British Artists

Lisa Ridgers

Painting - Prints

Lisa Ridgers was born on the South Coast of England in September of 1968. She moved to America when she was 22 in the early 90’s. She spent the majority of her earlier time in the USA, in Arizona, where she learned to paint and fell in love with the life of being a creator. The last ten years have been very transitional; living between the UK, Spain, and her home in Wisconsin, USA.  Lisa has been a full time professional artist since 2002.

Since her early days studying with two prominent contemporary artists (R.Clearwater and S Jacobs), she has continued on as a, primarily, self- taught artist; developing her own unique methods and process for her paintings. She still finds that the rich colours and drastic scenery of the desert influence her work and now finds a harmonious balance brought about by her new surroundings in the countryside. She works predominantly with acrylics accented with a range of mediums and techniques that in their contradiction create a complimentary, uniquely fresh look.

Lisa’s multi- media works have been described as a fusion of organic palette, natural elements and inner meditations. Her art can be found in both corporate and private collections around the world. The subject matter of her paintings range from her bold
minimalist representations to vivid and earthy abstracted landscapes.

Julie Sajous

Paintings - Mixed Media

Originally trained as a Fashion Designer, my career has spanned many aspects of art and design; from commercial fashion to painting, ceramics, plaster casting, Caribbean carnival costume design and illustration.
My paintings, mostly in acrylics, come from what I see around me in this gorgeous part of the world. The Isle of Wight is surrounded by constantly changing seas and stunning, wildly varied landscape. This provides me with plenty of inspiration for my work; sometimes figurative, sometimes semi-abstract.
I love colour and as a result of my design background, enjoy painting with combinations that are perfectly balanced, whether calming or vibrant.
I have taught art and design for nearly thirty years and run regular weekday classes, Saturday “one-off” workshops and longer summer school sessions as well as art retreats in Andalucia, Spain. 

My working days are spent either painting or teaching in my light-filled and quirky studio; a converted 80’s mobile home set in rural West Wight.

Jane Vaux

Paintings - Prints

Her work varies from quite realistic  depictions to abstract. Jane’s style is a freestyle that can scan the broad range of subjects I like to work with, always keen to incorporate light and movement as much as possible, and enjoy using texture within my work. Acrylics are the dominant material used, but always keen to incorporate other mediums where appropriate, especially pastels and charcoals.
Inspired by many subjects but my main focus is seascapes, landscapes, and more recently cityscapes. A wealth of material in all of these subjects is of course available in and around the immediate area where she lives.
A member of Devon Artist Network, and Oxfordshire Art week. Successful solo and shared exhibitions over the last ten years, in both Devon and Oxfordshire.
Holds independent art workshops and have regular classes in her Studio and Gallery. Kept them as small as possible to ensure the atmosphere is unthreatening, relaxed and encouraging – this really seems to benefit her students in their creativity and growth. Has  also been asked to speak and demonstrate at various art groups in the area.
Undertake commissions, and has successfully completed many over the last year, being rewarded by the pleasure these have bought by her clients.
As with any artist, she’s constantly growing and learning more within her area of work. Jane’s inspiration is kept alive by the constant change in our landscape and the pleasure obtained by capturing some of its beauty.


Graeme Hawes


Graeme is an experienced glassblower working from his studio, housed in an award-winning restored hosiery factory in the heart of Leicester’s cultural quarter. He has been designing, making, working to client specification and teaching for many years. His passion for authenticity, provenance and craftsmanship shows in each piece of work, which is intrinsically handcrafted in England.

“Captivated by the hostile environment of a glassblowing workshop from my first day at Sunderland University. There is heat oozing from every aperture. There is a deafening noise from the compressors and burners. There is broken glass strewn across the concrete floor and yet there is the facility to create something quite beautiful and delicate.

Since successfully completing my masters at the Royal College of Art, I have spent my professional life combining freelance glass making and teaching with my own glass making practice.”

Jon BD


 Ceramics has been in Jon’s family for at least five generations. The earliest records show a pottery at Hoo in Kent dating from 1834, and Jon’s great-great-uncle Edward Baker worked at the well-known Upchurch pottery in Kent from 1909 (and later owned it). Each generation has produced its own particular style of work, and Jon’s father, Alan, was the first to break with tradition by leaving the family pottery, undertaking a formal college training and entering the pottery industry as a designer. He later taught ceramics at Cardiff College of Art and worked collaboratively on work with Jon’s mother Ruth in the 1960s and 1970s. Some of their joint ceramic work is kept in the permanent collection at Aberystwyth University.

