Contemplating the Stars, the Present and Future - On a Personal Note

by Natalie McCarthy, studio coordinator at Mangkaja Arts, June 2020

As Studio coordinator, I have only been working with Mangkaja artists for two years, a short time in the history of MARA. The magic that happens in the studio is remarkable but can be a daily occurrence. Seeing a work unfold before my very eyes, there are no real words to describe that feeling, the buzz. Or when an artist such as Eva Nargoodah brings in a work you know they have laboured over for many weeks, even months in between juggling family life and grand kids.

Peinture Aborigène et gravure sur place de métal de l’artiste Ngarralja Tommy May - JILJI AND BILA - 60 x 60 cm - 340/19

There it is, just like a miracle. In the forefront is Mangkaja’s former Chair, founding member and one of the last remaining Rainmakers, Senior Law man Ngarralja Tommy May. He would usually come into the studio every day, except for the last few months because we have had to close due to the Corona Virus pandemic, which has been difficult for him. Tommy began his working career as a stockman, taking him through the western and central desert regions and as far north as Arnhem Land, learning many of the dialects on the way. Since he began doing art, things have changed a lot for Tommy, except for the travel bit. Not only including most of Australia, Tommy has travelled the world over, recently returning from New York Outsider Art Fair earlier in January 2020. He says," It's my job and it's a good job" because he gets to travel everywhere and try different things. "And now I've even done fashion" referring to the successful collaboration with Australian fashion house Gorman that happened last year. Tommy is highly regarded for his distinguished printmaking skills, which have provided the foundation and a natural progression for the development of his etchings onto tin works. He has also experimented with digital animation, jewellery and is an innovator with his art practice in general. Kurtal 2019 uses pens and markers normally used by graffiti and street artists to tell the ceremonial story of Kurtal digging the Jila and bringing the rain.

Peinture Aborigène de l’artiste Sonia Kurarra - MARTUWARRA - 240 x 120 cm - 182/19.

Sonia Kurarra is also an artist who would work every day, all day if you let her. Her stream of consciousness mark making enables her to recreate again and again her fond memories of growing up by the Fitzroy River. Immersing herself and the viewer in painterly-layered renditions of the flora and fauna that exist there and even created it. Sonia was the first to try her hand on Perspex after picking up a discarded piece in the studio to work on and has taken the medium to new levels, leading the way for her sister Mrs Japulija (dec.2020) and the rest of the Mangkaja senior artists to try. Around the time Sonia and Mrs Japulija produced the Perspex works included in this show they also collaborated together on the most ambitious Perspex installation to date, producing six panels reaching three metres high, of double sided transparent work, hung from the ceiling and causing a sensation at the MCA Sydney as part of The National March 2019. Mrs Japulija’s Billabongs 2019, as seen in 36th NATSIAA can also be viewed from front and back. The transparency shows the subtle structured layers she created with grids and circles to represent the billabong country of the Fitzroy Valley after flood time and looks completely different on each side. One of her last works to be created on the Perspex medium.

Peinture Aborigène de l’artiste Rosie King Tarku - Desert From The Air - 120 x 120 cm - 20/20

When Rosie Tarco King enters the studio she will announce, "I've walked a long way I have, I walked a long way me". She is not referring to the aged care facility where she now lives but the desert she walked out of as a young woman in the 60’s, one of the last nomads of the area. A long- time member of Mangkaja, Rosie has had a remarkable explosion in paint lately to create these new paintings that recall the landmarks and maps of country she travelled across in the Great Sandy Desert.It’s been quiet in the studio since we have had to close with Corona-19 restrictions and there have been a lot of adjustments to continue supporting the artists and allow them to keep doing what they do best, making art whilst keeping them safe.Since last year and just recently we have sadly lost two more of the artists included in the show. With personal stories that show great resilience and survival, their art connects us to place and keeps it alive for generations to come. The strength and confidence to which MARA artists have made their mark up until today leaves a conscious space for the younger artists to come through and try their hand at painting, perspex, tin, jewellery, fashion or something new.

Reflection, the Mangkaja legacy to Uphold - Art Aborigène du Kimberley Australien

L’artiste Sonia Kuararra (1951) et la coordinatrice du studio Nathalie McCarthy. © Photo : Emilia Galatis with the courtesy of Mangkaja Art Centre

Peinture Aborigène d’Australie de l’artiste Sonia Kurarra - MARTUWARRA - 240 x 120 cm - 434/17

by Natalie McCarthy, studio coordinator at Mangkaja Arts, June 2020

Mangkaja Stars, Legacy to Uphold is an ambitious title for an exhibition but sits in good company with the artists shown and the legacy created. Mangkaja Art and Resource Centre (MARA) is situated in Fitzroy Crossing, a remote community in the west Kimberley Region of Western Australia. What grew from humble beginnings was not without intent.

In 1988, a strong gathering of members formed an adult education centre Karrayili from five language groups. Motivated to be able to understand letters being sent from government officials etc, they came together to learn to read and write English, and understand numbers and hence gain independence from Kartiya (white man). One of those key figures was Ngarralja Tommy May.

