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AwelyeGalyas work is distinctive and highly individual. Her early paintings, dating from around 2004, drew on Portulaca oleraceaknown as munyerooa grass once abundant in the Utopia region and an important food source for generations. Its tiny black seed became central to her imagery, with Galya adopting its half circle form as a dominant motif in her paintings. Over fifty years of cattle grazing greatly reduced the abundance of this grass. In her paintings,

and sometimes flies through her ancestral country

Its tiny black seed became central to her imagery

represent the earth where everything begins and ends

they moved away together to Haasts Bluff

and which holds the story of the native owl

Maggie has four children and “a big mob of grandkids”

born c1925

Aboriginal ceremonies reflect the diversity and complexity of the cultural and spiritual practices that exist within Aboriginal communities across Australia

Makinti's paintings primarily take as their subjects a rockhole site

illustrating the way water collects in them after rainfall

and Munyuparntiparnti

she began painting in 1992 for the Ikuntji Women’s Centre

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