Amanda Jane Gabori

Amanda Jane Gabori, nascida em 1966, na Ilha Mornington, é uma mulher Kaiadilt de Dulkawalne, Ilha Bentinck, e falante da língua Kayardild. É conhecida pelas suas pinturas vibrantes em tela e papel, criadas com tinta acrílica. As suas obras refletem a sua profunda ligação ao património cultural e ao ambiente natural da sua terra natal.

Como filha mais nova de Mirdidingkingathi Juwarnda Sally Gabori (c.1924–2015), uma das mais renomadas artistas contemporâneas da Austrália, Amanda cresceu num ambiente artístico. Inspirada pelos feitos extraordinários da mãe, começou a pintar desde cedo. Trabalha frequentemente em colaboração com a sua irmã, Dorothy Gabori, no Centro de Arte da Ilha Mornington, onde ambas continuam o legado da mãe, ao mesmo tempo que expressam as suas próprias visões artísticas.

Através da sua arte, Amanda celebra a sua ligação à Ilha Bentinck e à sua identidade cultural, contribuindo para a preservação e evolução das tradições Kaiadilt. As suas pinturas transmitem frequentemente um forte sentido de lugar, memória e narrativa, refletindo a rica história e paisagem das suas terras ancestrais.

Dorothy Gabori

Dorothy Gabori, nascida em 1959, é uma mulher Kaiadilt de Dulkawalne, Ilha Bentinck, e falante da língua Kayardild. Cria obras de arte vibrantes utilizando aguarela, tinta acrílica e lã de feltro colorida, inspirando-se na sua terra ancestral, a Ilha Bentinck, situada no Golfo de Carpentária, em Queensland.

Filha da célebre artista contemporânea Mirdidingkingathi Juwarnda Sally Gabori (c.1924–2015), Dorothy recebeu o primeiro incentivo para pintar da sua mãe. Muitas vezes, colabora com a sua irmã Amanda Gabori, dando continuidade ao legado artístico da mãe, ao mesmo tempo que imprime às suas obras perspetivas e estilos próprios.

As criações de Dorothy são uma celebração vívida do seu património cultural e da beleza natural da Ilha Bentinck. Ao utilizar materiais contemporâneos, envolve o público com histórias, paisagens e práticas culturais do povo Kaiadilt, promovendo uma compreensão mais profunda da sua história e tradições únicas.

Born in 1940 at Derry Downs Station in the Utopia region, northeast of Alice Springs, Australia, Barbara Weir is a pivotal figure in contemporary Aboriginal art. She is the daughter of Minnie Pwerle, one of the most celebrated Aboriginal artists of Australia, and Jack Weir, an Irish station owner. Raised in the heart of the rich artistic traditions of Utopia, Barbara’s journey to becoming an artist was shaped by both profound loss and a determination to reclaim her heritage.

At the age of two, she was taken from her family and hidden from welfare patrols due to her mixed heritage. She was raised by her aunt, Emily Kame Kngwarreye, who became one of the most influential female Aboriginal artists in history. At the age of nine, Barbara was forcibly removed from her family while she was collecting water at Utopia Station, and placed in various children’s homes across Australia, where she was told that her mother had passed away. During these years, she was forbidden to speak her native language and was forced to assimilate into Western culture.

In the late 1960s, Barbara was reunited with her family in Utopia. Over the next several years, Barbara committed herself to learning both the Anmatyerre and Alyawarre languages, eventually mastering them, which allowed her to reconnect with her cultural roots. During this period, she had three more children and began to explore her artistic talents, particularly through painting. Barbara’s artistic journey was further shaped by her close relationship with her aunt Emily, who had established herself as a prominent batik artist. In 1994, Barbara and other Aboriginal women from Utopia traveled to Indonesia to learn the art of batik. The batiks created by the women of Utopia became iconic, contributing to the Aboriginal community’s efforts to reclaim Utopia in 1974, making it a symbol of empowerment and cultural pride.