Jon completed a degree in ceramics at Bristol in 1985, having specialised in thrown ware and glaze development. While at college he was inspired by the pages of the Wedgwood Creamware catalogues from the late 19th century, and – in stark contrast to their classical lines – cartoon drawings. He also spent time building kilns and experimenting with wood-fired salt glaze. He used these glazes to good effect on the teapot forms that became an obsession for many years. After spending time working as a college technician, travelling, landscape gardening and other short-term jobs, Jon returned to his first love of making pots in his spare time, while also training to be a teacher. He has taught on and off ever since – he currently teaches  from time to time ceramics at West Dean college in Sussex, and more recently has run workshops for blind and visually impaired students at New College, Worcester.

Although his primary interest was always the wheel-thrown object, it soon became clear to Jon that he would never make a living from selling teapots. Drawing inspiration from the collaborative work of his parents, which combined classical vessels with mythical and imaginary creatures, he started making animals. His first piece was a pig, which, he says, seemed to emerge quite naturally. He soon moved on to sheep, chickens, cows and horses, constantly refining and developing the form. 

Matt Horne


 Matt’s work is all thrown in porcelain on the potter’s wheel and the finished with crystalline glaze.

Crystalline is a special is a special type of glaze in which crystal grown in the glaze during the firing. These crystals form randomly, which makes every piece unique.

The crystalline glazing process is complex and can be expensive to produce. As crystalline glaze is very fluid, each piece needs to sit on a pedestal with a dish to catch the run off during the firing process. When the kill reaches the maximum temperature (up to 1280c) it is then cooled to a specific holding temperature and held for a period of 5 to 8 hours - this is the time when the crystals form in the glaze. Once the kiln has rolled there is the delicate process of removing each piece from the pedestal and then grinding the base smooth to finish the piece.

Crystalline glaze can be very unpredictable and there is a high risk of failures, but when it works the effects are stunning - and no two pieces will ever be identical.


Phil Atrill


Glass artist Phil Atrill produces a range of work including sculptural pieces, one-off vessels and production items. 

He is willing to undertake corporate & private commissions as well as creating bespoke designs for clients. 

A big favourite with Interior Designers, Collectors around the world and glass lovers.

Rennie Pilgrem


Spent over 20 years as an award winning recording artist and DJ, performing at clubs like Fabric, many festivals including Glastonbury and touring the world. He owns the dance music label TCR, widely recognised as the most important in the world for it’s genre: Breakbeat. He still makes music, djs in the UK and abroad but spends most of his time creating visual art. 

The art is graphic, contemporary and often witty. He is equally at home with painting, making sculptures or creating photographic/digital limited editions. His work has been selected for The Royal 

Academy Summer Exhibition and shown at many UK art fairs. He has exhibited in abroad and is collected internationally.

Roz Wallis


Small local pottery studio in Dukes Meadows, Chiswick.

Uses a range of materials including porcelain, stoneware, red and white earthenware clays. We just luuurve Raku! Raku is an old Japanese way of glazing pots.

Not to sound too melodramatic, but these unique pieces each have the blood, sweat, tears and utter joy of the maker in them.


Aboriginal Artists

Louise Numina


Louise Numina is one of six well known desert artists: the Numina Sisters. She has three brothers, her dear father passed and her widow mum still paints and lives in Darwin. Louise went to primary school on Stirling Station near Tennant Creek. She later studied at Yirarra College in Alice Springs. Like her sisters and mother she comes from a long line of desert painters of the contemporary Aboriginal art and dot-dot central desert movement.

After high school Louise returned to Stirling Station near Ti Tree where she worked with the Community Development Program. She started painting in 1981 after being taught by her well renowned painter aunties: Gloria and Kathleen Petyerre, who are well established artists in Alice Springs.

Louise has lived in Darwin since 1995 when she began studying at Nungalinya College achieving a diploma in Fine Arts. Louise works have featured in exhibitions in Darwin, Sydney and Brisbane. Her work has been collected for over 15 years.

Louise has three young children. The Numina Sisters travel regularly back home to visit their relatives and country.

The Bush Medicine Leaves Dreaming knowledge story is a popular theme of the Numina Sisters. 

Lanita Numina


Lanita Numina is one of the middle sisters of the six well known desert artists: the Numina Sisters. 

She has two brothers, her dear father is passed on and her widow mum still paints from time to time. Like her sisters Lanita went to primary school on Stirling Station near Tennant Creek. Like her sisters and mother she comes from a long line of desert painters of the contemporary Aboriginal art and dot-dot central desert movement.