Peinture Aborigène de l’artiste Wakartu Cory Suprise, Myarta Jiwari (Rockhole) - 120 x 90 cm, 146/09.

Mangkaja Arts grew out of this arm and presented its first exhibition in 1991 in Adelaide South Australia with works on paper of 19 artists including Corey Wakartu Surprise (dec. 2012), Nada Rawlins (dec. 2019) and Dolly Snell (dec. 2015). The show’s success encouraged the artists involved to incorporate Mangkaja Arts in 1993 perhaps unaware at the time they would continue painting for more than 20 years on.

Wakartu renowned for her vibrant colour and uninhibited style was born at Tapu the Great Sandy Desert waterhole. She eventually left the bush to end up working on stations, a similar story faced by Walmajarri and Wankajunga people moved onto the Cattle stations mid century due to droughts, bushfires and enforced labour. Made to work for little to no pay in return for basic shelter and rationed food, those that attempted to run away were soon sought out and put back to work. Wakartu and her husband ran away one time and he was brought back in chains.

Featured in the show are three paintings of Wakartu’s beloved Great Sandy Desert country; Napaju Pulka 09 “This is a great big rock which is my dreamtitime (Waljirri) from my great grandfather and great grandmother”; One Big Jila 08 and Jila Jumu Soak 08 “Round one, waterhole, this one its way out in the Great Sandy Desert where my people used to go and visit this waterhole.” Prior to first contact with white people the Jila (Springs) and Jumu (Soaks) were central to life in the desert and a precious resource. The onset of sheep and cattle stations from the 1880’s marked a major change to the lives of Aboriginal people in the surrounding areas. The Canning Stock Route implemented by Alfred Canning in the early 1900’s saw over 50 major waterholes appropriated into wells to provide water for the large droves of cattle en route to their sale or export. They used Indigenous men to find these waterholes and cruel methods that included chaining and starving them and then following them knowing they would be forced to share the locations, It crossed a region of more than 2000 km and 200 languages groups, including 10 major waterholes situated in the Great Sandy Desert which held great significance for Walmajarri and Wangkajunga people who after were prevented access to them.

Peinture Aborigène de l’artiste Jimmy NERRIMAH, Wili 2, 90x90, 317/07

Extensive knowledge of desert waterholes was often seen in the work of artist Mawukura Jimmy Nerrimah Mawukura born c 1924 (dec. 2013) grew up moving between the main waterholes in his country and was nearly a man when his father took him to the station to escape a very large fire that was burning around Tapu. It was a time when he went through law at Lumpu Lumpu and then went back to the desert. Mawukura eventually left the bush, possibly in the early 1960s, and spent most of his time working on Nerrimah Station. Artworks Purrahala, Myilapul and Kartallala 05 are about Waterholes in his country, and Wili 07 is a waterhole where he was born.“

Peinture Aborigène de l’artiste Ngarralja Tommy May - Kurtal_Tommy - 120 x 120 cm - 435/18

Mangkaja Ten Years On 2001 in Adelaide saw Ngarralja Tommy May and Amy Nuggett exhibit for the first time alongside their predecessors and artists making a gradual transition onto canvas from the initial work on paper. The early mid 1990’s had been an exciting time for mob in the Kimberley and the High Court’s Mabo decision being a major event sent ripples across the region. Opportunity came to travel back to traditional lands most had left as a young adult and eventually lead to the collaborative work Ngurarra Canvas I and II painted at Pirnini, in the Great Sandy Desert near Kurtal. 40 artists including Ngarralja, Snell, Wakartu, Rawlins and Nuggett depicted the significant jumu and jila of their different countries mapped side by side on a giant canvas 10mx8m to be used for Native Title Land Claim in 1997. The Canvas creation was documented in Jila . It was the first time an artwork had been used to prove connection to country and took many years. In 2007 Ngurarra part A was granted and 2012 saw Land Rights granted to Ngururra B and C.

Peinture Aborigène de l’artiste Amy Ngurnta Nuggett - Rijijirr - Bush Medicine - 120 x 120 cm - 17/20

The long battle was featured in Putaparri and the Rainmakers documentary Film of 2015. Kurtal country for Dolly Snell and Tommy Ngarralja was only approved in 2015 after the doco was launched and won awards. 2015 proved to be a historic year for Mangkaja when Dolly Snell received the ultimate acknowledgement of her achievements and was awarded the esteemed overall prize at the National Aboriginal and Torres Strait Islander Art Awards. Great joy however was soon to be followed with much sadness with her passing not long after her win. Tanga 13 is a great example of Snell’s vibrant palette masterfully layered to create architectural compositions and shapes that celebrate the iconic beauty of her country. “This place no water. This my grandson’s side, this one saltwater country.

