“Long ago we were living [a pujiman lifestyle]. Our people took us about and grew us up. We stayed around in the north and grew up around Punmu… and along the lake [Nyayartakujarra, Lake Dora] to Karlamilyi. We would [hunt] animals… eat kalaru (salt bush, samphire) seeds, [witchetty] grubs… [and] minta (botanical gum).

We would see aeroplanes, then we would run and keep quiet in the bushes. We didn’t know what it was. We had never seen a whiteman… We stayed there, where there were no whitemen. We didn’t see any motorcars. Nothing… Then Aborigines and whitemen got us and took us to Jigalong.” - Muuki Taylor

Muuki was born around 1945 at Wayinkurangu, a soak located within the Percival Lakes region of the Great Sandy Desert. He is the eldest brother of fellow Martumili Artists Wokka Taylor and Ngalangka Nola Taylor. In his youth Muuki’s family travelled hundreds of kilometres on foot, from the northern boundary of the Martu homelands through to Parrngurr, at the southern end of the Karlamily (Rudall River) region. They continued to live a pujiman (traditional, desert dweliing) lifestyle until being collected from Balfour Downs Station and taken to Jigalong Mission in the 1960s. They were one of the last Martu families to leave the desert.

Muuki is a highly respected cultural leader, and is often called upon as an authority by other artists. In addition to painting with Martumili Artists, Muuki works as a senior cultural advisor for local Martu ranger group, Kanyirninpa Jukurrpa, where he provides invaluable advice and guidance.

Muuki paints his ngurra (home Country, camp) in the north of Martu Country, with a particular focus on Kulyakartu; flat, grass Country close to the Percival Lakes. He spent much time in this area in his youth, and has incredibly in depth knowledge of its resources, physical elements, seasonal life cycles and Jukurrpa (Dreaming) narratives. His works are encyclopaedic, detailing all aspects of Country from vanished roads to living water sources embedded within a subtle patina composed of hovering dots and brushstrokes. Muuki’s work has been exhibited widely across Australia and internationally, and acquired by the National Museum of Australia.

"I'm Desmond Taylor. I'm a Purungu man. My Country is Karlamilyi. Who taught me how to paint? My father taught me, my mother. The story I paint is about Karlamilyi, the Country where my ancestors lived and walked and gathered food.

My favourite thing to do outside of painting is go looking for bush tucker, bush medicine, going hunting, collecting fire wood, getting back in touch with the Country. I feel pukurlpa (happy), I feel happy when I paint. It brings happiness, connection, family. It keeps the stories alive to have that connection to ngurra (home Country, camp) Country." - Desmond Taylor

Desmond was born in 1964 close to the bed of the Oakover River. Two years later his family moved into Jigalong - they were amongst the last Martu to live entirely in the desert without access to rations. Desmond went to school in Nullagine and Perth, and now works as a professional translator and educator as well as an artist. Desmond primarily paints his family's Country around Karlamilyi (Rudall River) and the creation stories for that Country, especially the Nyayartakujarra (Ngayarta Kujarra, Lake Dora) Dreaming.

“I was born in Jigalong, long time [ago in] Jigalong. The old people all got picked up and brought into Jigalong. Them old people all wanted to go back to the desert. We moved to Camp 61 [Ngalkuninya] for a little while and then we all moved this way to Punmu. I was young, thirteen or something when I came to Punmu.

I like to paint around Punmu rockholes, springs. In the morning, sunset colours, that’s what I’m thinking about. In the plane looking down, I want to do a painting what I’m looking at, it looks nice. I want to do more painting like that. I like painting, it makes me feel good.

I’ve been in Jigalong with my father, learning to paint. I was watching him paint. I stayed with them all day, sometimes I help[ed] him andhe told stories. Doing the dot paint, that’s when I learn[ed] on a little canvas.” - Marianne Burton

Marianne was born in Jigalong, moving briefly to Camp 61, an outstation on Bilanooka Station as a child, before settling in Punmu Community, where she still resides. Her father was senior Martu artist Pukina Burton. Marianne and her father used to sit down together, painting while Pukina told stories about his Country. One day Marianne would like to teach her children and grandchildren the same stories; “Me and [my granddaughter] Azaniah like painting together, sometimes she helps me too. Sometimes my grandson Jake too, he did a couple. I like having my family around to paint.”

