Neil Thomson’s Journey (The HealthInfoNet’s story) by Mick Adams

The story:

The painting represents what the Australian Indigenous HealthInfoNet is about. It features the Gecko as the main character. The light blue circles and dark blue whirls are the health portals. The dots leading into the bigger circle are our partners where members act as technical advisors on the Advisory Board. The multitude within the artistic framework represent people, staff, country, programs etc.

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Gecko by Donna Lei Rioli

The story:

Donna Lei Rioli - a Western Australian Indigenous artist - was commissioned by the HealthInfoNet in 2008 to create a new logo incorporating a gecko for the re-development of its website. The gecko was chosen because it is one of a few animals that are found across the great diversity of Australia.

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Communities Gathering to Live as One by Melanie Robinson

The story:

All different towns and cultures living in harmony sharing the land and water ways together and taking care of Mother Earth.

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Dusty Lands by Loreen Samson

The story:

Our ancestor’s dreamtime places are the homes of our Aboriginal people. One day I will come back to see our country and it will all be gone forever... turned to ash like our ancestors bones that lay in our country. Here I see the blood that our ancestors lost in the fight for land that I call home. I stand to see that our land is in dust... Our young kids are so sad that there are no teaching places now.

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Seven sisters by Josie Boyle

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Karnta Jukurrpa – Purrpalala by Kerry Nangal Nelson

The story:

This Karnta Jukurrpa (Women's Dreaming) comes from Purrpalala north-west of Yuendumu. Women and men travelled west from here to Yanjirlpiri for 'kurdiji' (initiation ceremonies). Women danced all the way west with 'witi' poles, which ceremonial poles made from the branches of the river red gum tree. The women were dancing for the initiation of their young men.

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Untitled by Robert Nester Mosby

The story:

A story about traditional island warriors acknowledging and representing tribal totems.

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Ceremonial Grounds 2 by Jimmy Njamme Tjampitjin

The story:

© ECU Art Collection

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Tapara (Full Moon Design) by Colleen F Puruntatameri

The story:

© ECU Art Collection

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Community Culture Gathering by Loreen Samson

The story:

From near and far people would come and join in our culture lore meetings. We share and dance all night to the sun comes up then we get painted up in tribal colour of our culture.

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Bush Onion Dreaming by Sarah White

The story:

'Janmarda' (bush onion [Cyperus bulbosus]) are small bulbs found in the soft soils on the banks of sandy creeks. One of the main sites for this Jukurrpa is Purrupurru near Wakurlpa, to the north of Yuendumu. The custodians of that site and story are Napaljarri/Nungarrayi women and Japaljarri/Jungarrayi men. The women were collecting and cooking 'janmarda' when they saw an old Jungarrayi called Warungurla who had been traveling from the west. He was hiding in the bushes, watching the women and wanting to make love to them. He had an enormous 'ngirnti' (penis) that was long like a hose and that entered the ground and came up near to the women. They were frightened of him and tried to hide. When they saw his 'ngirnti' they beat it with their 'karlangu' (digging sticks), killing the old Jungarrayi, who can still be seen today in the form of a large stone figure at Purrupurru.

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Carried Lightly by Brian Robinson

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Untitled by Donna Rioli

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Barramundi Swimming in a Pond by Mick Adams

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Karnta by Corinne Nampijinpa Ryan

The story:

Corina has painted her husband’s Dreaming. The place for the Jukurrpa of this painting is Mina Mina, country sacred to the Napangardi and Napanangka women. This work shows karnta (women) dancing. In the Dreaming Napanangka and Napangardi women danced at Mina Mina and kurlangu (digging sticks) rose up out of the ground. These are shown by the straight lines in this painting. Kurlangu are used to dig for Jintiparnta, edible fungus, represented by the circles in this painting. The “U” shapes are women.

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Ceremonial Grounds by Jimmy Njamme Tjampitjin

The story:

© ECU Art Collection

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Karnta Jukurrpa by Chantella Nampijinpa Robertson

The story:

This painting depicts Nakamarra and Napurrurla women hunting for bush foods. The sacred site associated with this Jukurrpa is represented as a circle around which the women sit. They are looking for sweet berries that are only available at certain times of the year.
The ‘kirda' (custodians) for this story are the Nakamarra/Napurrurla women and Jakamarra/Jupurrurla men.

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Janganpa Jukurrpa (Brush-tailed Possum Dreaming) by Phyllis Napurrurla Williams

The story:

The 'kirda' or custodians of the Janganpa Jukurrpa (common brush-tail possum Dreaming [Trichosurus vulpecular]) are Japaljarri/Jungarrayi men and Npaijarri/Nungarrayi women. The Jupurrurla/Jakamarra men and Nupurrurla/Nakamarra women are the 'kurdungurlu' (ceremonial police) of this knowledge. 'Janganpa' are nocturnal animals that often nest in the hollows of white gum trees ('wapunungka'). A common 'janganpa' story is about a 'Janganpa' ancestor who travelled all over the Warlpiri lands visiting various sites during the time of the Jukurrpa (Dreamtime), including one site called Jangankuriangu, meaning literally 'belonging to possum.' The 'janganpa' men carry their hunting weapons as they move around the country, wearing 'majardi' (hair string skirts). 'Janganpa' were once frequently found across much of Warlpiri and neighbouring country but have become extinct in recent years. It is speculated that this extinction may be due to feral cat predation and the changes to their habitat caused by the introduction of cattle and other feral animals. The 'janganpa' is considered good meat for 'yapa' (Warlpiri people).
In traditional Warlpiri iconography wavy lines and 'E' shapes are used to depict the tracks that the 'janganpa' left as he moved around.

