Far Away Warda’ ‘Kalyu’
Far Away – Warda’
40’ 48’ inch – Acrylic & Mica Gold on Canvas
This painting is about how many people keep their sacred places hidden. This is to try and keep culture normalized within its practices. This is to keep it away from anthropologists and thieves. The amendments to the National Heritage Act will mean the destruction of many recorded sites and those that have not been recorded will be lost as well. This painting shows a young woman holding a sacred Coolamon in her hands. She is wrapped in a bag while sleeping in the city at night. I have seen similar events happen where people carry sacred objects with them for fear of their sacred places being robbed or worse, that sacred areas have been destroyed. The only place left for these objects is with designated custodians or carriers of culture. This is something I’ve seen first-hand while living near Perth in WA. Reserve Price $13,000. To make an offer call 9420 7266 or 0415380808
Muuki Taylor, Wokka Taylor, Karnu Nancy Taylor, Ngalangka Nola Taylor, Ngamaru Bidu, Kumpaya Girgirba, Jakayu Biljabu, Bowja, Nolene Girgirba.
KALYU (WATER) 2014 LIMITED EDITION (200) HAHNEMUHLER 308 PHOTO RAG 100% COTTON ARCHIVAL RAG PRINTED ON EPSON 11880 WITH ULTRACHROME PIGMENT INKS. IMAGE SIZE IS 550MM X 330MM PAPER IS 610 MM X 400MM
This artwork is a limited edition (200) print, a reproduction of the original painting Kalyu 2014. The painting was first exhibited at the Museum of Contemporary Art (MCA) in Sydney in the exhibition Martu Art from the far Western Desert, Martumili Artists and MCA in October 2014. The artwork was subsequently purchased by the MCA. The proceeds from the sale of this print will be used for the Martu Parnngurr Kintyre campaign to support members of the Parnngurr Community in their opposition of the Kintyre uranium mine. The artists have licensed their work for this purpose.
This painting was created by senior Martu artists in Parnngurr, work commenced in April 2014 and the painting was completed in June 2014. The painting depicts the Martu Native Title determination area in its entirety. While the painting references many aspects of Martu land management and ecological systems the focus of the painting is Kalyu (water). Buried deep below the obvious painted surface and the visible ground surface of the Martu desert lies a vast water table beyond the comprehension of the non Martu viewer. The visual depiction of the water table has been buried deep by layers of paint and story and vegetation but it is there. Kalyu (water) and the many forms of its existence are essential to life in the desert.This painting confirms these artists understanding of this country and their obligation to look after it. They are responsible for its wellbeing, just as their ancestors were and their descendants will be.
“Forever that uranium belongs to that place, underground. But its poison when you dig it up – when it gets exposed. Like a mother carrying a baby…. we are carrying the land, we are that close. This is the reason we hold our children close, our water close, our food, but mainly our waters. We look after our water, our main one Karlamilyi…. One way, leave it in the ground forever. Old people are less but we have more young people being born. We have to look after them. We are talking up for country.” – Wokka Taylor
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