PH CSR TOE catalogue Final

Boys dancing at Nyarna, Lake Stretch

It is my pleasure to invite you to join me in celebrating this landmark exhibition of Western Australian Aboriginal artwork: Through Our Eyes – The Canning Stock Route.

Through Our Eyes The

Canning Stock Route

5 September – 18 October 2008

“…That road been put by that Canning mob lately…

artists Eubena Nampitjin • Elizabeth Nyumi • Jane Gimme Frances Nowee • Sheila Friday Jones • Clifford Brooks Jeffrey James • Dada Sampson • Jakayu Biljabu • Lily Long Hayley Atkins • Dulcie Gibbs • May Brooks • Miriam Atkins Rennette Biljabu • Nora Nungabar • Mabel Warkarta Mayapu Elsie Thomas • Rosie Goodjie • Tom Lawford Nada Rawlins • Peter Yanjimi Rowlands Penny K-Lyons • Josephine Nangala Miriam Olodoodi • Charlie Wallabi • Veronica Lulu Donald Moko • Nola Campbell

only yesterday.

Before this, blackfella country, soak-water, jila, jumu, rock-hole.

Now it’s Stock Route for anybody to use.

Before it was…Dreamtime ancestors.”

Tommy May, Wangkajunga, Cultural Advisor and Artist, Mangkaja Arts

most beautiful places. The best way to capture this beauty, and convey its sense of place, is through the presentation of local creatives, who possess knowledge, spirit and vision that is uniquely their own.

As a response to this distinctive perspective, the CSR Project has established two employment and training programs to build the Project’s content. The Emerging Aboriginal Curator and Multimedia Trainee Programs and the Cultural Heritage Preservation Program are forging new pathways for intercultural and economic exchange, with talented individuals working with their communities and local enterprises. The multimedia and curator programs offer ‘on the job’ professional development and mentoring, generating ongoing benefits and livelihood opportunities that will outlast the Project.

Emerging Aboriginal curators Hayley Atkins, Louise Mengil and Terry Murray, with the guidance of Senior Curator Wally Caruana, have selected works produced on the journey from Wiluna to Halls Creek, associated bush-trips and art centre workshops. The resulting exhibition and companion publication will be launched at the National Museum of Australia

With the critical assistance of Aboriginal people, the Canning Stock Route was originally opened

by Alfred Canning between 1906 and 1910, to bring cattle from the Kimberley region in the north of Western Australia, 1,800 kilometres south through remote deserts to Wiluna.

This exciting project brings the long neglected perspective of Aboriginal people from this country, about this country, into focus.

Beautiful in their own right, these paintings open all eyes to a glimpse of the artists’ complex knowledge of and relationship to the Canning Stock Route country: an inheritance that has developed over thousands of years.

The paintings visually capture knowledge of geography, law, mythology and spirituality, and speak to us about the importance of place.

They teach us to look again and to see this country with new eyes.

multimedia artists Kenneth KJ Martin • Morika Biljabu • Clint Dixon

(NMA) in 2010, followed by a national tour. Many of the artists participating in the Through Our Eyes exhibition will also be participating in these activities. In addition, a boutique selection of paintings recently featured as the only Australian cultural product at the 2008 Beijing Olympic Expo, supported by BHP Billiton Iron Ore and hosted by the International Olympic Committee.

These partners also recognise the need to listen, celebrate and understand the wealth of environmental, economic, social, and cultural knowledge that belongs to Australia’s first peoples.

The mutuality of the partnerships supporting Through Our Eyes and the CSR Project is reframing the possibilities between Aboriginal and non-Aboriginal Australia.

The most magical aspect of the CSR Project and Through Our Eyes exhibition is the shared intentions, energy and contribution of a most remarkable team. An empowered network of outstanding leaders and professionals has developed, including Aboriginal and non-Aboriginal arts and cultural workers, curators, cultural advisors, language workers, anthropologists, film makers and photographers, fundraisers, administrators and support crew. The CSR Project harnesses their commitment to manifest the goal of sharing Aboriginal culture with global audiences.

Through Our Eyes has been realised through the generous support of the Department of Local Government and Regional Development (via WARIS). BHP Billiton Iron Ore, the Indigenous Land Corporation and Lotterywest are the CSR Project’s founding and principal partners, signifying a strong investment in the communities across the regions.

Additional partners are Visions of Australia, BHP Billiton Nickelwest, the Department of Industry and Resources, the National Museum of Australia, the Department of Culture and the Arts, the Department of Water and the Western Australian Museum.

Partnerships The CSR Project’s network of participating artists, industry professionals, leaders, agencies and organisations has built an alliance with pioneering partners.

Carly Davenport Acker Cultural Program Manager, FORM

Mabel Wakarta, Yirajara, (detail) 2008, Martumili Artists

As one observer remarked, the paintings sing, and I understand many of the artworks were created to the accompaniment of traditional songs about those places.