"I started painting because of the feeling of it- I knew I wanted to paint. I grew up watching my grandparents paint. I like to paint more about the ocean. In Bidgy [Bidyadanga] we are kinda surrounded by ocean." - Chloe Jadai

Chloe was born in Derby and grew up in Bidyadanga. She went to school in Perth and then moved back to Bidyadanga, where she finished schooling. She later moved to Parnngurr and works with the Kanyirninpa Jukurrpa (KJ) Rangers.

Bidyadanga is a community located on the Kimberley coast in Western Australia, where the Great Sandy Desert meets the sea. The word Bidyadanga is derived from pijarta/ bidyada (emu watering hole).

Parnngurr Aboriginal community (Cotton Creek) is one of six Aboriginal communities located within the Martu homelands. It is 370km east of Newman, at the Southern end of the Karlamilyi (Rudall River) area, and in the Pilbara region of Western Australia.

"I was born in Newman, 1990. I'm the fourth one of seven- three brothers and three sisters. Mum is from Jigalong, and Dad from Wiluna. Mum's Manyjilyjarra, and I'm Manyjilyjarra, same like mum. I was growing up mainly in Newman, and [Aboriginal communities] Punmu, Jigalong, and 33 (Kunawarritji, Canning Stock Route Well 33).

I started painting, I been learning by sittng down and watching [my siblings and fellow Martumili Artists Corban Clause Williams and Tamisha Williams] Bamba and Tammy, watching and learning. I was thinking I want to become like an artist like my sisters and brother. Every morning I go to the art centre and paint. I paint my grandfather's land, Kaalpa (Kalypa, Canning Stock Route Well 23). I learned about Kaalpa by watching Bamba. (Here Corban explains "The old people were telling me 'Kaalpa's your grandfather's Country, you gotta paint it. They told me about it. We went out there with KJ (Kanyirninpa Jukurrpa) when we were looking for the [Greater] Bilby. They took me and Tamisha, they showed us our grandfather's Country, Well 23. I went out there, had a good look, walked around, and went back to Wantili (Warntili, Canning Stock Route Well 25), Parnngurr, and I started painting it. Now it's my mind, now I know what Kaalpa looks like. I went back to Martumili and I started telling Robina about the waterholes, jurnu (soak). One walypala (whitefella) well, and a real kalyu (water) there, jurnu. The Seven Sisters landed there, Jukurrpa (Dreaming). That man Yurla yapu (hill, stone, rock) there." [Yurla, who chased the Seven Sisters during the Jukurrpa remains at Kaalpa in the form of a rock])

Painting keeps me busy, keeps my mind fresh. I've gotta do more paintings so I can travel around with Martumili, do an exhibition- see my paintings on the wall."

- Robina Clause with brother Corban Clause Williams

"My name is Judith Samson. My skin [group] is Milangka and I speak Martu Wangka. I was born in Hedland, Port Hedland seaside, but I moved to Jigalong community with my nanna [Dadda Samson (dec.)] and my pop. Then we moved to desert, to Puntawarri, [Canning Stock Route] Well 17. I was still a young girl, still crawling in the desert. It was nice there. Some other families lived there with us. We had some farm, some vegetables. We went schooling in Puntawarri at the school, learning ‘two way’ [refers to teaching in both Martu Wangka and English, with a focus on local cultural and ecological knowledge]. We used to go and get some parnajarrpa (goanna) and turkey. We had a Toyota truck. We been go hunting at the desert. Some people there still, but they gotta build some new houses and then we going back to [live in] Puntawarri.

My nanna’s sister had a house here in Newman, so we used to come and visit. I did high school here in Newman. Now I move between Jigalong and Newman. My nanna [was] living in Jigalong, so I still go visit there.