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Karnta Jukurrpa (Women’s Dreaming) by Ivy Napangardi Poulson

The story:

This painting depicts Nakamarra and Napurrurla women hunting for bush foods. The sacred site associated with this Jukurrpa is represented as a circle around which the women sit. They are looking for sweet berries that are only available at certain times of the year. The 'kirda' (custodians) for this story are the Nakama-ra/Napurrurla women and Jakamarra/Jupurrurla men.

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Ngummama – Dragonfly by Norma Benger

The story:

When babies are born in the dry season this is also the time of the birth of the dragonfly, which hums and buzzes around the air, excited about the birth of the new season.
The grandmothers catch the dragonflies to test babies' hearing, making them buzz near the babies' ears. When a baby responds, we know that they have good hearing. If not, the old ladies, bring the dragonfly closer so the baby can feel the vibration and sound of its wings, then they sing to the spirits and the dragonfly, 'We all must look after this child together to help him to grow and be able to communicate'.
So, if you see a dragonfly buzzing around a baby, it is just looking and checking the baby's resp nse because that's what they do. In the past, everyone worked together - dragonflies, grandmothers and the spirits.

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Life before the drought by Julie Weekes

The story:

© ECU Art Collection

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Pathways to Healing by Jenna Lee

The story:

People journey from across country, pathways are carved into the earth, starting from different places, all heading towards healing. Some journeys don't make it all the way and some take longer but all have begun and the Healing Foundation is here to support people and communities at every stage of their journey.
The cultural etchings represent diversity of culture with the different colours representing diversity of landscape: desert to coastal, saltwater, freshwater, rainforest to bush, island to mainland and everywhere in between. In the centre the core healing symbol represents the individual or community who is whole and healthy at the end of their pathway to healing.

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Bush potato dreaming by Rene Dixon

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Untitled by Doris Gingingara

The story:

© ECU Art Collection

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Watiya-warnu Jukurrpa (Seed Dreaming) by Evelyn Nangala Robertson

The story:

This painting tells the story of a Jangala 'watiya-warnu' (Acacia tenuissima) ancestor who travelled south from a small hill called Ngurlupurranyangu to Yamunturrngu (Mount Liebig). As he travelled he picked the ‘watiya-warnu’ seeds and placed them in 'parrajas' (food carriers), one of which he carried on his head. Watiya-warnu is a seed bearing tree that grows in open spinifex or mulga country. When people returned to their camp after collecting the seeds they would make large windbreaks for shelter and winnow the seed in the late afternoon. Immature 'watiya-warnu' seed is ground into a paste and can be used to treat upset stomachs. The associated ‘watiya-warnu’ ceremony involves the preparation of a large ground painting. This Jukurrpa belongs to Nampijinpa/Nangala women and Jampijinpa/Jangala men. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, particular sites and other elements. In paintings of this Dreaming ‘U' shapes are often depicting women collecting the 'watiya-warnu' seeds. Oval shapes represent the 'parrajas' where they carry the seeds and strait lines beside them frequently portrait digging sticks.a small hill called Ngurlupurranyangu to Yamunturrngu and Jampijinpa/Jangala men. In contemporary Warlpiri carriers), one of which he carried on his head. Watiyawarnu depicting women collecting the 'watiya-warnu' seeds. ground into a paste and can be used to treat upset involves the preparation of a large ground painting. is a seed bearing tree that grows in open large windbreaks for shelter and winnow the seed in Oval shapes represent the 'parrajas' where they carry paintings of this Dreaming `U' shapes are often paintings traditional iconography is used to represent portrait digging sticks. seeds and placed them in 'parrajas' (food spinifex or mulga country. When people returned to stomachs. The associated `watiya-warnus ceremony the Jukurrpa, particular sites and other elements. In the late afternoon. Immature 'watiya-warnu' seed Is the seeds and strait lines beside them frequently their camp after collecting the seeds they would make This Jukurrpa belongs to Nampijinpa/Nangala women This painting tells the story of a Jangala 'watiya-warnu'

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Untitled by Jody Broun

The story:

© ECU Art Collection

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Bardil by Hughie Brent

The story:

© ECU Art Collection

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Rockhole in Springtime by Pantjiti Mary Mclean

The story:

© ECU Art Collection

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Untitled by Donna Lei Rioli

The story:

This artwork uses a positive framework to demonstrate social and emotional wellbeing in the Aboriginal and Torres Strait Islander population. It highlights the primary importance of spirituality, culture, family, and community in promoting social and emotional wellbeing. The artwork also acknowledges that health professionals, such as doctors (including psychiatrists) and other health professionals, have a supporting role in helping to foster social and emotional wellbeing. The interconnection between each of these variables is recognised through the use of various coloured dots.

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Country Metro by Julie Weekes

The story:

© ECU Art Collection

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Connections by Mick Adams

The story:

Details: Connecting tribal groups through the songlines and story lines.
Explanation: the bigger circles represent country, people are placed within the centre of the circles; the oblong multi-coloured shapes represent the songlines and storylines. The different colours: blue/grey green = water: brownish orange = land/country: dots in middle = people

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Tidal Changes by Melanie Robinson

The story:

Fishing at the mouth of the river and the tide changed. The water flowed strongly past turning to different directions. When the tide starts changing we knew it was time to head back in to land.

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Rites of Passage by Mick Adams

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Untitled by Justice Nelson

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Country Metro #2 by Julie Weekes

The story:

© ECU Art Collection

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Baugal Baugulin Yabruma (Well Better Always)

Kevin Williams

The story:

The graphic incorporates both traditional and contemporary artwork to symbolise the fusion of Indigenous and western ways of knowing, being and doing. The graphic is encapsulated in and consists of many interrelated circles presented in the university corporate colours to signify the cyclical and holistic nature of First Peoples’ understandings of health inclusive of engagement, learning and teaching and research.

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