Lanita lived with her mother and aunties on Stirling Station near Ti Tree.  She started painting later than her older sisters. Lanita was taught by her older sisters as well as  her other sisters she was surrounded by her well renowned painter aunties: Gloria and Kathleen Petyerre, who are well established artists in Alice Springs.

Lanita primarily lives with her sisters in Darwin and travels home to visit her mother Barbara Price Mtjimbana or to bring her mother to Darwin to visit them all.

The Bush Medicine Leaves Dreaming knowledge story is a popular theme of the Numina Sisters. Many women from the Peytre, Mambitji and Numina family name hold custody of the story and knowledge keepers of painting.

Caroline Numina


Caroline Numina is an Anmatyerre artist and one of six sisters and three brothers who lived at Ti Tree, 190km North of Alice Springs in Central Australia. Her mother is Barbara Mbitjana (Other names: Pananka or Price). She attended primary school at Stirling Station, a cattle station near Tennant Creek where she began painting at a young age, taking guidance from her world famous aunties Gloria and Kathleen Petyarre. She later studied at Yirara College in Alice Springs. After her studies, she returned to Stirling Station working with the Community Development Program. In 2000 the Numina family moved to Darwin where they still live today.
Caroline and her four sisters, Jacinta, Lanita, Louise and Sharon Numina also well respected artists from Utopia, share many totems including the Bush Medicine Plant and she expresses their connection to the plant in a similar painting style to their famous Aunty, the renowned artist Gloria Petyarre. Louise first began painting the Women's bush tucker dreamings when she was a young girl. Aboriginal women have their own ceremonies in which a series of song and dance cycles tell of the Ancestral Beings who walked the earth teaching women's law and ceremony to isolated groups living throughout the desert. Each tribe has its own set of women ancestors with different stories, designs and dances, but most of the ceremonies have one theme common to all groups, that of food gathering as the most important part of women's lives.


Sharon Numina


Sharon was born in 1981 and attended school at Kormilda College Darwin. Sharon is one of six sisters and three brothers. Her mother Barbara Price Mbtitjana, an elder painter and cultural elder from Stirling Station near Tennant Creek, taught all her daughters to paint.  Sharon is the youngest of the of the fabulous Numina Sister desert artists. Sharon currently lives in Darwin with her older sisters and mother.

Sharon's father, now passed, is from Utopia. The stories of Collecting Bush Tucker and Emu Dreaming along with other themes that Sharon paints, is her mother's and father's Country and Dreaming totems and cultural knowledge stories.

Selina Numina


Selina went to primary school at Stirling Station in the north Utopia region near Tennant Creek. Her mother's homelands. Selina as with her sisters and brothers were sent to boarding school in Darwin as no secondary schooling was available in Tennant Creek of Alice Springs.
Selina currently resides in Darwin but regularly visits her Country.

Selina and her sisters, and mother, come from a long line of desert painters of the contemporary Aboriginal art and dot-dot central desert movement from well renowned painter aunties: Gloria and Kathleen Petyerre, who are well established artists in Alice Springs.

The Bush Medicine Leaves Dreaming knowledge story is a popular theme of the Numina Sisters. Many women from the Peytre, Mambitji and Numina family name hold custody of the story and knowledge keepers of painting series-themes such as Bush Medicine Leaves, Bush Tucker, Seeded, Soakage, Women' s Ceremony etc - in common with other skin groups across the vast arid creek beds and red sand of central Australia.

Subjects of importance in the theme-series painted are various bush tucker. Plant foods include wild berries, plums, onion, yam, seeds etc. Many animals can be depicted as food source or as totems such as Thorny Devil Lizard and Dingo Tracks.
Women's Ceremony, Awelye Body Art Ceremony are mostly painted by senior ladies but younger women need to know it from a young age. Some themes such as Bush Tucker can be open and universal others can be secret and or significant cultural ceremonies.

Jacinta Numina


Daughter of highly regarded elder and women's business story keeper Barbara Price Mtjimbana, Jacinta went to primary school at Stirling Station near Tennant Creek.  Later Jacinta went to Kormilda College in Darwin for high school as did most of her sisters, The Numina Sisters. Jacinta is one of the elder sisters of these six well known desert artists and also has three brothers. 
Like her sisters and mother she comes from a long line of desert painters of the contemporary Aboriginal art and dot-dot central desert movement from well renowned painter aunties: Gloria and Kathleen Petyerre, who are well established artists in Alice Springs.

Jacinta lives in Darwin where her works are collected by universities, art dealers and art lovers from around the world. She regularly travels back to home lands to visit family.