The timing of this project is also very important.

Through Our Eyes is a link to the last living generation of Aboriginal people who remember what Australia was like before the arrival of non-Indigenous Australians. The exhibition is therefore a significant link to the heritage of all Australians.

This major project, brokered by FORM, has drawn together substantial contributions from the State Government, corporate sector, in particularly BHP Billiton Iron Ore, and nine Aboriginal community businesses representing the artists involved.

FORM 357 Murray Street Perth www.form.net.au

Port Hedland Courthouse Gallery 16 Edgar Street Port Hedland www.courthousegallery.com.au

This exhibition is designed and delivered by FORM. FORM is assisting in building social capacity and economic opportunity through cultural and artistic activity for nine Aboriginal enterprises in the Pilbara, Kimberley, Mid West and Gold fields regions via the CSR Project.

See the Project online on www.form.net.au

Through Our Eyes is proudly presented by the Department of Local Government and Regional Development, Government of Western Australia Principal Sponsors FORM gratefully acknowledges the support of BHP Billiton Iron Ore as The Canning Stock Route Project’s founding and major partner.

Lynda Dorrington, Executive Director, FORM

Through Our Eyes The

Canning Stock Route 5 September – 18 October 2008

Supporting Partners

Department of Culture and the Arts Government of Western Australia

Art Centres

A collection of works from nine remote arts and cultural enterprises in the Pilbara, Kimberley, Midwest and Goldfields regions of Western Australia

(Cover) Elizabeth Nyumi, Wirrirpi, 770x1520mm, 2007, Warlayirti Artists; (below) Helen Hill, between Wells 27 and 28

Through Our Eyes – The Canning Stock Route exhibition is a kaleidoscope of colour, culture and country as shared by emerging and established Aboriginal artists of the Western Desert. Through Our Eyes is a journey through the lands of 29 artists from nine arts and cultural organisations in the Kimberley, Pilbara, Goldfields and Midwest regions of Western Australia.

Through Our Eyes is an initiative of the Canning Stock Route Project [CSR Project], a four year arts development project involving 89 artists, cultural advisors, and traditional custodians in partnership with Papunya Tula Artists (Kiwirrkurra), Paraku IPA (Mulan), Kayili Artists (Patjarr), Tjukurba Gallery (Wiluna), Yulparija Artists (Bidyadanga), Mangkaja Artists (Fitzroy Crossing), Ngurra Artists (Wangkajunga), Martumili Artists (Newman/ Parnngurr/ Punmu/ Jigalong/ Kunawarritji) and Warlayirti Artists (Balgo).

The regions’ multiple art centres communicate a broad spectrum of styles, techniques and stories that interweave the artists’ passionate celebration of their country. Each work of art is a personal history, revealing multiple perspectives of family life, survival and knowledge of waterholes, hunting, the interconnectedness of traditional Law across the desert and the importance of culture in looking after country. The voices of each artist, the movement, resonance, and light captured in each work - paintings, photography and short films were all produced during a series of in-country artist workshops.

This exhibition presents the strong and dynamic linkages of people to country, connections continually reinforced by the artists through their practice. Through Our Eyes provides a window into contemporary, community life experienced

by Walmajarri, Kukatja, Martu, Wangkajunga, Manyjilyjarra, Yulparija, Putijarra and Ngaanyatjarra peoples across the Great Sandy, Little Sandy and Gibson Deserts.

Through Our Eyes also features a showcase of short films and photography entitled Through the Lens which captures the insight and fresh humour of three young, emerging multimedia practitioners: Kenneth ‘KJ’ Martin, Morika Biljabu and Clint Dixon. Through the Lens also presents a short film by Nicki Ma, the Project’s lead filmmaker and mentor, showing highlights of the epic 1800km Canning Stock Route and the artists’ six week return-to-country journey in 2007.

Vision and Livelihoods The diverse environment and cultures celebrated by the CSR Project traverse some of the planet’s

The nine Aboriginal art centres involved in the CSR Project circle the Canning Stock Route

Vehicles climb the tali or sand-hills, which feature in many CSR works

Charlie Wallabi from Papunya Tula Artists at Kaningarra, near Well 48

Miriam Olodoodi, Winpurpurla, 500x760mm, 2007, Papunya Tula Artists

Detail of artwork by Eubena Nampitjin, Warlayirti Artists Photo: Tom Lawford

Friday Jones at Well 12

ART CENTRES Paruku Indigenous Protected Area Paruku is the Walmajarri name for Lake Gregory area and the Paruku Indigenous Protected Area (IPA) covers 435,000 hectares surrounding the lake.

