dance. The design belonged to Jacqueline's grandfather, Black Joe. Here, the design is revived to share with younger Tiwi generations and contemporary audiences.

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Jacqueline Puruntatameri | Parlini Jilamara | 2021 | 71 x 51 cm Natural Ochre on Arches Paper | ART21-551JP

Jacqueline Puruntatameri | Parlini Jilamara (Old Design) | 2021 71 x 51 cm | Natural Ochre on Arches Paper | ART21-536JP

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artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

LUCINDA PURUNTATAMERI

BIOGRAPHY

Lucinda Puruntatameri was born in 1995 in Darwin, and grew up in Pirlangimpi where she went to the local Primary School. Lucinda went to boarding school in Toowoomba before returning to the islands to start a family. She has one son, and her mother is Shirley Puruntatameri (nee Tipungwuti), with whom she often paints together at Munupi.

Lucinda Puruntatameri | Pupuni Jilamara | 2021 | 71 x 51 cm Natural Ochre on Arches Paper | ART21-502LP

Lucinda's work has been shown across Australia and internationally. She was included in the Tiwi Papers exhibition at the Art Gallery of South Australia in 2021.

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SHIRLEY PURUNTATAMERI (NEE TIPUNGWUTI)

BIOGRAPHY

Shirley Puruntatameri was born on Bathurst Island in 1965. After completing school on Bathurst Island, Shirley moved to Pirlangimpi to start a family with her partner. Once her six children became adults, Shirley began working at Munupi, where she can often be found painting alongside her daughter Lucinda.

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Shirley Puruntatameri | Pupuni Jilamara | 2022 | 120 x 80 cm | Ochre on Canvas | ART22-9SP

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THECLA BERNADETTE PURUNTATAMERI

BIOGRAPHY

Thecla Puruntatameri was born at Nguiu, Bathurst Island (Wurrumyianga) in 1971 and grew up on Melville Island at Garden Point (Pirlangimpi). After going to school in Darwin, Thecla returned to Pirlangimpi in 1989 and became one of the first artists to work at Munupi Art Centre.

Thecla completed a Certificate II in Arts and Crafts at Batchelor College in 2002, and worked as an assistant teacher at the Pirlangimpi School, until her retirement from teaching in 2017.

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Thecla Puruntatameri | Pupuni Jilamara | 2021 120 x 80 cm | Ochre on Canvas | ART21-518TP

Thecla participated in print making workshops in Canberra (1998), the Pacific Arts Festival Raratonga, Cook Islands (1992) and cultural exchanges with indigenous artists from Tasmania and Victoria. Thecla's artworks are included in private collections across Australia and overseas as well as in the collection of the Art Gallery of South Australia.

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Thecla Puruntatameri | Yikwani | 2020 | 180 x 120 cm | Ochre on Canvas | ART20-151TP

Tikwani is the Tiwi name for fire. An important tool in past and present Tiwi culture, fire is still used for cooking and warmth, especially during the cooler Dry Season nights. It is also used for burning off overgrown vegetation following the heavy Wet Season rains (which covers the period of late Spring through to early Autumn), regenerating and encouraging new growth and aiding in hunting trips.

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WINNIFRED PURUNTATAMERI

BIOGRAPHY

Winnifred Puruntatameri was born in 1979. She moved to Darwin for school, before returning home to live with her family on the islands.

Winnifred began working as a painter at Munupi in 2004, and her artworks have been exhibited across Australia and Europe. Winnifred is recognised for her skilled paintings of body markings during yoi (ceremonial dance) and other aspects of Tiwi culture.

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Winnifred Puruntatameri | Pamajini (Armband) | 2021 | 71 x 51 cm Natural Ochre on Arches Paper | ART21-537WP

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Winnifred Puruntatameri | Kuluwarringa (Stingray) | 2021 120 x 80 cm | Ochre on Canvas | ART21-534WP

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artitja fine art gallery / LINES IN PARALLEL / 3—26 June 2022

LIDWINA (NINA) TEPOMITARI

BIOGRAPHY

Lidwina (Nina) Tepomitari Puruntatameri, born 1971, comes from a family of highly regarded artists, many of whose works are represented in significant public and private collections. She was taught to paint by her father, Romuald Puruntatameri. As a 14 year old, she would come home from school and work with him, painting his spears.

Lidwina has worked at both Nguiu Adult Education and Munupi Arts & Crafts doing bark painting, screen printing, works on linen, etchings and linocuts.

