The Nyungah or Noongar artists

The Carrolup Mission Art style from south-western Australia was developed by a group of child artists, and the uncovering of their works has provided inspiration for another generation of Noongar or Nyungah people to paint in the ‘Carrolup style’. The emergence of this style of art is unique and cannot be linked to the work of the Hermannesburg School, or an imitation of central desert art. To evaluate the art style, one must take into account the specific socio-historical context within which it emerged.

Carrolup Native Settlement, now known as Marribank, is situated fifteen kilometres out of Katanning in Western Australia.  In 1940, the settlement was opened by the Native Welfare Department, in order to provide standard education and training for Aboriginal children in accordance with the aims of the assimilation policies of the time. As such, Carrolup became home to many Aboriginal children who had been removed from their families.  In the eleven years while the settlement was in operation, many of the children staying there produced highly sophisticated artworks.  Children aged between five years and fourteen years created intricate and unusual designs and stunning landscapes that astounded the art community.  Encouraged by their teacher and Principal Noel White, the students would wander through the local bush and make sketches of what they saw, later recreating them in the classroom.  Without any formal instruction, the work produced was highly distinctive in colour, form and movement.

The work was so unique that several collections were exhibited throughout the world receiving prestigious media coverage during the late 1940’s and early 1950’s.  These tours were organised by Florence Rutter who had first seen the children’s drawings exhibited in Perth in 1949. Through Mrs Rutter, the paintings were shown throughout the capital cities and New Zealand with exhibitions in the United Kingdom. In 1951, the settlement closed down and officially handed over its assets to the Baptist Union, to become the Marribank Farm School.

The importance of the Carrolup collection reaches far beyond its artistic worth. Though beautiful in their own right, they are also recognised as something quite unique to Noongar art.  Native animals and traditional ceremonies and dances are requently depicted in the landscapes which have very independent styles, portrayed in a contemporary way.  The style continues to thrive and inspire other Noongar artists, to keep their culture alive, a culture that lives on through the continued support of Mungart Boodja Art Centre in Katanning Western Australia.

The Gallery has some amazing pieces of fine art from two Noongar Artists who now live in Brisbane.

(Source: Kleinert & Neale, 2006. The Oxford Companion to Aboriginal Art and Culture. Oxford University Press. New York)

Emu Apple Gallery  is delighted to have had artist sisters, Daphne deJersey and Margaret Mara  with Charles Street, Western Cape Arts Hub  Centre Coordinator, in attendance at the opening of their recent exhibition. Daphne and Margaret  live in Mapoon on the Western Cape and their works are fascinating in that each piece   demonstrates the energy of everyday life in and around the communities of the Cape. Stimulated by their surroundings, each artist celebrates identity and heritage through the exploration of different media. Certainly, art has always been closely integrated with Aboriginal life — the environment, trees, rocks, legends, song, dance, ceremony, law, and the land. From ancient ancestral and sacred stories, to stories of first contact, to personal stories of life in far north Queensland today,  the canvasses of the deJersey sisters offers compelling insights into the art and culture of one of Australia’s most isolated, yet culturally rich, regions.

The breathtaking beauty and diversity of Cape York Peninsula are things that few experience: it is simply too far or too arduous a journey for so many of us. Charles, the Art centre Co-ordinator spoke about the artwork to a captivated audience, and told us how pleased they were that their paintings were on exhibition for a wider audience to enjoy.  Daphne and Margaret have been painting for a long time and their creative genius is displayed in their thought provoking and compelling art. The works are highly textured, with unique iconography combined with a rich, organic palette of colour developed solely from the three primary colours of red, yellow and blue. The stories of the art delve into the connection that the artists have with the environment and the relationships within it.

Such wonderful pieces are still on display showing the incredible talent from the Western Cape Region.  The beautiful works of Kassandra Savage and Marsha Hall also show a unique perspective.  Marsha is from  Napranaum, an  emerging artist,  who has great potential. Little is known about Napranum. In the early 1990s the community became self-governing. Napranum, meaning ‘meeting place’, is located a few kilometres south-east of Weipa, on the western coast of Cape York Peninsula. It is home to around 730 Indigenous people who are descended from as many as 40 different groups from around Cape York.

While the township of Weipa (Weipa North) was developed around the Comalco bauxite mining lease and dates from the mid 1960s, Napranum had its origins as a Presbyterian Church Mission in 1898. Napranum has previously been known as Weipa Mission Station and as Weipa South. Following the discovery of bauxite in 1957, the richest single bauxite deposit in the world, the Queensland Government revoked the reserve status of the area and mining commenced in 1960.

Though Napranum has experienced profound change over many years, recent history reveals a community rich in infrastructure. The community boasts a hospital, day-care centre, aged-care facility, women’s shelter, youth centre, training centre, and schools. Marsha’s paintings depict her ancestorial past, many   referencing   mission life.