I started to do painting here at Martumili when I was a young girl. I been help my nanna painting, we were painting Puntawarri one. My nanna was teach me to paint. I like to do some painting. I paint the Canning Stock Route, [and Canning Stock Route] Well 17 at Puntawarri. My favourite thing is going out to Country, and go back to Jigalong and Puntawarri, and to do some painting about Country. Painting helps me be strong. My family and my culture is feeling proud. I feel happy when I paint- pukurlpa. Happy! I also like playing softball. We play for Jigalong, Western Desert. I also like to dance and listen to music.

I work with Martumili now. I come to work and wash all the paint, put all the tubs in the colour and wash all the brushes. I help sell the paintings, and photograph and catalogue them. I went to America, Fremantle, the Gold Coast, Sydney, and Alice Springs with Martumili. I like to work at Martumili - happy, pukurlpa. I also work for KJ (Kanyirninpa Jukurrpa ranger group) mob in Jigalong too." - Judith Anya Samson

Judith is the granddaughter of Dadda Samson (dec.) and Yanjimi (Peter) Rowlands (dec.), both of whom were highly regarded Martumili artists. She was born in Port Hedland and has lived most of her life in Jigalong. Judith was raised by her grandparents, as her parents

passed away when she was very young. As Judith describes, she was taught to paint by her grandmother Dadda, who passed stories
to her for painting. Judith also spent much time travelling with Dadda to her country around the Puntawarri and the Rabbit Proof Fence areas, both subject of many of her paintings.

Judith has exhibited in most Martumili Artists' exhibitions in recent years. Her work has been acquired by the Art Gallery of Queensland (GOMA) and the National Museum of Australia.

Anya strikingly combines vibrant, unrestrained palettes with her loose, bold, style, and incorporation of geometric walka (iconographic forms that describe the people, animals and their tracks, geographic formations and the location of water) to represent her and Dadda's Country surrounding Puntawarri, Jigalong and the Rabbit Proof Fence. She explains "I started to do painting here at Martumili when I was a young girl. I been help my nanna painting... My nanna was teach me to paint [but] I do my own style now- me, Anya."

I am learning about painting from Wokka, Muuki and Nola. I am learning about my grandmothers story, Wokka's sister. About living in the desert and going to the sea. Mostly I am learning about Kulyakartu. My main colours are ocean colours and desert colours.

I grew up in Bidyadanga but I travel up and down, Hedland out to Parnngurr. Back to country trips with KJ rangers. I hope my paintings teach me new things and help the young ones learn.

I was born in Jigalong. I grew up in Newman and went to school here, yellow school then high school. My family is from Jigalong and Newman. My (Uncle) Corban Clause taught me to paint. I love playing softball with friends and going out to other places to play softball like Punmu.

"When I was a little girl, my father and mother took me around [Yulparija Country, north of Manyjilyjarra Country]. We used to walk around when I was a little girl. We travelled with my grandmother and all the family, we travelled with my sisters and brothers. We went from place to place, stopping in one place, hunting around and stopping in another place. We visited all the yinta (permanent springs). We could even travel on the water from a soak. I used to stay at the camp, waiting by the water, while my parents and grandparents would go out to get a lot of meat and other food. The little kids would stay home and hunt for small lizards. Then we would all travel together to another place. My grandparents really loved and cared for me when I was a little girl. They took good care of me. I was growing bigger at that time. When I grew bigger, I was able to go hunting on my own. I hunted cats and goannas. My parents still went hunting for meat for us all then.

[Later] I lost my mother and my grandmother, and then my father left us and walked into a station, but my other grandmother kept looking after me. I was still travelling with my mother's mother when I got married [became second wife to the father of Yuwali Janice Nixon (dec.)] and had my daughter, Barli. When I was travelling with my husband and all the family we went south to Wirnpa and Kurturrara. We stayed around there for a time and then went northeast, on the tableland. During the wet season we would travel out from the yinta (permanent springs) across the tableland. I would travel with Yuwali's mother [the first wife of Yikartu's husband]. We would walk together, hunting as we went.