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In 1993 Lidwina won the Award for New Medium at the National Aboriginal and Torres Strait Islander Art Awards in Darwin, bringing recognition to her exceptional skills in etching. In recent years Lidwina has worked mainly on canvas using ochres.

Lidwina’s work is held in numerous Australian and international private and public collections.

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Lidwina Tepomitari | Kulama and Muranga | 2021 | 120 x 80 cm | Ochre on Canvas | ART21-293LT

Bush yams. When the flower is gone from the muranga they (the old people) used to dig them up and make bread with them. When older people sing about kulama that is when its time to dig the Kulama (yam). Now we dig the muranga and the kulama and bake them in the fire. It tastes like damper.

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ANNA TIPILOURA

BIOGRAPHY

Anna Tipiloura was born in Darwin in 1989. She grew up with her family on Bathurst Island, and after finishing school in 2006 moved to Milikapiti with her partner. In 2010 she relocated to Garden Point, and in 2016 began her work as a Munupi painter.

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Anna Tipiloura | Pinyawini (Bush Apple) | 2021 | 71 x 51cm Natural Ochre on Arches Paper | ART21-540AT

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SUSAN WANJI WANJI Susan would hunt for stingray, crabs, mangrove worm, mud mussels, fish and cockles with the old people. She used to sail using a sheet, until her dad made her a canvas sail. When Susan was out in rough weather her father would yell out for her to come back in. This canoe from her childhood features in some of her paintings.

Susan learnt from her mother to weave intricately woven mats and baskets, and from her Uncle Romeo Puruntatameri she learned to make bark paintings and carvings. She also used to make the ceremonial poles (Tutunis) with him.

Susan's Aunty Joberta Puruntatameri taught her how to make armbands and headbands used in Tiwi ceremony. Finally, the elders taught Susan how to collect ochres and prepare them for painting.

BIOGRAPHY

Susan Wanji Wanji was born in 1955 in the bush at Johnsons Bay near Maningrida. Her parents wrapped her up in paperbark and took her by canoe to the mission at Maningrida.

Susan grew up in the bush near Maningrida and when she was around 10 years old her dad made her a little paperbark canoe that she used to go everywhere in. As soon as school was finished would run down with her paddle to her canoe. She took the old people out to get cockles and crabs.

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In 1982 Susan moved with her partner to Melville Island and she worked at the health clinic in Snake Bay. Susan started working at Munupi Arts in 1990 and has since developed a unique style that has influences from both Tiwi and Arnhem Land cultures.

In 1992 Susan travelled to Paris to represent Munupi Arts in their debut Paris exhibition. Susan was a finalist in the 2013 Telstra Aboriginal and Torres Strait Art Award. Susan was commissioned in 2016 by the Australian War Memorial Collection Canberra to create a commemorative painting of the Bombing of Darwin. Susan’s artwork is represented in many national as well as international collections.

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Susan Wanji Wanji | Kapala (Boat) | 2021 | 120 x 80 cm | Ochre on Canvas | ART21-49SW

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With gratitude and respect to our exhibition partners Bula'bula Arts bulabula.com.au & Munupi Arts munupiart.com

Artist and artwork information supplied by Bula'bula Arts and Munupi Arts Publication copyright Artitja Fine Art Gallery 2022 Artworks copyright the respective artists 2022 Design and copy by Claire Krouzecky

Artitja Fine Art Gallery is a member of the Indigenous Art Code

Since opening in March 2004, Artitja Fine Art Gallery have specialised in presenting art from multiple remote community Aboriginal Art Centres throughout Western Australia and the Northern Territory, including the Tiwi Islands and the Anangu, Pitjantjatjara, Yankunytjatjara (APY) Lands.

Artitja is based in South Fremantle and open by appointment daily.

Artitja holds up to six exhibitions a year in gallery exhibition spaces, details of which can be found on our website. At all other times we are open for viewing by appointment.

Operating by appointment, enables us to make the gallery visit comfortable and accessible. We pride ourselves on providing a personalised and informative approach to viewing and collecting art in a relaxed and welcoming environment.

- Artitja Directors Anna Kanaris & Arthur Clarke "Making Cultural Connections through Art"

Enquiries welcome via:

www.artitja.com.au / info@artitja.com.au / @artitjafineartgallery PO BOX 406, SOUTH FREMANTLE 6162, WESTERN AUSTRALIA / + 61 418 900 954

Artitja Fine Art Gallery 2022