It would be remiss whilst mentioning Napranum, not to mention the wonderful  work of Thancoupie, a leading world-class ceramicist. Her works reveals a dynamic and continuous dialogue between traditional practices and the present day. The history and laws of her people are usually told through sand drawing and ceremonial performance. However, Thancoupie sees ceramics as a more permanent way to record her history.  In traditional Thainakuith culture, clay baked into balls and stored to make paint for ceremonial body decoration, was considered sacred. Thancoupie’s use of clay to make ceramics is ‘untraditional’, but the stories she depicts are embedded in her knowledge of, and position within, the Napranum community where she was born.

This exhibition gave audiences a first time opportunity to understand the amazing beauty, colour and spirit of the peoples of the Western Cape. Art in the home is as important as books on the shelf, just one fabulous piece of art can make the room all-pervasive. It speaks volumes about the homeowner’s persona, giving insightful wisdom and revealing more secrets about what makes them tick than anything else they may own. Western Cape Art would add to the diversity of an  art collection. Why not have  an important piece of this state’s cultural heritage in your home? Maybe, just as aesthetic and insightful to our lives, as our everlasting love-affair with the State of Origin.

Keep tuned for the next Exhibition during Naidoc Week commencing in early July.  Some wonderful works are promised.

This is, of course, a non-indigenous perspective. For Aboriginal people of the region the landscapes have always provided the inspiration, richness and diversity for cultural practice to evolve. While displacement of people and communities, along with assimilation policies have taken their toll on the Cape York communities, a resilient and determined attitude towards revival and maintenance of culture has always emerged from the Aboriginal people. There is evidence of communities being empowered to advance their culture in a manner that respects the past and provides opportunities for the children and youth to become involved. The move towards self-determination can be seen in the works of artists like Samantha Hobson and Vernon Ah Kee.

Isolated in a pocket in Queensland’s Cape York in an area, now known as the Western Cape, Weipa sits pivotally between the mangroves and masses of open cut mining in an area as wild and untamed as it is culturally thriving because of the beautiful contemporary works of the artist sisters, Daphne Dejersey and Margaret Mara. The artists each have their individual styles displaying their subtle new freedom of expression that is contemporary and unrestricted. Distant, untapped and vibrant are terms that reflect the emerging nature of contemporary art and craft produced in the Weipa Region. The world renowned Indigenous potter, Thancoupie, uses clay to convey the ancestral narratives of her Thanaquith  people, was born in  Weipa.  She has developed a vehicle for personal artistic expression in her ceramics. The Western Cape Arts Hub, through its partnership organisations, Department of Employment, Economic Development and Innovation, Western Cape College and Tropical North Qld TAFE and the local communities are all assisting in seeking to establish and secure the future of the contemporary Indigenous arts industry in this area.

There are many beautiful works of Margaret Mara, a mother of eight and a grandmother to four, in this exhibition. She is an inspiration, as she has the vision, and stamina to carry her passion forward into the wider public domain. Margaret works consistently with innovation and creativity to develop styles which meld the past, present and possible future in paintings which speak with such striking effect in the universal language of the visual medium.

(story place: Indigenous Art of Cape York and the Rainforest. QAG. 2003)

It was in this remote rainforest region that this unique culture and art evolved in virtual isolation and even today it is relatively unknown outside the region. Each traditional group has developed its own style and designs, but together all the art from the region is still easily recognisable as ‘Rainforest Art” owing to the large blocks of colour outlined in black used to produce bold, geometric designs which have totemic and cultural meanings and significance.

The entire Daintree-Cape Tribulation/Bloomfield regions is a small part of the Kuku Yalanji tribal area (sometimes spelt Kuku Yarlariji). The Kuku Yalanji people are the only Aboriginal tribe in Australia who still have their own language. They describe themselves as true rainforest people who live in absolute harmony with their environment.

The world’s rainforest are home to many tribal people. This is one of the least recognised facts about rainforests. Tragically, most of the native societies of the rainforest have already been destroyed. More than one thousand rainforest cultures still exist, but nearly all of them face a grim future. These rainforest cultures are a storehouse of great knowledge, as from them we can learn to live sustainably within the limits required by the planet’s ecosystem. Rainforest cultures have successfully lived in rainforests for thousands of years. Not only are the forest dwelling cultures losing their forests, but also their younger generations to whom they wish to pass on their traditional knowledge.

So much attention in recent years has always been given to the paintings from the Western Desert of Central Australia and the art of the Far North has been largely overlooked. But in recent years there has been an outpouring of almost jewel like art from the Far North, much heavily dotted, precise, with strong symmetries.

(Source: Anderson, C, ‘Traditional material culture of the Kuku Yalanji Of Bloomfield River, North Queensland.’ Records of the South Australian Museum. V. 29(1), July 1996, pp 68-83

This art gives a definite insight into the strong cultural and religious significance the Indigenous people have with the lands of Western Cape York and the Rainforest region.  Not only are the paintings vibrant and multi-faceted, but the range of works are impressive and inclusive, like historical totemic objects from Aurukun and Rainforest shields which have lost none of the dynamism and meaning of the traditional owners.