Through her paintings, Barbara Weir continues to honor her Aboriginal heritage, embracing a style that reflects the stories, landscapes, and spiritual connections of her people. Her art is not only a personal journey of healing and self-discovery, but also a testament to the strength of Indigenous culture and the importance of preserving it for future generations.

Clifford Possum Tjapaltjarri, born in 1932 on Napperby Station, about 200 kilometers northwest of Alice Springs (Mparntwe) was a trailblazing Australian Aboriginal artist and a pivotal figure in the Western Desert art movement. His early life was shaped by the hardships faced by the Anmatyerr people, including displacement following the Coniston Massacre of the 1920s. His upbringing was deeply rooted in cultural traditions, and he later became proficient in six Western Desert languages, including his native Anmatyerr.

Tjapaltjarri initially worked as a stockman and woodcarver, honing his artistic skills during his early years. In 1972, he became one of the founding directors of Papunya Tula Artists, a cooperative that was instrumental in introducing Western Desert art to the global stage. His early works stood out for their intricate, multi-layered designs and symbolic depth, which captured the spiritual narratives of his Tjukurrpa (Dreaming). His art, characterized by meticulous dot painting and rich symbolism, often served as expansive maps of his ancestral lands and Dreaming stories. These works gained him international recognition and positioned him as one of the most innovative voices in Aboriginal art.

Tjapaltjarri served as chairperson of Papunya Tula Artists during the 1980s, championing the rights and visibility of Aboriginal artists. In 1988, the Institute of Contemporary Art in London hosted his retrospective, marking the first solo exhibition of an Australian Aboriginal artist at this prestigious venue. His influence extended globally, as he became an ambassador for Aboriginal art and culture.

In 2002, he was appointed an Officer of the Order of Australia, recognizing his monumental contributions to the art world and his role in preserving and interpreting Aboriginal traditions.

Born in “the bush” in Pintupi country near Kiwirrkura, Western Australia, around 1943, George Tjungurrayi, affectionately known as “Hairbrush” for his thick locks of black hair, is a prominent figure in Australian Aboriginal art. His early life was deeply connected to the traditional ways of his Pintupi people. He lived off the land and moved through areas like Mount Doreen and Yuendumu before eventually settling in Papunya. In 1962, George joined Jeremy Long on a patrol out west, marking one of his early transitions into broader cultural interactions.

George began his painting career in 1975 with Papunya Tula Artists, alongside his brother Willy Tjungurrayi, in West Camp, Papunya. Over time, his works evolved from traditional Pintupi styles, rooted in Western Desert iconography, to an innovative approach that reinterpreted these traditions in a contemporary context. His canvases, which often feature optical, hand-drawn stripes, depart from traditional desert dot painting, offering a striking interplay of movement, shadow, and depth. These layered compositions evoke a sense of spiritual connection to the Tingari ancestors and their journeys across his ancestral lands.George’s art retains a strong connection to his heritage, reflecting stories and sites around Wala Wala, Kiwirrkura, Lake Mackay, and other significant locations. His Tingari paintings, which depict the travels and rituals of the Tingari ancestors, embody both cultural tradition and artistic innovation. The optical quality of his work, reminiscent of abstract art, adds a contemporary dimension while remaining deeply tied to the spiritual landscapes of his country.

Today, George’s unique approach and dedication to preserving his cultural narratives have brought his work to prominence. His paintings, celebrated for their complexity and ethereal quality, serve as a bridge between traditional Pintupi storytelling and modern artistic expression, solidifying his status as one of Australia’s most innovative and respected Aboriginal artists.

Born around 1945 near the site of Lararra, southeast of Kiwirrkurra in Western Australia, George Ward Tjungurrayi is a celebrated Pintupi artist whose work bridges the traditional and contemporary. Alongside his brother, Willy Tjungurrayi, George was brought to Papunya in the early 1960s by Northern Territory patrols led by Jeremy Long. Watching the artists at work in Papunya, George began his artistic journey, inspired by the Tingari stories—ancestral narratives that hold profound cultural and spiritual significance for the Pintupi people.