Peinture Aborigène de l’artiste Eva Nargoodah - Parta/Kulparn - 120 x 90 cm - 74/20

Tanga Eva Nargoodah grew up watching her Grandmothers paint and in 2012, Mangkaja’s follow up 21st anniversary exhibition gave an opportunity for her to exhibit beside them and other established artists for the first time. Despite Eva’s works being remarkably different, the confidence and focus she had in developing her own style grew out of watching these older women paint. Since then Eva has been represented internationally and included in the Hadley’s Landscape Art prizes. The two new works she has painted for this show are meticulous visual translations of seasons and knowledge of country handed down from a long line. Now 27 years strong, Mangkaja artists are leading innovators in the Indigenous and Contemporary Art world. They continue to captivate audiences, acquire prestigious awards and be included in numerous international and Australian major collections.

Mangkaja Artists endeavor to take on new mediums and ambitious projects to convey stories strong in culture and contribute to a dynamic Indigenous community locally, nationally and internationally.

Natalie McCarthy
Mangkaja Arts June 2020

Wantili – Lieu de la Création - Canning Stock Route – puit n°25

Peinture magistrale de l’artiste Bugai Whyoulter. Format : 125 x 300 cm. Titre : Wantili. Acrylic on linen. Ref : 19-1111. © Photo : Aboriginal Signature Estrangin Gallery with the courtesy of the artists and Martumili Art.

En 2002 après plus de 20 ans de lutte, les Aborigènes Martu ont récupéré un des territoires les plus vastes d’Australie dans le cadre du Native Act Title.
Avant les années 60 beaucoup d’entre eux n’avaient pas rencontré d’occidentaux.
Les premiers contacts, tel un choc de deux civilisations, débutèrent avec l’établissement entre 1901 et 1907 d’une barrière de 3200 km à travers le pays Martu pour éviter la dissémination des lapins. Puis entre 1906 et 1907 avec la création de la Canning Stock Route pour acheminer des bovins à travers le désert. Plus grande route de transhumance au monde sur 1800 km, elle provoqua des actes brutaux contre les Aborigènes, afin qu’ils révèlent les emplacements des trous d’eau sacrés pour abreuver les troupeaux.

Aux confins de plusieurs déserts, leur territoire éloigné offre des paysages à couper le souffle, où alternent d’élégantes dunes de sable rouge et d’anciens épanchements d’eau et lacs salés poudrés de blanc nacré.
A l’ouest de leur territoire, au niveau de la Canning Stock Route, d’anciennes rivières des temps géologiques se réveillent en fonction des saisons et serpentent entre les dunes du désert dans un contraste surprenant.

Ces lieux habités depuis plus de 40 000 ans par les Aborigènes d’Australie portent en eux les histoires du Tjukurpa et de la Création.
Le lieu particulier de Wantili près du puit numéro 25 de la Canning Stock Route, résonne à Bruxelles avec 10 œuvres de 4 artistes qui l’évoquent et le célèbrent dans leurs toiles. Deux œuvres magistrales de trois mètres des peintres Ngamaru Bidu (1949) et Bugai Whyoulter (1939) soulignent avec des individualités tout à fait contrastées leurs liens claniques à ce lieu et l’histoire du Temps du Rêve dont elles sont les gardiennes tutélaires.

Œuvre magistrale de l’artiste Ngamaru Bidu. Titre : Wantili. Format : 125 x 300 cm, Acrylic on linen. Ref : 19-953.. © Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Martumili Art. Cette peinture proposée à Bruxelles fut finaliste du John Stringer Art Prize 2019, et exposée dans ce cadre à la prestigieuse John Curtin Gallery de l’université éponyme de la ville de Perth. Plus d’informations sur ces peintures d’art Aborigène.

Les deux artistes évoquent avec leurs styles graphiques différents et leurs émotions propres, l’histoire essentielle des 7 sœurs, grands ancêtres qui traversent ces lieux de Wantili (puit n° 25), en direction de Tiwa (puit n°26), puis vers le lieux clefs de Juntujuntu (puit n°30)… En ces temps immémoriaux, nous sommes aux origines du monde. Les 7 sœurs inventent le territoire, le marquent de stigmates dans les fissures de la roche, dans la création des trous et épanchements d’eau. Puis elles s’affranchissent des frontières entre Western Australia aujourd’hui et Northern Territory, pour continuer leur dynamique de création autour de Kiwikurra, avant de s’évader dans le ciel et de créer la constellation des Pléiades.

Ces histoires nous connectent à ces lieux sacrés au-delà des océans, célébrés par des cohortes de générations successives à travers les millénaires, dans la même dynamique que l’artiste Bugai et son petit-fils Cyril Whyoulter (1985) qui reprend le flambeau. L’acuité du récit graphique de Cyril se distingue à la galerie du geste énergique et fondu de sa grand-mère Bugai. Chacun avec son langage évoque l’histoire de Wantili, avec son niveau de connaissance et les chemins contrastés des âmes.

Cyril Whyoulter (1985) - Wantili (Well 25) - 152 x 75 cm - ref : 19-200. © Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Martumili Art.