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Jill Nungarrayi Watson / Water Dreaming – Mikanji (1A)
30cm x 30cm Acrylic on CanvasView more from artist
30cm x 30cm Acrylic on Canvas
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Ochre / Kimberley artworks are shipped on canvas or linen, already stretched, ready to hang unless stated otherwise.
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Artwork is accompanied by Warlukurlangu Artists (Yuendumu) Art Centre Certificate of Authenticity/Provenance
Jill Nungarrayi Watson was born near Tennant Creek, a small township located 500km north of Alice Springs. When her grandfather died, her family moved to Lajamanu where she went to school. She later moved to Yirara College, a coeducational, Years 7 to 10, Indigenous residential School in Alice Springs.
In 1983 she married Lawrence Jangala Watson and shortly after they moved to Yuendumu, a remote Aboriginal community located 290km north-west of Alice Springs in the NT of Australia. She has 4 children, three sons and one daughter. Her second son is a Yuendumu Police aid. Jill worked at the local Centre link office for 12 years, working from 1994 to 2010.
She has been painting with Warlukurlangu Artists Aboriginal Corporation, located in Yuendumu, since 1992. She paints her father’s Jukurrpa stories, Dreamings which relate directly to her land, its features and animals. These stories have been passed down to her from her Grandmother and Grandfather and their parents before them for millennia.
Jill has exhibited in Group Exhibitions in Florida, USA; Osaka, Japan; and Alice Springs, Australia. When she’s not painting she likes to go hunting for Bush tucker and goanna hunting.
The country associated with this Water Dreaming is Mikanji, a watercourse west of Yuendumu that is usually dry. There are soakages in this creek bed. The owners of this Dreaming site are Nangala / Nampijinpa women and Jangala / Jampijinpa men. Mikanji is an important water Dreaming site, and features in at least three different water Dreaming tracks.
In one story, the water Dreaming travelled from Puyurru, northwest of Yuendumu, to a soakage in the Mikanji creek. It unleashed a huge storm there. Two old blind women of the Nampijinpa skin group were sitting by the side of the soakages. As the two women strained their eyes to see the sky, tears formed in their eyes, creating the rain. Their spirits can still be seen at Mikanji in the form of two river red gums growing near the soakage.
In contemporary Warlpiri paintings, traditional iconography is used to represent the Dreaming, associated sites, and other elements. In many paintings of this Dreaming, short dashes are often used to represent cumulus & stratocumulus clouds, and longer, flowing lines represent flood waters. Small circles are used to depict soakages and river beds.
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