George started painting for the Papunya Tula Artists in 1976, working at the West Camp of Papunya and various other locations, including Mt Liebig and Kintore. His artistic style evolved to reinterpret traditional Western Desert iconography, creating works characterized by linear optical stripes and intricate square patterns. These striking designs, rooted in the Tingari stories, quickly gained prominence, capturing the attention of collectors and galleries worldwide. George’s paintings are a testament to his ability to translate ancestral journeys and ceremonial practices into contemporary art forms, maintaining a deep connection to his cultural heritage.

After the death of his brother, Yala Yala Gibbs, George assumed a greater role as a senior custodian of Pintupi law and traditions. This shift marked a profound evolution in his art, with his canvases exuding solemnity and intellectual depth. His later works, often multi-layered and abstract, reflect the spiritual landscapes and ancestral journeys of the Tingari. These paintings, unique in their composition and intensity, are regarded as masterpieces that push the boundaries of the desert art movement.

His work is more than an aesthetic achievement; it is a living archive of Pintupi culture and storytelling. Through his bold and innovative style, George ensures the enduring relevance of the Tingari stories, cementing his place as one of the most significant artists of the Western Desert movement.

Gloria Tamerre Petyarre, born in 1942, in Mosquito Bore, Utopia, Northern Territory, was one of the most prominent Aboriginal Australian artists, internationally recognized for her contributions to contemporary art.

A member of the Anmatyerre people, Gloria began her artistic career in the 1970s, participating in a batik project initiated by the Central Australian Aboriginal Media Association (CAAMA), aimed at preserving and promoting Aboriginal cultural traditions through textile art.

In the 1980s, she transitioned to painting on canvas, developing a distinctive style characterized by intricate, repetitive patterns that evoke elements of nature and Dreamtime narratives, the Aboriginal cosmogony.
In 1999, Gloria Petyarre achieved a significant milestone in her career by winning the Wynne Prize, awarded by the Art Gallery of New South Wales, becoming the first Aboriginal artist to receive this distinction. Her works are part of prestigious collections, such as the National Gallery of Australia and the Museum of Victoria, underscoring her importance in both the national and international art scenes.

Gloria Petyarre passed away in 2021, leaving a lasting legacy that continues to influence and inspire new generations of artists. Her art remains a vibrant celebration of Aboriginal Australian culture, acting as a bridge between ancient traditions and contemporary artistic expression.

Born around 1940 at Yanpan, a rock-hole near Ngatuntjarra Bore in Western Australia, Jimmy Donegan grew up immersed in the rich traditions of the Pitjantjatjara lands. Raised as a “bush baby,” he spent his childhood moving through the landscapes of Blackstone and Mantamaru (Jamieson), forging a deep connection to the country. With family ties extending across the region, Jimmy later settled in Blackstone with his wife and children, drawn by his enduring connection to the land. After becoming widowed, he returned to the Kalka Community to be closer to his children and his sister, Molly Nampitjin Miller, a founding director of Ninuku Arts.

Jimmy is renowned for his exceptional skills as a wood craftsman, creating spears, spear throwers, and boomerangs that are highly prized for their craftsmanship and cultural significance. Beyond his artistry, Jimmy is a respected custodian of Pitjantjatjara law and culture, deeply involved in traditional ceremonies and storytelling. His ability to convey the stories and spiritual essence of his heritage has made him a revered figure within his community.

In 2010, Jimmy achieved national recognition by winning the prestigious Telstra National Aboriginal and Torres Strait Islander Art Award. His artwork, which won both the General Painting category and the overall prize, is celebrated for its vibrant compositions of swirling, intensely colored dots, often intersected by lines that depict the journey of ancestral snakes moving above and below the earth. These works are both visually captivating and deeply symbolic, embodying the spiritual narratives of his people.

