Travels in Australia: Paruku — Part 2 to 6
One of the objectives of the Paruku Project is to energize the Warruyarnta Art Centre in Mulan, the newest and perhaps most modest art center of the approximately 44 such organizations in central Australia. Aboriginal communities have few opportunities to generate income, and art centers have become a primary venue for doing so. The predominant painting style in the region consists of acrylic dots thickly applied to build up iconic pictures of “country” (a term meaning both terrain and territory) and “bush tucker,” or sources of food found in the wild. While the project generated several beautiful examples of such paintings, such as the one above by Daisy Kangah, project artists Mandy Martin and Kim Mahood also worked with the local artists to develop a style somewhat unique to Mulan, one based on more personal stories and community events.
Australia is the flattest continent (as well as being the lowest, driest, and hottest). Runoff from rain in the interior doesn’t really run downhill in rivers, as we experience in North America, but rather flows across the desert in enormous and slow puddles. Lake Gregory is actually one of those moving puddles that was blocked by a buildup of sand dunes during an ice age within the last 200,000 years. As a result, it is a shallow body of water that fills during wet years and evaporates, sometimes entirely, during dry ones. It’s therefore a very delicate ecosystem easily affected by global warming, and the spangled perch that live in the lake have recently experienced the worst known infestation in the world of a parasitic red worm.
Shirley Yoomarie painted her story of community members working with scientists to net fish for sampling, a painting that is at once a picture of country, a document relevant to climate change, a communal narrative, and a personal story. It’s also evidence of aesthetic evolution in the community–the dots are still there at the top and bottom of the painting, but they frame a flat representational scene.