Decorating
A Closer Look at Australian Indigenous Art
Aboriginal people have a long history of producing art based on beliefs, traditions, culture and experiences
Art has always played an important part in Indigenous people’s lives. For Indigenous Australians, art is used to retell stories from the Dreamtime, as well as to record important events, such as births and deaths, to communicate experiences – positive and negative, and to convey the beauty of the natural environment. Here’s a brief guide to Australian Indigenous art, and a selection of artists to know.
The main elements of Indigenous traditions and beliefs were formed during the Dreamtime, including the production of art. Traditionally, only men created art, but women have gradually become more and more involved.
Subjects
Indigenous art almost always represents or depicts a story, or has a meaning related to the life and history of Indigenous people. As such, common subjects include religious and spiritual images and the Dreamtime, as well as flora, fauna and life experiences and events.
A beginner’s guide to buying Indigenous art ethically
Indigenous art almost always represents or depicts a story, or has a meaning related to the life and history of Indigenous people. As such, common subjects include religious and spiritual images and the Dreamtime, as well as flora, fauna and life experiences and events.
A beginner’s guide to buying Indigenous art ethically
Styles
Styles of Indigenous art vary depending on the group and the environment in which they lived. Dot paintings and sand drawings emerged in desert regions where there were fewer resources and materials. Dot paintings vary from the neat and minute marks to large dots, lines or areas with a stippled effect. The style comes from body painting in dance ceremonies and ground paintings, and it has a deeper purpose: to disguise the sacred meanings behind the stories in the paintings.
Rarrk, which is fine-line cross-hatching, is a feature of the art of Kunwinjku people and is used to represent sea creatures and reptiles such as barramundi, turtles and water reptiles. The fine details are painted using hair-like bristles found inside the stem of a reed, or human hair.
Styles of Indigenous art vary depending on the group and the environment in which they lived. Dot paintings and sand drawings emerged in desert regions where there were fewer resources and materials. Dot paintings vary from the neat and minute marks to large dots, lines or areas with a stippled effect. The style comes from body painting in dance ceremonies and ground paintings, and it has a deeper purpose: to disguise the sacred meanings behind the stories in the paintings.
Rarrk, which is fine-line cross-hatching, is a feature of the art of Kunwinjku people and is used to represent sea creatures and reptiles such as barramundi, turtles and water reptiles. The fine details are painted using hair-like bristles found inside the stem of a reed, or human hair.
Mimi art and X-ray art are two other traditional painting styles. Mimis are fairy-like beings described as having thin and elongated bodies. As such, Mimi paintings depict graceful, match-like figures of men, women and animals in different scenarios.
X-ray art depicts the anatomical features of animals. It not only reveals the internal elements of the animal, but also shows the artist’s connection and understanding of their country and its inhabitants.
One such creature includes the Rainbow Serpent or Snake, a popular image in Aboriginal art. The Rainbow Serpent is an immortal being that represents the cycle and significance of the seasons, and the importance of water in human life. When a rainbow is visible in the sky, it is said to be the Rainbow Serpent moving from one waterhole to another. The Rainbow Serpent is also said to be the giver of life and is associated with the abundance of food and ceremonies about fertility.
One such creature includes the Rainbow Serpent or Snake, a popular image in Aboriginal art. The Rainbow Serpent is an immortal being that represents the cycle and significance of the seasons, and the importance of water in human life. When a rainbow is visible in the sky, it is said to be the Rainbow Serpent moving from one waterhole to another. The Rainbow Serpent is also said to be the giver of life and is associated with the abundance of food and ceremonies about fertility.
Australian landscape
Indigenous art reflects the colours and resources of the Australian landscape. Indigenous people have a spiritual connection to the land, as the natural environment provides them with all their needs and is directly linked with the Dreamtime, thus connecting them to their ancestors.
Indigenous art reflects the colours and resources of the Australian landscape. Indigenous people have a spiritual connection to the land, as the natural environment provides them with all their needs and is directly linked with the Dreamtime, thus connecting them to their ancestors.
Painting
Traditionally, painting materials were produced using elements of the environment, such as bark, wood, sticks, sand, dust and stones. The main colours, which included red, yellow, brown, white, black and grey, were also produced using elements of the earth, such as dirt, ochre and other minerals. Yellow dust came from ants’ nests and fungus; crushed charcoal or burnt bark was used for black paint; the fine clay material kaolin was used for white.
Traditionally, painting materials were produced using elements of the environment, such as bark, wood, sticks, sand, dust and stones. The main colours, which included red, yellow, brown, white, black and grey, were also produced using elements of the earth, such as dirt, ochre and other minerals. Yellow dust came from ants’ nests and fungus; crushed charcoal or burnt bark was used for black paint; the fine clay material kaolin was used for white.
Carving and sculpture
Indigenous people carve rocks and trees for sculptures for ceremonies, and like paintings, they represent a significant aspect of the Indigenous people’s history and beliefs.