Jimmy Donegan’s contributions to both the artistic and cultural heritage of the Pitjantjatjara lands are profound. His dazzling artworks and craftsmanship serve as a bridge between the ancient traditions of his ancestors and contemporary art, ensuring that the stories, laws, and spirit of his culture remain vibrant and enduring.

Josie Kunoth Petyarre, born in 1959, in Utopia, Josie Kunoth Petyarre comes from a lineage of talented artists, including her mother, the renowned Polly Ngale, and her sisters and aunties, all respected figures in Utopia’s art movement. Married to Dinny Kunoth Kemarre, Josie and her husband share a family deeply immersed in artistic traditions, including their six children, such as Doreen and Malanda Kunoth. Josie’s artistic journey began in the 1980s batik movement, which established the Utopia women artists, and she transitioned to painting for Mbantua Gallery in 2005, creating vibrant depictions of Dreamtime stories and the life of her community.

Like her husband and sons, Josie also carves wooden sculptures depicting elements of desert life, including bush animals and ceremonial figures. In 2006, Josie and Dinny created painted sculptures of Australian Football League (AFL) players from each team, an endeavor that led to an exhibition at AFL World in Melbourne in 2007. The couple attended the exhibition and that year’s AFL Grand Final, an experience that inspired Josie to create a realist painting reflecting her Melbourne visit. This work was later acquired by the National Museum of Australia, highlighting her ability to weave personal experiences into her artistic narrative.

Josie’s art is deeply rooted in her cultural heritage and personal experiences, blending traditional Dreamtime stories passed down from her father’s country, Alhalkere, with colorful representations of Utopia life. Years of observing her mother and other Utopia women artists shaped her style and inspired her passion for art as a means of cultural expression and storytelling. Though she speaks little English, Josie’s enthusiasm for art bridges language barriers, connecting her stories and heritage to a broader audience.

Josie has traveled across Australia, showcasing her work in cities like Perth, Melbourne, and Darwin, but she continues to reside in Utopia with her husband, children, and extended family. Through her paintings, sculptures, and unwavering dedication to her community, Josie Kunoth Petyarre embodies the enduring spirit of Utopia’s artistic traditions while contributing her unique voice to the world of contemporary Aboriginal art.

Josie Kunoth Petyarre, born in 1959, in Utopia, Josie Kunoth Petyarre comes from a lineage of talented artists, including her mother, the renowned Polly Ngale, and her sisters and aunties, all respected figures in Utopia’s art movement. Married to Dinny Kunoth Kemarre, Josie and her husband share a family deeply immersed in artistic traditions, including their six children, such as Doreen and Malanda Kunoth. Josie’s artistic journey began in the 1980s batik movement, which established the Utopia women artists, and she transitioned to painting for Mbantua Gallery in 2005, creating vibrant depictions of Dreamtime stories and the life of her community.

Like her husband and sons, Josie also carves wooden sculptures depicting elements of desert life, including bush animals and ceremonial figures. In 2006, Josie and Dinny created painted sculptures of Australian Football League (AFL) players from each team, an endeavor that led to an exhibition at AFL World in Melbourne in 2007. The couple attended the exhibition and that year’s AFL Grand Final, an experience that inspired Josie to create a realist painting reflecting her Melbourne visit. This work was later acquired by the National Museum of Australia, highlighting her ability to weave personal experiences into her artistic narrative.

Josie’s art is deeply rooted in her cultural heritage and personal experiences, blending traditional Dreamtime stories passed down from her father’s country, Alhalkere, with colorful representations of Utopia life. Years of observing her mother and other Utopia women artists shaped her style and inspired her passion for art as a means of cultural expression and storytelling. Though she speaks little English, Josie’s enthusiasm for art bridges language barriers, connecting her stories and heritage to a broader audience.