The ageless art of weaving is still practiced by skilled makers. Thancoopie  is  one of Australia’s leading ceramicists,  who uses clay to express herself and her intricate relationship with her land and its creatures through tactile drawings on the surfaces of her round pots.

Western Cape Artists Exhibition

Opening Night: Friday April 30, 2010 from 6-8pm.
Location: Emu Apple Gallery – 48 Rogers Street, Spring Hill, QLD
Featuring Guest Speaker:
Mayrah Dreise
Lecturer and Creative Industries Academic Advisor
Oodgeroo Unit – Chancellery
QUEENSLAND UNIVERSITY OF TECHNOLOGY

Exhibition: April 30, 2010 – May 21, 2010.
Exhibition Opening Times: Wednesday – Saturday, 11am-4pm. Other times by appointment.

Location: Emu Apple Gallery – 48 Rogers Street, Spring Hill, QLD

Exhibition: February 19, 2010 – March 4, 2010.

Exhibition Opening Times: Wednesday – Saturday, 11am-4pm. Other times by appointment.

Art Region: Tanami Desert

Emu Apple Gallery is presenting a signature exhibition of Indigenous female Warlpiri artists of the Tanami Desert.

“Divas of the Desert” exhibits the works of accomplished artists like Judy Napangardi Watson, Liddy Napangka Walker, Bessie Nakamarra Sims, and Pansy Napangardi. These artists draw their inspiration from the landscape and the strong spirit of the Australian Desert. The paintings are powerful in their use of colours including reds, yellows, hot pinks and greens which set their works apart. Below are two examples of the beautiful works that will be showcased at the exhibition.

April 30th “The Artists of the Western Cape” (After a visit to the Cairns Indigenous Art Fair, and viewing the impressive showing of the art genre of the Western Cape Artists’ paintings, Helen is working with the Art Centre Co-ordinator to bring the paintings to the capital).

July Exhibition, coinciding with Naidoc Week (July 4 -11)  is still in the  initial stages of planning and development.  Things have been happening and plans are afloat to have art from the APY Lands in the Gallery

The many communities in the remote area south and south west of Alice Springs have emerged as important art centres. Most are located in the region known as the APY lands.

In the past two years some of the most exciting new talent in the art world has emerged in this region attracting the interest of art collectors and art critics.

The oldest art centre in this region is Ernabella (home to the Pitjantjatjara people) which opened in 1948. In the following years a growing cottage arts industry developed with fibre arts, batik, ceramics and limited edition prints emerging as major art forms. Other art centres include Tjala (formerly Minymaku), Fregon and Maruku the centre for Mutijulu (Uluru) community.

For those still interested, the exhibition will continue to run until December 15, 2009. If you would like to view the exhibition, please contact Helen on 0439 799 288 or helen@emuapple.com.au to arrange an appointment.

Below is a montage of memories from the Opening Night. We hope you enjoyed the night as much as we did!

Location: Emu Apple Gallery – 48 Rogers Street, Spring Hill, QLD

Exhibition: November 27, 2009 – December 15, 2009. Inspection by appointment.

Art Region: Western Desert, Wanapatangu, (near Lake Mackay) WA

The rich visual language of the abstracted landscape paintings of the western desert artists celebrate their desert country and culture. Observing the boldness of line and movement in this artist’s work shows a refined sense of form on the large abstract canvas. The works are often characteristically simple, allowing the beauty of line itself tell the story.

Joseph Zimran is the feature artist in this Exhibition. He is the second son of Molly Napaltjarri Jugadai and the grandson of Narputta Nangala Jugadai. His late Father, Smithy Zimran Tjampitjinpa, the brother of renowned artist Ronnie Tjampitjinpa, was a prominent member of the Haasts Bluff community with close ties to Kintore.

Joseph paints the story of the “Tingari Cycle” and “Waru” (Bushfire) Tjukurrpa. He began painting in 2008 at the Ikuntji Arts Centre and has tremendous potential as an up and coming artist. His paintings celebrate the richness of the desert country, and the refinement of a technique inherited and preserved for all time.

View Media Release

The Cairns Indigenous Art Fair was held for the first time in 2009 and some wonderful paintings are coming from North Queensland as I am sure we have all seen the beautiful works from the Lockhart River, and the bold contemporary paintings from Mornington Island.

Desert Mob in Alice this year was the same high standard with the Art Centres presenting their artists work with such pride and aplomb.

Keep checking the website as the Western Cape Artists are supplying the contemporary art world with an insight into the strong cultural links that Indigenous people all over the continent have with their lands. This area is an isolated part of far north Queensland’s Cape York. Weipa sits pivotally wedged between the mangroves and open cut mining in a wild, untamed part of this land.