Kunturu Kulini (Heart Listening)
03 - 25 November 2018
Nganana tjamunya, kaminya kulira wanalpai: ngura nganampa tjuta, Tjukurpa tjutatjara. Kulilkatipaila walytja piti, ngura, Tjukurpa winki. Kuruntula uwankara kulilpai
"We listen to our grandfathers and grandmothers and we follow their teachings: of all our lands and the stories and law that they hold. We can feel our families, our country, our culture in everything we do. We hear everything in our hearts. We hear it all with our heart, mind, body and soul as one."
Rene Kulitja is most recognised for her painting Yananyi Dreaming which covered the fuselage of a QANTAS Boeing 737-800.
She is a respected senior community representative, cultural custodian and a founding director of Walkatjara Art. Rene is a current Director and previous chair of Maruku Arts.
She has exhibited in major exhibitions regionally, nationally and internationally and has collaborated widely over the years, including with Fiona Hall for the Venice Biennale in 2015.
Most recently she has toured America with the Central Australian Aboriginal Womens Choir, performed ceremony at the Department of Foreign Affairs and Trade for NAIDOC Week, lead discussions with the Seven Sisters Songline curatorium, and has just completed a Tjanpi Weavers collective installation piece for the National Museum of Australia with artists including Niningka Lewis.
Public Collections include: Walkatjara Art Archive; Araluen Arts Centre Collection, NT; Australian National Gallery, ACT; UNESCO, Brussels; Environment Australia Collection, National Museum of Australia; Maruku Arts Collection.
Lucinda James is a young Aboriginal woman who grew up in Mutitjulu within the Uluru Kata Tjuta National Park. The grandaughter of Maruku founders, Walter Puktiwara and Topsy Tjulyata, and niece of Rene Kulitja, she has grown up with a strong carving and painting background. This is Lucinda´s first exhibition.
Francine Kulitja is the eldest daughter of Maruka Director Rene Kulitja, and granddaughter of renowned wood carvers and Maruku founders, the late Topsy Tjulyata and Walter Pukutiwara. She grew up in Kaltukatjara (Docker River) in the far south west corner of the Northern Territory and spends time in the Mutitjulu Community in the Uluru-Kata Tjuta National Park with her family, who have always been strongly involved in traditional land management, tourism and the arts.
Francine Kulitja paints the Tjukurpa and Creation Stories including the Seven Sisters or Kungkarankalpa stories she has inherited through her mother, her grandmother and her grandfather.
Kathryn Queama is minyma Anangu, a Pitjantjatjara woman from the Central Desert. As well as working in the Docker River Store and for Nyangatjatjara Aboriginal Corporation, she has been learning carving from her mother in law, Nyinku Kulitja. Her traditional skills have been passed on through the Tjukurpa, the Law and way of life governing their country. The artists camp at Uluru, provided Kathryn with the opportunity to work on a large scale, on linen. This is Kathryn´s first painting exhibition.
Margaret Cotchilli is a young Aboriginal woman from the Central Desert and the granddaughter of artist, Rene Kulitja. Margaret has only recently started painting and is becoming recognised as an emerging artist under the guidance of Rene Kultja.
I feel connected to my culture and family through painting. This is Margaret´s first painting exhibition.
Niningka Lewis was a finalist in this year´s 2018 National Aboriginal and Torres Strait Islander Art Award (NATSIAA) at The Museum and Art Gallery of the Northern Territory (MAGNT).
Niningka Lewis has had multiple solo exhibitions, with over 40 curated and group exhibitions in Australia including the 2013 String Theory, Focus on Contemporary Australian Art exhibition at Sydney´s, Museum of Contemporary Art.
Born in the 1950s between the mission settlement of Areyonga and Tempe Downs cattle station in the Northern Territory, she grew up in the Ernabella area, making regular family trips throughout her traditional lands. After living and working in Kalka for many years and then Mutitjulu in the Uluru-Kata Tjuta National Park, she is now based back in Ernabella. She is a leading artist with Ernabella Arts as painter/ceramicist, and works with Tjanpi Desert Weavers, sculpting and weaving native grass artefacts.
Public Collections include: Museum of Contemporary Art, Sydney; AGNSW, Sydney; Araluen Arts Collection, NT; Art Gallery of South Australia; Artbank; Australian Museum; Object Gallery, NSW; W & V McGeoch Collection.
Selina Kulitja is minyma Anangu, from the Central Desert area of Australia. Part of her childhood was spent in the community of Areyonga before her family returned to their ancestral lands and the community of Kaltukatjara, or Docker River in the Petermann Ranges. Her mother, senor artist, Nyinku Kulitja, has taught her skills through the Tjukurpa, the Law and way of life governing their country. Selina began carving in her own right in the early 1990s and began painting with Maruku in 2007 and takes inspiration from her sister-in-law, Rene Kulitja.