During a rainy season we were staying in one place for a while and we had a visitor from Bidyadanga. There was one missionary [Father McKelson] and two Martu men travelling with him. They asked us who we were and wrote it down on a piece of paper. Then he told us to sit down and wait for them to come back with a vehicle. From there we went into the mission."- Yikartu Bumba, as translated by Ngalangka Nola Taylor

Yikartu is a Manyjilyjarra woman born in the 1940s at Lalyipuka, north of Wirnpa and in Juwaliny Country. Her ngurra (home Country, camp) lies at the northern boundary of Martu Country, around the Percival Lakes region and further northward. She lived a pujiman (traditional, desert dwelling) lifestyle until she was married and had a child, at which point the group she was travelling with first encountered a vehicle. Two Martu men and a missionary had travelled from the La Grange mission at Bidyadanga to look for people still living in the desert. They gave Yikartu and her family food and fruit, and later returned to pick up Yikartu and everyone she was travelling with. Her family group was one of the last to leave the desert.

At Bidyadanga Yikartu met up with a close uncle of hers and many other Martu, Juwaliny and Mangala people. She lived in both Bidyadanga and Jigalong for a period, during which she had three more daughters. During the 1980s Return to Country' movement Yikartu relocated to Punmu Aboriginal community to be closer to her home ngurra.

Yikartu often paints her husband's Country, close to Wirnpa, but also paints her mother's, father's and all her grandparents' Country around Lungkurangu, north of the Great Sandy Desert. Yikartu paints the jila (living water, snake) water sources running from Yulpu to Yimiri, Kupankurlu, Kurturrara and Wirnpa. Yikartu's work has been exhibited widely across Australia and internationally, and her collaborative works acquired by the National Museum of Australia and the National Gallery of Australia.

"I grew up around these salt lakes [Percival Lakes] with all the families; [my sister] Yuwali's mob, all together. Too salty to drink, so [we would] get fresh water from Vimiri, a yinta (permanent spring) in the lake."- Thelma Dundan (Dunjan) Ngarga (Nyarrka) Judson

Ngarga is a Manyjilyjarra woman, born in the isolated Percival Lakes region of the Great Sandy Desert in the mid 1950s. She grew up primarily around Yimiri and Kurturarra soaks. She and her young siblings would stay close to the major water sources while their parents went out hunting. During the rainy season her extended family group would separate into smaller units, and when it was hot they would come back together at the permanent water source of Yimiri.

As a young girl Ngarga lived nomadically in this region with her family group, composed unusually of only female adults and children; the men that had been travelling with the group had either died or moved away. While most Martu had by this time either moved in to pastoral stations or missions, or at the very least encountered whitefellas as they travelled along the Canning Stock Route, the extremely remote location of Ngarga's group had prevented such interactions. Their first contact with Europeans occurred in 1964, when the government sought to clear all remaining pujiman (traditional, desert dwelling) Aboriginals from an extremely large area destined for military weapons testing. At that time they were tracked with vehicles and an aeroplane. Once sighted prior to the testing operation, her family group was dramatically pursued for several weeks by Native Patrol Officer Walter McDowell for many weeks. This extraordinary story has since been documented in the award winning book, 'Cleared Out: First Contact in the Western Desert' (Co-authored with Sue Davenport and Peter Johnson, Aboriginal Studies Press, 2005) and film, 'Contact' (2009, Contact Films).

Once the group was finally tracked, they were persuaded to move to Jigalong Mission to join family there. They were one of the last families to move in from the desert. Ngarga schooled at the mission, then moved to newly Aboriginal owned Strelley community. She later returned to Jigalong, where she met her husband and fellow Martumili Artist, Yanjimi Peter Rowlands. Together they remained in Jigalong for a time, raising their children until they were school aged. The family relocated to Parnngurr Aboriginal Community during the 1980s 'Return to Country' movement. Today Ngarga and Yanjimi live between Newman, Port Hedland, and Parrngurr.

Ngarga is a talented weaver and painter. Her works depict her ngurra (home Country, camp), the Percival Lakes region, and its associated Jukurrpa (Dreaming). The area is dominated by a series of striking salt lakes, extending across a distance of 350km, and was formed by Wirnpa, one of the most powerful of the ancestral jila (snake) men and the last to travel the desert during the Jukurrpa. Ngarga's work has been exhibited widely across Australia and internationally, and her collaborative works acquired by the National Museum of Australia.

