Menu

Emu tracks to Puntawarri and more art by Judith Anya Samson

Emu tracks to Puntawarri, 2021
122 x 91 x 2 cm (h x w x d)
AUD 3 250
Acrylics on canvas
sold
[MART21-766]

“Emu go to the springs to have a drink of water and then move on to the next one.” - Judith Anya Samson.

Puntawarri is an important cultural area, as well as the site of a now abandoned community, a waterhole, creek and lake. Puntawarri is located on the middle stretches of the Canning Stock Route and east of the Jigalong Aboriginal Community, where Judith grew up with her grandmother and senior Martumili Artist Dadda Samson. Both artists continue to live there today. Puntawarri lies within Judith’s ngurra (home Country, camp) through her mother’s family, and as a young girl she frequently travelled and hunted with her family in this area, learning the stories for this Country. Depicted in this work are the tracks of a group of emus on their way to Puntawarri waterhole, searching for kapi (water). Karlaya (emu) were traditionally hunted during the pujiman (traditional, desert dwelling) era, and they continue to be a favoured bush tucker for Martu today.

During the pujiman (traditional, desert dwelling) period, Martu would traverse very large distances annually in small family groups, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. Jina (tracks, footprints) are used by Martu people when tracking bush tucker. In the absence of an actual animal sighting, tracks act as an identifier that an animal was present, which can then be followed to the animal’s present location.

Besides providing information on location, Martu are able to interpret from tracks the passage of time since the tracks were imprinted, as well as the corresponding animal species and its size. The softer and more extensive the ground surface, the easier it is to locate and follow tracks, thus certain conditions are favoured for tracking. Tuulparra (spring) and yalijarra (hot time) are preferred over wantajarra (winter), when south easterly tradewinds blow strongly to obscure tracks. Tracks and burrows are also more readily visible in early growth lands, such as nyurnma (freshly burnt Country) and waru-waru (growth of new shoots and young plants). For this reason, fire burning is an important tool in animal tracking. Small burns are lit to clear vegetation, expose burrows, and to allow for access to walk and track readily in exposed sands, while simultaneously providing diverse regenerating habitats.



exhibited by:

other works by Judith Anya Samson

Tuwa in Puntawarri, 2021
76 x 46 x 2 cm (h x w x d)
Acrylics on canvas

Rabbit Proof Fence, 2021
91 x 61 x 2 cm (h x w x d)
Acrylics on canvas

Tuwa in Puntawarri, 2021
91 x 61 x 2 cm (h x w x d)
Acrylics on canvas

Puntawarri, 2020
122 x 91 x 2 cm (h x w x d)
Acrylics on canvas

Tuwa in Puntawarri, 2021
152 x 106 x 2 cm (h x w x d)
Acrylics on canvas

Pages

more from Aboriginal Contemporary

Pantu (Salt Lakes), 2022
121 x 121 x 2 cm (h x w x d)
acrylic on canvas

ggg
100 x 120 cm (h x w)

Wardapi Jukurrpa, 2022
102 x 122 x 2 cm (h x w x d)
Acrylic on canvas

Water Dreaming, 2021
91 x 183 x 2 cm (h x w x d)
acrylic on canvas

Mina Mina Dreaming, 2022
107 x 107 x 2 cm (h x w x d)
acrylic on canvas

Pages

Do you create or deal with art?