Josie has traveled across Australia, showcasing her work in cities like Perth, Melbourne, and Darwin, but she continues to reside in Utopia with her husband, children, and extended family. Through her paintings, sculptures, and unwavering dedication to her community, Josie Kunoth Petyarre embodies the enduring spirit of Utopia’s artistic traditions while contributing her unique voice to the world of contemporary Aboriginal art.

Lennard Walker, born around 1946 in Tjukaltjara, located inthe Spinifex region of Central Australia, is a renowned Aboriginal artist whose work deeply reflects the landscapes, stories, and spirituality of his people. Tjukaltjara, part of the vast cultural site of the Seven Sisters centered around Kuru Ala, plays a crucial role in female ceremonies and the ancestral narratives of Lennard’s clan.

Lennard grew up in a region where the Spinifex dunes meet the ironstone ranges, an arid yet majestic environment that is directly reflected in his paintings. Although born in the bush, his childhood was marked by a move to the Warburton Mission, where he learned English—a skill that proved essential during the transition to Aboriginal self-governance. However, his family struggled to adapt to Warburton and eventually moved to the Cundeelee Mission to join other Spinifex families.

His artistic practice gained strength with the collective creation of the first native male title painting, which he collaborated on with other men, and occasionally with his wife. These works celebrate the deep connection to the land, preserving ancestral stories and transmitting a profound sense of cultural identity.

Lennard Walker’s style is characterized by a deep fidelity to the forms and colors of his ancestral land, capturing the spiritual essence of the Spinifex landscape.

Marianne Burton, born in 1966 in Jigalong, Western Australia, is an Aboriginal artist of the Manyjilyjarra ethnicity. Daughter of the renowned artist Martu Pukina Burton, she learned to paint by observing her father. She currently resides in the Punmu Community, where she depicts the local landscapes and water sources, drawing inspiration from the colors of the sunrise and sunset.

Marianne describes painting as a source of well-being and shares this passion with her grandchildren, ensuring the continuation of her family’s cultural and artistic traditions. In addition to exploring the landscapes and natural resources of the Punmu region, she uses her art to preserve the ancestral stories and memories of her people.

Her paintings, characterized by a soft color palette and an intimate approach, capture the beauty and spirituality of the Australian desert. Marianne combines technical skill with a deep emotional connection to the land, creating works that not only reflect her cultural identity but also engage with universal themes such as the relationship between humans and the environment.

Minnie Pwerle, born in the early 1920s, in the Utopia region of the Northern Territory, Australia. Raised in a large family with five sisters—Margie, Molly, Emily, Lois, and Galya—and two brothers, Minnie married ‘Motorcar’ Jim, the brother of the late Glory Ngarla, and had six children: Eileen, Betty, June, Raymond, and two daughters who tragically passed away young. Minnie was also the mother of Barbara Weir, born from her relationship with Jack Weir, a station owner. Due to Australia’s assimilation policies, Barbara was removed from Minnie at the age of eight but was reunited with her mother in the late 1960s, later becoming an internationally recognized Aboriginal artist.

Although Minnie had engaged in traditional art practices throughout her life, it was not until the late 1990s, when she was in her 70s, that she began painting on canvas. During a visit to her daughter Barbara in Adelaide, Minnie expressed a desire to paint, marking the start of her artistic career at the DACOU Gallery, run by her grandson Fred Torres. Her early works, characterized by vibrant boldness and fluid gestures, quickly gained attention from art dealers and collectors.

Despite never receiving formal artistic training or exposure to European art, Minnie developed a unique style that blended modernity with tradition. Minnie remained prolific until her death in 2006 at the age of 90, living near the Arlparra store in Utopia and continuing to paint until the end of her life.

Minnie Pwerle is remembered as one of Australia’s greatest Aboriginal artists, whose paintings echo the ancestral wisdom and contemporary spirit of her homeland.

Mitjili Napanangka, born around 1930, in Winparrku, near Papunya, in the Gibson Desert, was an Aboriginal artist from the Pintupi people, fluent in the Warlpiri and Pintupi languages. Her ancestral country was located in Wilkinkarra (Lake Mackay), a region rich in cultural traditions and Jukurrpa (Dreamtime) stories that shaped both her life and art.