“I been born [around] Karanyal and Martilirri (Canning Stock Route Well 22) in the parna (ground), only claypan. My jamu (grandfather) [was also] Jakayu [Biljabu's] father, my father's daddy. My mummy born long way, near to Wikirri (Midway Well) area. My father born Pitu (Separation Well). I’m biggest one [I was the eldest of five siblings]; me, Neil, Ivy, Gladys, then Caroline. My sister Gladys been born Wantili, Ivy born Georgia Bore (Pitarny), Caroline been born in Jigalong [Mission]. We walked around together [as we were] growing up.”

[As a child, Ngamaru walked around with her family, living a pujiman (traditional, desert dwelling) lifestyle. In 1963 Ngamaru saw a whitefella for the first time near Wiirnukurrujunu rockhole; surveyor Len Beadell grading a road across the desert as part of a military weapons testing program. Shortly after this meeting Ngamaru, along with the other 28 Martu she had been travelling with, was tracked and pursued up by the Native Welfare Department. The group was eventually persuaded to move to Jigalong mission to join their relatives that had already moved in from the desert.]

“They been chase us, long way - me, Ivy, and Kuru (Gladys) ran away with Mitchell and Teddy Biljabu. Kumpaya, Bugai and my mother ran away quick too. Landrover he been pick us up for Parngurr, all the lot, [driving on the] track for Jigalong. Family all coming in. I been come for first time [it was my first time in a vehicle]. I was naked one, put a blanket for kurnta (shame). I been living there in Jigalong with my mummy and family. I been working in the dining hall, making bread for kid. I been meet my nyupa (spouse), Mr Booth, and had a son, Ned Booth.” - Ngamaru Bidu

Ngamaru was born at Martilirri (Well 22 on the Canning Stock Route), the eldest of four siblings. Her mother came from the area around Wikirri and her father from Pitu. As a child Ngamaru lived a pujiman lifestyle, and walked around with her family, moving from water source to water source dependent on the seasonal rain cycles. They often travelled with their extended relatives, Bugai Whyoulter and Jakayu Biljabu’s families.

When Ngamaru was a teenager, her family and their travelling companions were tracked by Native Patrol Officers and staff from the Jigalong Mission. The group was persuaded to move to Jigalong Mission, where they rejoined the many family members that had already moved in from the desert. At the mission, Ngamaru’s sister and some of the Biljabu family were sent to school, but Ngamaru went to work making bread.

From Jigalong Ngamaru moved to Strelley Community, where she met her husband, Joshua Booth. Together with their children they later moved to Warralong and then Punmu Aboriginal Communities before settling in Parnngurr Aboriginal community (Cotton Creek), where Ngamaru continues to live today.

Ngamaru has painted with Martumili since its inception in 2006. She has frequently painted with senior artists and relatives Mitutu Mabel Wakarta (dec.) and Kumpaya Girgaba. Ngamaru is known for the beautifully complex compositional structures and intricate patterning in her work, through which she very often explores the practice of fire burning in her Country and its related Martu cyclical seasonal changes. Ngamaru’s work has been exhibited in galleries internationally and throughout Australia, and acquired by the National Museum of Australia. She was selected in 2019 for the prestigious John Stringer Art Prize exhibition.

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“I came back to do painting in my side [region] and even taught the others to paint. My auntie showed me how to paint and … which part of the Country I should do- only my area and my stories on my side… From there I never stop painting, and first when I started I did so many, lots and lots of painting ... and so we taught each other and everybody else is doing it now.

Wangka is storytelling – like a drawing, putting something on the canvas. Painting it, but old people used to tell stories on the sand, with fingertips… They draw it in the sand like they do on a canvas. [I paint] my own [stories], where I came from, where my parents used to take me, where my grandparents area [was], where we used to hunt and go place to place, camping with my parents and grandparents.” - Kumpaya Girgirba, as translated by Ngalangka Nola Taylor