Paruku’s traditional owners comprise language groups including Walmajarri, Jaru and Kukatja. Jurapalan Tingarri Law governs the management of the lands and waters. It also binds the traditional owners together and expresses their communal ownership of native title. The area is extraordinarily rich in cultural, historical and ecological values. Paruku is at the northern head of the stock route and many of the artists have a strong connection to the stories of working cattle along the route.

Helicopter Tjungurrayi, Natawalu, (detail) 2007, Warlayirti Artists Mayapu Elsie Thomas, Jurtal, Ngamparr, Kukurrmarlu, (detail) 2007, Mangkaja Arts

Mangkaja Arts Resource Agency Aboriginal Corporation.

Mangkaja Arts began its operation in Fitzroy Crossing in the mid 1980s. The first structure was a tin and cement shelter so the group of artists took on the name Mangkaja, a Walmajarri word for the wet weather shelters which the artists built in the desert.

Since then, the centre has been run by a committee representing each of the four language groups, Bunuba, Gooniyandi, Walmajarri and Wangkajunga. The traditional country for the Walmajarri and Wangkajunga people is the Great Sandy Desert to the south.

Jilakurru or Durba Springs near Well 17 on the CSR

Eubena Nampitjin, Untitled, 1520x1220mm, 2007, Warlayirti Artists

Dada Samson, Matalirli, (detail) 2007, Martumili Artists

Kenneth ‘KJ’ Martin

Mervyn Street, Goanna, 2007, Mangkaja Arts

Ngurra Artists Ngurra Artists are based at Wangkjunga, south east of Fitzroy Crossing. Many artists were born in the desert before moving onto the cattle stations. Their paintings document desert sites along and around the Canning Stock Route.

The artists have strong ties to Balgo so it is not surprising that their work is similar. Many of the Ngurra artists are accomplished artefact makers and are producing a series of pieces for the 2010 exhibition.

Kayili Artists Kayili Artists is the arts enterprise of the tiny community of Patjarr, in the Ngaanyatjarra Lands of central Western Australia. Kayili Artists is an Aboriginal-owned art centre. The money earned by the sale of paintings flows directly into the community, supporting the broader aims of selfdetermination and empowerment.

The acrylic paintings are known for their vibrant colours, raw and uncontrived shapes and highly traditional origins. Every painting made in Patjarr depicts the artists’ association with and knowledge of Tjukurrpa (Dreaming).

Josephine Nangala, Untitled, (detail) 2007, Papunya Tula Artists

Image courtesy of Landgate, design by Ecomap

“…the white man history has been told and it’s today in a book. But our history is not there properly.

That’s one way to tell’em.

We’ve got to tell’em

my Country,

Martumili Artists Martumili Artists is a new arts initiative that has grown out of the drive of Martu people across six communities: Kunawarritji, Punmu, Nullagine, Parnpajinya, Jigalong and Parrngurr. Since a landmark meeting held in 2005, the artists have worked together with the Shire of East Pilbara and other government agencies to develop Martumili Artists. Martumili has emerged as an area of significant artistic innovation, supported by a focus of facilitating the production and sale of Martu artworks in the local, national and international markets.

Martu lands cover a large area, stretching from near Well 5 on the CSR to almost Well 40. There are many Martumili artists involved in the CSR Project who are directly connected to the lands traversed by the Canning Stock Route.

Papunya Tula The Papunya Tula art movement began in the early 1970s, deriving its name from a settlement north-west of Alice Springs. The company, initially based in the Papunya area, now extends its operations into Western Australia.

The Papunya Tula painting style derives directly from the artists’ knowledge of traditional body and sand painting.

The work of the Papunya Tula artists is highly regarded. Its unmistakable style has resulted in Papunya Tula artists being represented in public galleries, major museums, institutions and many private collections within Australia and overseas.

By promoting artists’ work, Papunya Tula provides economic development for communities and assists in the maintenance of a rich cultural heritage.

Clifford Brooks, Martu, Tjukurba Gallery Yulparija Artists Yulparija Artists are based in Bidyadanga, 180km south of Broome, on the traditional land of the Karajarri people. Drought and the equal pay decision in the 1970s resulted in many Aboriginal people leaving their traditional country.

This is when many of the Yulparija people came to Bidyadanga. Most of the artists are Yulparija elders, who grew up in desert homelands to the east.

The motivation for many Yulparija elders to begin painting resulted from the understanding that their grandchildren would never have the opportunity to know their country in the same way. Yulparija artists combine their intimate knowledge of desert land and stories with the rich colours of the salt-water country where they now live, resulting in this unique style of painting.

Tjukurba Gallery Wiluna marks the beginning of the Canning Stock Route and is also the home of Tjukurba Gallery. The art centre is a collaboration between the Shire of Wiluna and Wiluna’s artists, with the Gallery housed in the Shire complex. Previously used as a hospital, a horse shelter and a store, the recent revamp of the space has created an excellent exhibition area and an attached studio space where artists come to work.