Inspired by her niece, the renowned artist Dorothy Napangardi, Mitjili began painting in 2005, quickly rising to success. Her work is marked by mythological narratives related to creation and sacred sites of her homeland, such as Mina Mina, a spiritually significant place for women with the skin names Napanangka and Napangardi. Mitjili painted her stories from an aerial perspective, using colorful dots and sinuous lines to create compositions that evoked the texture and dynamics of the desert landscape. Her works, both as fine art and cultural expression, carried the essence of Aboriginal law, transmitting the magic of love and the myths of Tingari.

While the narratives in her paintings could vary with each vision, two main themes prevailed: memories of her childhood, lived with close family members, and the landscapes intertwined with traditional perceptions of creation. Mitjili took great pride in preserving and sharing the stories of her people, reviving the traditions and wisdom of her ancestors through her art. In addition to her artistic contributions, she was an excellent tracker, collaborating on ecological research in the desert and appearing in film productions, such as the 2009 film Samson and Delilah, in which she played the role of Delilah’s grandmother.

Mitjili passed away in 2010, always maintaining a sharp sense of humor and a deep connection to her land and culture.

Muluyumuluy, born in 1959, in Arnhem Land, Australia. She is the daughter of Molulmi and was the youngest wife of Wakuthi Marawili, one of the elder men of the region.

Muluyumuluy worked alongside her brothers-in-law and was guided by Wakuthi in creating paintings that celebrate and document the rich traditions and stories of the Madarrpa clan. Her work is a reflection of her deep connection to her land and culture, and her art is recognized as part of an important movement in contemporary Indigenous Australian art. Her sister, Mulkun Wirrpanda, is also a renowned artist and leader within the Yolgnu community, further expanding the artistic legacy of the family.

Ŋulwurr Yunupingu, born in 1967, in Biranybirany, a remote community in Caledon Bay, Northern Territory, Australia. He grew up immersed in the culture and traditions of the Yolŋu people, belonging to the Yirritja moiety and the Gumatj and Rrakpala clans. Living far from modern influences, he remains in an environment where electricity and television are practically nonexistent, maintaining a deep connection with the land and the customs of his ancestors.

Over the years, Ŋulwurr has established himself as an authoritative figure in both the artistic and spiritual fields. His artwork is rooted in the tradition of bark painting and wooden sculptures known as Larrakitj, which hold ceremonial and symbolic significance in Yolŋu culture. His creations express ancestral narratives, sacred patterns, and stories that reflect the identity of his people.

His works have gained recognition over the years, being showcased in various exhibitions. In 2002, he participated in the exhibition “Gumatj Poles” at the Framed Gallery in Darwin. The following year, his pieces were displayed at the Brighton International Festival of Arts in the United Kingdom and the Rebecca Hossack Gallery. Also in 2003, he took part in the installation “Garma Larrakitj” at the Garma Festival in Gulkula, an event that celebrates Yolŋu culture. In 2004, his creations were featured in the exhibition “Circle, Line, Column” at the Annandale Galleries in Sydney.

Polly Ngale, born in 1940, was one of Australia’s most significant Aboriginal artists, a member of the Anmatyerre people, and a guardian of the land of Alparra, located in Utopia, Northern Territory. Renowned for her mastery in contemporary painting and her deep connection to her ancestral culture and the lands of her people, Polly dedicated her career to depicting the Bush Plum (Arnwetky), a native plant of great cultural and spiritual significance for the Anmatyerre.

Polly’s artistic journey began in the late 1970s when she started working with silk batik, exploring complex patterns and the expressive use of color. She later transitioned to acrylic painting on canvas, where she gained international recognition. Her paintings are characterized by a unique style, with layers of meticulously applied dots that create a visual depth, evoking the transformation of the Utopia landscape through the seasons. Her vibrant color palette reflects the seasonal variations and the fertility of the land, with the Bush Plum playing a central role as a source of food and medicine, as well as a key element in Anmatyerre spiritual ceremonies.