Kumpaya is a Manyjilyjarra woman, respected law woman and cultural leader, born in the 1940s close to Kiwirrkura, a rockhole located in the Gibson Desert and to the south west of Lake McKay. Her brothers include the renowned artists Charlie Wallabi (Walapayi), Helicopter and Patrick Tjungurrayi, all of whom she has outlived. In her youth, Kumpaya grew up in the area surrounding Kiwirrkura, and continued to live a pujiman (traditional, desert dwelling) lifestyle into adulthood; “When I was a young girl, I walked everywhere, travelling along the Canning Stock Route. I walked north and west, around Wana warla (lake). I grew up around there, going right around that Country and all the way back to Kunawarritji.” (Kumpaya Girgirba)

Kumpaya intentionally avoided the European drovers that travelled along the Canning Stock Route, but eventually she, her husband, three children and the extended family group with whom she was travelling encountered surveyor Len Beadell in 1963. He was grading roads through the Western Desert for the Woomera Missile Testing Range. “That whitefella had fruit, flour and tucker... He gave all the little kids fruit [and they] made the biggest waru (fire)... and cooked it. When they came back… it had cooked away to nothing, there was nothing there to eat.” (Kumpaya Girgirba)

Len Beadell notified staff at Jigalong Mission of their whereabouts, and consequently they were tracked and persuaded to relocate to the mission. There they rejoined many relatives that had already moved in from the desert. After living for a time at the mission, Kumpaya worked on several pastoral stations throughout the Pilbara, washing clothes and making damper (a type of flat bread). In 1982, during the ‘Return to Country’ movement, she relocated with her family to Parnngurr Aboriginal community, where she continues to live today with her children and grandchildren.

Kumpaya is an extraordinary teacher and orator, with particular skill in gathering artists together for large collaborative projects. She primarily paints her ngurra (home Country, camp), along the middle section of the Canning Stock Route, and between Punmu Aboriginal community and Kiwirrkura, more than 500 kilometres eastward. Kumpaya learned how to paint and weave baskets while visiting family in Balgo, Fitzroy Crossing and Patjarr, and is credited with introducing these skills to Martu people. Kumpaya’s work has been exhibited widely across Australia and internationally, and acquired by the National Museum of Australia.

"My mum's father came from Kirriwirri in the North. I can paint that way too. I like painting, it's a good way to learn from old people, keep the stories going. Yunkurra (Billy Atkins), my nyamu (grandfather), he's guiding me about what I can paint and share. My closest family is the Taylor mob; uncle Muuki, Wokka, and Ngalangka (Nola). They help me too." - Cyril Whyoulter

Cyril's mother's and Father's country is Jartuti. He is the grandson of senior Martumili Artists Bugai Whyoulter and Pinyirr (dec.). Cyril grew up in Parnngurr and Punmu communities. He now lives with his wife and children between Perth and Newman.

Cyril first developed an interest in art making when he began colouring in pencil with his grandfather Larry Patterson. An avid experimentalist and prolific painter, he has since mastered many painting techniques and developed his own signature style in which the influence of his grandmother Bugai is evident. Cyril is respected as a learned cultural leader, and is a strong proponent of the importance of intergenerational knowledge transfer.

Pinyirr was born at Jaturti. She was a younger sister of Bugai Whyoulter and the two girls grew up with many other relatives in the country around the Parnngurr area. Pinyirr attended school at the Jigalong Mission, and met her husband Larry Patterson there. The couple had two daughters, Erica and Betty and two sons James and George. From these children, Pinyirr had five grandchildren.

Pinyirr lived on several Martu communities, primarily around Kunawarritji and Punmu with her sister Bugai and her only surviving child Betty Whyoulter. Throughout her painting career, Betty was by her side, with Pinyirr passing on stories of her mother's country. She often painted privately, distancing herself physically from large groups of other artists' painting.

Her approach to creating was fierce, energised and without hesitation. Her confidence as an artist is evident in the striking drawing present in her paintings. Painting her country made her "pukurlpa" (good inside).

"I've been learning painting, my misses learned me painting, Vivianne Porter, my wife. I was doing painting with them, I was living with Vivianne my wife, in the community Jigalong. I've gone to Alice Springs, I've gone Adelaide for her painting."

Matthew's father is from Jigalong, and speaks Manyjilyjarra. His mother grew up in the bush and eventually moved to Wiluna to start a family. Matthew is the first of his brothers and sisters and went through mens business in Jigalong.