The artists’ works reflect strong connections to country and a love of hunting and bush foods. There is a broad group of artists both young and old who are producing works in a lively variety of styles. The artists have mixed and rich backgrounds, with ties to people throughout the desert areas to the north and east.

“I’m keen to know about all the old people’s stories, their life stories, which tells the history about Halls Creek. There are two versions of history…

the Canning Stock Route.”

Eubena Nampitjin, Kukatja, Warlayirti Artists

They might see it through there.”

Jakayu Biljabu, Wanytili Well 25 on CSR, (detail) 2007, Martumili Artists

“For seven years I’ve been working at the radio station, with my own program, telling jokes and playing music. I’ve also worked a long time now at Kimberley Language Resource Centre as Audio Visual Project Officer.

“…That’s what I’m painting,

through our paintings.

Kaningarra near Well 48

KJ lives in Halls Creek. His mother comes from north of Halls Creek in Gija country and his father from country around Doon Doon Station.

Lake Aerodrome Curator Hayley Atkins walks the paper stock route

Warlayirti Artists Warlayirti Artists, based at Balgo, is a community-based, not-for-profit organisation, owned and managed by a committee of artists. The first public paintings made by Balgo artists were banners, in 1981. People subsequently began painting on canvas board with the first exhibition in 1986. Following this success, Warlayirti Artists was established in 1987.

The organisation has grown significantly and the artists represented by Warlayirti have emerged as some of Australia’s leading contemporary painters. As a result, Warlayirti Artists contributes significantly to the social, cultural and economic wellbeing of the region.

The traditional lands of many Balgo residents are intersected by the CSR, and many older people arrived at the old missions at Balgo and Billiluna via the stock route.

Emerging Multimedia Practitioners

“I made a film out there in the desert and now I’m filming the curators building this exhibition. I hope to make more films about this area, stories about Halls Creek”.

Clint Dixon

Morika Biljabu

Clint lives in Broome and his language group is Bardi/Yawuru.

His mother is Bardi from north of Broome and his father is Yawuru from around Broome.

Morika lives in Punmu, in the heart of Martu country. Through her schooling and filmmaking, Morika has lived and travelled to other parts of Australia, but it’s Martu country that draws her home.

Emerging Curators Terry Murray Terry is a Walmajarri, Wangkajunga and Juwaliny man from Fitzroy Crossing. Terry is a painter himself, who has exhibited his work around Australia and his father and grandfather were both artists and leaders.

FORM’s Emerging Curators and Multimedia Practitioners are at the nucleus of the CSR Project team, and are playing a significant role in the development of a world-class exhibition program that reveals Australian history in a new light.

Louise lives in Kununurra and is an assistant at Waringarri Aboriginal Arts. Louise likes spending time with the old people of the Mirruwong and Gadjerriong tribes. Louise says her father inspires her in many ways, like having the passion to learn about Aboriginal history, law and native title.

“When I think about them [my grandfathers] I get emotional, always telling me stories, expressing emotion and spiritual feeling through their art. I always think about passing on knowledge to the next generation. I’ve got three kids. Putting my footsteps in my grandfathers’, I think about how they lived: being strong, connected to their land.

“The Canning Stock Route history is something I have never learnt about at school but my elders know. I’m learning things that help me with my work at Waringarri and one of my goals is to manage the art centre one day.”

I worked at Mangkaja Arts for seven years and went to Spain for an exhibition. I’m inspired by looking at different cultures and different art. Aboriginal art is our way, our tradition”.

Louise Mengil

Hayley Atkins Hayley says Jigalong community is really her home, though she lives in Newman because of her love for working with Martumili Artists.

“I was in Jigalong and wanted to do something. Gabrielle said: “You could work for Martumili.”

So I started and I felt happy inside working for my people, with my own job. I learnt a lot of history and learned how to paint. I learnt where my family came from in the desert.

I want to work with all six communities, so they know the Stock Route…to keep Martu history and culture strong. When you paint a story of your life, family, history and culture you become part of it”.

Clint works at Goolarri Media and is training to be a director: “I really enjoy my job. I get to work with a lot of different people and I’m really happy because my film, Mudman, will be shown at the Beijing Olympics.

I would like to pass my knowledge to younger Indigenous and non-Indigenous people who would like to work in the media”.

Morika says that it is her family and friends that makes her most happy: “I’ve got everything here”.

On the Canning Stock Route Trip Morika filmed and produced Nana.

Nana celebrates her grandmother, Jakayu, singing for her country. Also on the trip, Morika shot hundreds of photographs that will be featured in the Project’s book and exhibition.

Photos: Tim Acker and Ross Swanborough. © FORM