In the final years of her life, Polly continued to produce visually impactful works, regarded as some of the finest of her career. Polly passed away on August 21, 2022, leaving behind an artistic and cultural legacy that preserves the traditions and spiritual beauty of her people.

Ray James Tjangala, born around 1955 at the Yunala rockhole west of Kiwirrkurra in Western Australia, is the son of Anatjari Tjampitjinpa and Tjungkaya Napangati.

Ray began his painting career with Papunya Tula Artists in the late 1980s while living in Walungurra (Kintore). By the late 1990s, he had returned to Kiwirrkurra, his ancestral homeland, marking a significant shift in his artistic practice. This move, coupled with the passing of many senior artists, solidified Ray’s reputation as one of the most prominent and recognizable Papunya Tula Artists.

Central to Ray’s art is the Tingari Tjukurrpa cycle, a sacred Dreaming narrative of the Pintupi people. This vast cycle recounts the journeys of the Tingari elders across the Western Desert, where they established sacred sites, performed initiation ceremonies, and imparted essential knowledge about laws, rituals, and survival skills to local communities. The Tingari Dreaming holds immense cultural and spiritual significance, with artists from various regions depicting aspects of the elders’ journey or ceremonies linked to the Dreaming.

His paintings are celebrated for their intricate geometric designs and oscillating lines, created in a near-monochrome palette. These works narrate the rituals and ceremonies associated with the Tingari elders at the soakage water site of Yunala, west of Kiwirrkurra. The patterns and colors reflect the topographical features of the area, such as sand dunes and the networks of bush banana roots, as well as the ceremonial use of natural ochres. Through his art, Ray bridges the ancient traditions of the Pintupi people with contemporary expression, making his work both a cultural testament and a beacon of modern Indigenous art.

Ronnie Tjampitjinpa was born in circa 1943 at Tjiturrunya, approximately 100 kilometers west of the Kintore Ranges in Western Australia. During the severe drought of the 1950s, his family relocated to Haasts Bluff and later to Papunya, where Ronnie spent his formative years. He became one of the first Pintupi men to engage in art as a medium for cultural preservation, participating in the early stages of the Western Desert art movement. His artistic journey began with his debut exhibition in 1974, and he held his first solo show in 1989. In the 1980s, he returned to his ancestral lands, settling in Kintore shortly after its establishment—a fulfillment of his long-held dream.

Renowned for his distinctive style, Ronnie employs simple geometric shapes and bold lines to explore profound cultural themes. His work often depicts elements of water dreaming, bushfire dreaming, and the Tingari cycle. The Tingari stories revolve around ancestral beings who traversed the desert, performing rituals, imparting laws, shaping the landscape, and creating ceremonial sites. Tingari paintings hold complex, multilayered meanings, many of which remain sacred and inaccessible to the uninitiated.

Sally Gabori, born Mirdidingkingathi Juwarnda on Bentinck Island, Australia, was a celebrated Aboriginal artist known for her vibrant and expressive abstract paintings. Her works transcended traditional Aboriginal art by emphasizing personal and cultural memories over storytelling. Each painting translated her deep connection to places of personal significance on Bentinck Island, where the locations were rendered with bold colors and expressive forms, capturing the emotional and cultural resonance of her life and heritage.

Gabori’s early life was immersed in the customs and cosmology of the Kaiadilt people, living on Bentinck Island in a wholly indigenous lifestyle of hunting and gathering. In 1948, European settlers forcibly removed the entire Kaiadilt population to a mission on Mornington Island, disrupting their connection to their ancestral land. Despite this displacement, Gabori maintained a profound connection to her Country, which became the cornerstone of her artistic practice.