These hollowed logs originate from the Lorrkon or bone pole coffin ceremony, which is the final ceremony in a sequence of mortuary rituals celebrated by the people of Arnhem Land. The deceased’s bones are placed into a hollow log decorated with totemic emblems and painted designs. The log is then ceremonially placed into the ground where it slowly decays over many years.
Hollowed logs artworks from Maningrida, NT
Indigenous people carve rocks and trees for sculptures for ceremonies, and like paintings, they represent a significant aspect of the Indigenous people’s history and beliefs.
These hollowed logs originate from the Lorrkon or bone pole coffin ceremony, which is the final ceremony in a sequence of mortuary rituals celebrated by the people of Arnhem Land. The deceased’s bones are placed into a hollow log decorated with totemic emblems and painted designs. The log is then ceremonially placed into the ground where it slowly decays over many years.
Hollowed logs artworks from Maningrida, NT
Fibre art and weaving
The art of basket making and weaving originated in central NSW. Fibre art was a large part of Indigenous people’s daily lives as they made their own clothing, shelter, homewares, ceremonial artefacts and decorative items. While they are often characterised by their beauty, design, and originality, their practicality came first.
Suspended ‘stingray’ sculpture by Indigenous artist Aunty Vera
Meet the Aboriginal women forging a new design identity
The art of basket making and weaving originated in central NSW. Fibre art was a large part of Indigenous people’s daily lives as they made their own clothing, shelter, homewares, ceremonial artefacts and decorative items. While they are often characterised by their beauty, design, and originality, their practicality came first.
Suspended ‘stingray’ sculpture by Indigenous artist Aunty Vera
Meet the Aboriginal women forging a new design identity
Indigenous Artists to Know
Minnie Pwerle
Minnie Pwelre was a prolific artist, even though she did not take up painting until 1999 at almost 80 years of age. Born in Utopia, about 350 kilometres northeast of Alice Springs, Pwelre’s artistic inspiration came from her role of applying body paint designs to women’s bodies for traditional ceremonial practice and rituals.
Pwelre’s paintings are bold, spontaneous and vibrant. They often include free-flowing, parallel lines that depict the body painting designs, or circular shapes that symbolise bush foods such as bush tomato, bush melon and northern wild orange.
Minnie Pwerle
Minnie Pwelre was a prolific artist, even though she did not take up painting until 1999 at almost 80 years of age. Born in Utopia, about 350 kilometres northeast of Alice Springs, Pwelre’s artistic inspiration came from her role of applying body paint designs to women’s bodies for traditional ceremonial practice and rituals.
Pwelre’s paintings are bold, spontaneous and vibrant. They often include free-flowing, parallel lines that depict the body painting designs, or circular shapes that symbolise bush foods such as bush tomato, bush melon and northern wild orange.
Betty Mbitjana
Born in the 1950s, Betty Mbitjana is Minnie Pwerle’s daughter. Pwerle introduced Mbitjana to the world of art, and like her mother did, Mbitjana paints the Women’s Dreaming (Awelye), Bush Berry and Bush Plum Dreaming.
Mbitjana’s art pays tribute to her heritage, culture and connection to her country. Full of colour and movement, her paintings depict the body painting designs as well as the dancing tracks made in the sand during women’s Awelye ceremony.
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Born in the 1950s, Betty Mbitjana is Minnie Pwerle’s daughter. Pwerle introduced Mbitjana to the world of art, and like her mother did, Mbitjana paints the Women’s Dreaming (Awelye), Bush Berry and Bush Plum Dreaming.
Mbitjana’s art pays tribute to her heritage, culture and connection to her country. Full of colour and movement, her paintings depict the body painting designs as well as the dancing tracks made in the sand during women’s Awelye ceremony.
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Mitjili Napurrula
Mitjili Napurrula grew up watching members of the Papunya settlement paint and followed in their style of art. Napurrula began working with the Ikuntji Women’s Centre in 1992 and developed a strong personal style based on her father’s country, Uwalki, which is distinct for its red sand hills, bushes and spearwood trees. A tree motif is a recurring theme in Napurrula’s paintings. This depicts the trees that provide the wood for hunting spears, and is based on patterns her mother used to draw in the sand.
Mitjili Napurrula grew up watching members of the Papunya settlement paint and followed in their style of art. Napurrula began working with the Ikuntji Women’s Centre in 1992 and developed a strong personal style based on her father’s country, Uwalki, which is distinct for its red sand hills, bushes and spearwood trees. A tree motif is a recurring theme in Napurrula’s paintings. This depicts the trees that provide the wood for hunting spears, and is based on patterns her mother used to draw in the sand.
Bill Whiskey Tjapaltjarri
Bill Whiskey Tjapaltjarri was born in Pirupa Akla, country located to the west of Uluru, and as he was a traditional healer, people would travel long distances to seek his help.
Tjapaltjarri began painting in 2004 and his paintings are said to reflect his character – bold, colourful and strong in spirit. He depicts the rockholes near Pirupa and the story of his own journeys to Areyonga and Haasts Bluff.