Recently Selina has become an ambassador for Maruku, bringing her people´s art to a wider audience through workshops and exhibitions. Selina also performs a crucial role as a Health Worker in her local community clinic and is an active community and council member.
Public Collections include:The Imago Mundi Collection, Treviso, Italy.
Yuka Trigger was born in the bush to the east of Uluru, and grew up at Areyonga in the Northern Territory. A Senior Traditional Owner for Uluru, she has worked as a school teacher, an Environmental and Cultural Management Consultant, Tour Guide, Artist and Pitjantjatjara Language teacher. A previous Maruku Chairperson, long time Uluru Kata Tjuta Board of Joint
Management, Mutitjulu council (and former chair) and Health council member, Yuku stands strongly for her people´s traditional
values as well as engaging in the challenges of current times.
Yuka Trigger has also been involved in the development of Mani Mani a theatrical interpretation of Tjukurpa from Pirupakalarintja, west of Uluru. Yuku is the senior dancer for Kuniya or Python Tjukurpa at Uluru as seen in the National Park Cultural Centre. She is an experienced wood carver and a recognised grass sculptor of Tjanpi Desert Weavers.
Her work was exhibited in the Art Gallery of South Australia exhibition Sappers & Shrapnel: Contemporary Art and the Art of the Trenches in 2016-2017, and is also seen on the local Uluru shuttle bus.
Freda Teamay is a contemporary Tjanpi Desert weaver who has exhibited at the Art Gallery of South Australia along side Sappers & Shrapnel: Contemporary Art and the Art of the Trenches in 2016-2017. Sappers & Shrapnel also reminds us that conflict occurs in broader contexts than theatres of war. The Tjanpi Desert Weavers (Rene Wanuny Kulitja, Judy Ukampari Trigger, Erica Ikungka Shorty, Lucille Armstrong, Mary Katajuku Pan, Janet Inyika, Niningka Lewis and Freda Teamay) use camouflage military garments for Tjituru-tjituru, 2016, evoking the enduring anxiety of the dispossessed.
Nelly Patterson´s tribal name is Napananga. She is the custodian of the dreaming story of Atilla, Uluru and Kata Tjuta, and one of the last senior Anangu law women of the Anangu people.
Born in the 1930´s, Nelly notes, my country, when I was born was a really really strong centre for sacred law for all the Anangu People.
Nelly grew up in the traditional way near Pipalyatjara in the Anangu Pitjatjantjara/Yankunytjatjara Lands, walking nomadically in the desert with her tribe, and remembers participating in law ceremonies with the old people. She remembers all the desert tribes coming to her homeland for a big big ceremony all the way from Western Australia, South Australia and the Northern Territory, even from the East to join in a business meeting for the men, as had been carried out since ancient times.
Ceremony is important to teach the natural law that was passed on at the beginning of time when the Earth was created. Anangu people remember how to look after the Earth. All of the Elders are holding on to this law and culture. We need to pass on this knowledge to the Earth now through our youth.
Nelly is teaching her Anangu people the Tjukurpa (prononced Choo-kur-pa), the ancient law and lore of the desert passed down from Elders to youth from the time before this time began.
Public Collections include: National Museum of Australia; Australian National Gallery, Canberra; Museum of Ethnology, Osaka, Japan; National Museum of Victoria, Melbourne.
Beryl DeRose is minyma Anangu, an Aboriginal woman from Kaltukatjara (Docker River) and now living in Mutitjulu within the Uluru-Kata Tjuta National Park. A wood carver (punu) and talented emerging painter with Walkatjara Art, she performs a key role there as an art centre worker and advisor.
Beryl has been exhibiting since 2009, and her work was commissioned for the 2017 Uluru, Tili Tjuta, Field of Lights and in 2016 she participated in the 2016 SciArt project, Iwara (Tracks), Indigenous perspectives & scientific modeling celebrated together through art.
Marlene Connelly (Smith)is minyma An_angu, a Pitjantjatjara woman from the Central Desert area of Australia. She has lived in Docker River on her traditional lands in the Petermann Ranges for most of her life and began carving as a teenager, taught by many in her extended family and mother, artist Bonnie Connolly.
Currently a Maruku Arts Director, Marlene´s extensive experience and skill is the foundation of her developing her own distinct and sophisticated style of carving, particularily with her depiction of ancestral animals such as birds, echidnas and lizards.
Paintings depict the Tjukurpa, the Law and stories of Ancestors. Anangu (Central and Western Desert Aboriginal people) have responsibilities for the protection and teaching of different Tjukurpa. Kungkarangkapa is the Tjukurpa of the Seven Sisters, a group of women pursued by a cunning man called Nyiru. In their escape the sisters travelled through a vast amount of Australia, stopping to camp, build shelters and hunt for food, thus forming many features of the landscape and embedding the knowledge of survival in it.
This painting Spinifex was created specifically for this exhibition.