Though skilled in weaving throughout her life, Gabori only began painting in 2005 at the age of 81. Her rapid artistic rise led to widespread acclaim, with her works celebrated for their emotional depth and innovative approach to Aboriginal art. Unlike many Aboriginal painters who focus on mythological storytelling, Gabori’s art articulated the sensations of cultural memory and identity in diaspora. Her legacy remains a testament to her unique vision and the enduring power of place and memory in Aboriginal culture.

Thunduyingathi Bijarrb May Moodoonuthi, also known as May Moodoonuthi, was an Aboriginal artist from Bentinck Island, Australia, celebrated for her vibrant and evocative paintings. Her work, deeply rooted in the stories and culture of the Kaiadilt people, reflects a profound connection to her homeland and ancestral traditions.

Moodoonuthi was born in 1929 on Bentinck Island and spent her childhood immersed in the traditional customs of her people. In 1948, with the forced relocation of the Kaiadilt to Mornington Island, her connection to the land was abruptly severed. However, this separation only reinforced the importance of memory and cultural identity in her life and artistic practice.
She began painting in 2005, at the age of 76, joining the Mornington Island Art Centre. Her works stand out for their intense colour palette and expressive forms that evoke places, stories, and the resilient spirit of her people.

Moodoonuthi’s artistic practice goes beyond traditional storytelling, expressing personal emotions and memories that resonate with the collective experience of the Kaiadilt diaspora.

Her legacy is celebrated not only for the aesthetic beauty of her works but also for the powerful way they affirm her people’s cultural continuity and resistance.

Wawiriya Burton was a senior woman and revered Ngangkari (traditional healer) from the Amata community in South Australia. Her artistic journey began in 2008 at Tjala Arts, after years of specializing in baskets and punu (wood carvings). As a respected cultural leader, Wawiriya was deeply committed to preserving and passing on traditional knowledge, which she vividly expressed through her paintings. Her works captured the stories of her father’s country near Pipalyatjara, west of Amata, demonstrating a profound connection to the land and its narratives.

Wawiriya’s natural talent garnered immediate recognition within the art world. Her vibrant and expressive paintings led her to be selected seven times as a finalist in the National Indigenous Art Awards at the Museum and Art Gallery of the Northern Territory. Additionally, her work was celebrated in four iterations of the prestigious Wynne Prize at the Art Gallery of New South Wales. In 2018, she was honored with the Roberts Family Prize at the Wynne Prize, further solidifying her position as an influential voice in contemporary Indigenous art.

Wawiriya’s works are now part of numerous institutional collections both nationally and internationally, a testament to her artistic legacy. Through her paintings, Wawiriya not only shared the beauty and stories of her ancestral land but also underscored her role as a custodian of culture, ensuring the vibrancy of her traditions for future generations.

Wawiriya Burton was a senior woman and revered Ngangkari (traditional healer) from the Amata community in South Australia. Her artistic journey began in 2008 at Tjala Arts, after years of specializing in baskets and punu (wood carvings). As a respected cultural leader, Wawiriya was deeply committed to preserving and passing on traditional knowledge, which she vividly expressed through her paintings. Her works captured the stories of her father’s country near Pipalyatjara, west of Amata, demonstrating a profound connection to the land and its narratives.

Wawiriya’s natural talent garnered immediate recognition within the art world. Her vibrant and expressive paintings led her to be selected seven times as a finalist in the National Indigenous Art Awards at the Museum and Art Gallery of the Northern Territory. Additionally, her work was celebrated in four iterations of the prestigious Wynne Prize at the Art Gallery of New South Wales. In 2018, she was honored with the Roberts Family Prize at the Wynne Prize, further solidifying her position as an influential voice in contemporary Indigenous art.

Wawiriya’s works are now part of numerous institutional collections both nationally and internationally, a testament to her artistic legacy. Through her paintings, Wawiriya not only shared the beauty and stories of her ancestral land but also underscored her role as a custodian of culture, ensuring the vibrancy of her traditions for future generations.