Bill Whiskey Tjapaltjarri was born in Pirupa Akla, country located to the west of Uluru, and as he was a traditional healer, people would travel long distances to seek his help.
Tjapaltjarri began painting in 2004 and his paintings are said to reflect his character – bold, colourful and strong in spirit. He depicts the rockholes near Pirupa and the story of his own journeys to Areyonga and Haasts Bluff.
Ian Abdulla
Ian Abdulla was born at Swan Reach in South Australia in 1947. Having grown up in Cobdogla on the Murray River, Abdulla often depicts this stretch of waterway as a commentary on the enjoyment that can be had despite hardship.
Abdulla began painting in 1989 and paints stories from his life along the Murray. Juxtaposing text and images, his paintings have a narrative nature with explanatory blocks of text that convey the lifestyle of his people in the Riverland.
Ian Abdulla was born at Swan Reach in South Australia in 1947. Having grown up in Cobdogla on the Murray River, Abdulla often depicts this stretch of waterway as a commentary on the enjoyment that can be had despite hardship.
Abdulla began painting in 1989 and paints stories from his life along the Murray. Juxtaposing text and images, his paintings have a narrative nature with explanatory blocks of text that convey the lifestyle of his people in the Riverland.
Jack Dale
Referred to as the ‘Grand Old Man of the Kimberley’, Jack Dale is highly respected as both a custodian of ceremonial law and for his skill as a bushman. The Kimberley is a remote, wild and beautiful region, and Dale spent his earliest years wandering the area’s bush tracks. In the late 1970s he started painting works that explore historical themes and events, including incidents he personally experienced or witnessed.
Some of Dale’s works depict the Wandjina and other important spirit beings of the Dreamtime, and he portrays them as ghost-like, with haloes, large dark pool-like eyes and no mouth.
Referred to as the ‘Grand Old Man of the Kimberley’, Jack Dale is highly respected as both a custodian of ceremonial law and for his skill as a bushman. The Kimberley is a remote, wild and beautiful region, and Dale spent his earliest years wandering the area’s bush tracks. In the late 1970s he started painting works that explore historical themes and events, including incidents he personally experienced or witnessed.
Some of Dale’s works depict the Wandjina and other important spirit beings of the Dreamtime, and he portrays them as ghost-like, with haloes, large dark pool-like eyes and no mouth.
Lorraine Connelly-Northey
Lorraine Connelly-Northey is a Wiradjuri artist from Swan Hill, who uses items from the natural environment as well as found items that she weaves into traditional forms such as kooliman and dilly bags.
Her creations relate to the history and culture of the Waradgerie as she uses her knowledge of Aboriginal coil weaving.
Lorraine Connelly-Northey is a Wiradjuri artist from Swan Hill, who uses items from the natural environment as well as found items that she weaves into traditional forms such as kooliman and dilly bags.
Her creations relate to the history and culture of the Waradgerie as she uses her knowledge of Aboriginal coil weaving.
Ronnie Tjampitjinpa
Ronnie Tjampitjinpa was born in Pintupi land at Muyinga, west of the Kintore Range. After his initiation into Pintupi law, Tjampitjinpa and his younger brother walked into the Aboriginal community of Yuendumu before later joining their parents and other siblings at the new settlement of Papunya.
Tjampitjinpa was one of the youngest of the group of men who began painting at the start of the Western Desert art movement in 1971. He was a founder of Papunya Tula Artists and his bold, scaled-up, linear style came to dominate many of the Walungurru painters’ work during the 1990s.
Ronnie Tjampitjinpa was born in Pintupi land at Muyinga, west of the Kintore Range. After his initiation into Pintupi law, Tjampitjinpa and his younger brother walked into the Aboriginal community of Yuendumu before later joining their parents and other siblings at the new settlement of Papunya.
Tjampitjinpa was one of the youngest of the group of men who began painting at the start of the Western Desert art movement in 1971. He was a founder of Papunya Tula Artists and his bold, scaled-up, linear style came to dominate many of the Walungurru painters’ work during the 1990s.
Bob Gibson
Bob Gibson was born at Papunya and moved with his family to Tjukurla in the late 1980s. He began painting with Tjarlirli Art in 2007 and uses a bold, powerful and energetic style to represent country in an imaginative exploration of colour and form.
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Bob Gibson was born at Papunya and moved with his family to Tjukurla in the late 1980s. He began painting with Tjarlirli Art in 2007 and uses a bold, powerful and energetic style to represent country in an imaginative exploration of colour and form.
Your turn
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More
See more spaces dedicated to art
The Dreamtime, also known as the Dreaming, is the Indigenous people’s understanding of the world and its creation. In the Dreamtime, Ancestral Beings emerged from the creation and travelled over the barren surface of Earth, changing the form of the land as they went. They created mountains, rivers, trees, laws, celestial bodies and all life, including the people themselves, who are descendants of the Dreamtime ancestors. They then returned to the land and sometimes formed themselves into parts of the landscape such as creeks, rocks or trees, which is where they remain today. These became sacred sites with special qualities.