The Bush Medicine Leaves Dreaming knowledge story is a popular theme of the Numina Sisters. Many women from the Peytre, Mambitji and Numina family name hold custody of the story and knowledge keepers of painting series-themes such as Bush Medicine Leaves, Bush Tucker, Seeded, Soakage, Women's Ceremony etc - in common with other skin groups across the vast arid creek beds and red sand of central Australia.

Subjects of importance in the theme-series painted are various bush tucker. Plant foods include wild berries, plums, onion, yam, seeds etc. Many animals can be depicted as food source or as totems such as Thorny Devil Lizard and Dingo Tracks.
Women's Ceremony, Awelye Body Art Ceremony are mostly painted by senior ladies but younger women need to know it from a young age. Some themes such as Bush Tucker can be open and universal, but others can be secret and significant cultural ceremonies.
Knowing, carrying and reinforcing these stories gives respect for Country and ancestors and shows responsibility and care of holding such stories to keep the stories and traditional practices alive. The knowledge must be retold repeatedly and handed on.

The Numina Sisters have all been taught to paint by their earlier elder painter grandmothers, mother-auntys, and cousin-sisters connected across the Central Desert region. Their mother's and grandmother's Country is in the bush and in remote Stirling Station.


Felicity Robertson


Felicity Robertson Nampitjinpa is a talented artist from Yuendumu, 293 km northwest of Alice Springs on the Tanami Track. Yuendumu is a remote community largely made up of the Warlpiri and Anmatyerr people.
Felicity is the daughter of the world famous artist Shorty Robertson Jangala. Like her father, Felicity paints the story of water dreaming (Ngapa Jukurrpa) called “Puyurru” or “Soakage”, based on the large soakage sites and clay pans in her country.
Felicity’s intricate dot work and use of a bright and bold colour palette, make her works contemporary statement pieces of Aboriginal Art. In following in her father’s footsteps, Felicity is on track to be one of Australia’s most collectable Indigenous artists.
In support of this, Felicity in 2017 was named a finalist in the For Arts Sake art prize endorsed by Participate Australia.
In addition, Felicity’s amazing ‘Puyurru’ artwork entered into the prestigious 2017 Wynne Prize, has been selected to be exhibited in the Salon des Refusés at the S.H. Ervin Gallery in Sydney.
Felicity’s “Puyurru” was also an exhibited finalist in the 2017 and 2018 Mosman Art Prize.

Lynette Corby


The multidimensionality of Lynette’s work shows through in her usually bold and vibrant executions. The colour she uses is dramatic yet balanced. When painting on linen or canvas, Lynette creates a blend of colour that adds depth and dimension to her work, creating an almost 3-D effect.

Gloria Petyarre


Gloria Petyarre, sometimes referred to as Gloria Pitjara, was one of Australia�s most successful and significant female artists. Her depiction of the Kurrajong bush medicine leaves-with her layered, free-flowing, swirling brushstrokes that scatter across the canvas-became her iconic motif.

Her career took off when she won the coveted 'Wynne Prize for Landscape' at the New South Wales Gallery in 1999. It was a triumph for Aboriginal art. Gloria became the first Indigenous Australian artist ever to win a major art prize at the Gallery of New South Wales.

The painting was an extraordinary new artistic statement, quite unlike any other Aboriginal artwork at that time. A huge, gold and green abstract work, it was made up of swirling leaf shaped brush strokes positioned close together on a black background. It brilliantly captured the energy and flow of leaves being scattered by a fitful wind, seaweed swirling in a change of tide, or grass billowing in the wind.
So much did this artwork fascinate the essentially nature-loving people of this country, that it was to become one of the most popular styles in Aboriginal art, bringing many a devotee to the genre because of its resonance with the viewer.

Gloria continued to paint this style for the next 20 years until her retirement in 2019 due to health issues. During that time and subsequently, the style has been adopted and adapted by several generations of her family members. However, Gloria was and is credited with being the creator of this popular style and its most collectable proponent.

Gloria's origins are in a region called Utopia, covering an area approximately 230 - 300km from Alice Springs, itself a remote town too many people.
Many of Australia's foremost Indigenous artists spring from this area, including Gloria's renowned aunt, Emily Kame Kngwarreye, deceased since 1996, and the most famous and accomplished female Indigenous Artist Australia has produced.
Gloria, her family members and her skin family, first became interested in art making by participating in the Utopia Women's Silk Batik Group introduced in 1977 and initiated by CAAMA (the Central Australian Aboriginal Media Association). Both Gloria and Emily were founding members of the group.

With up to 80 members at a time, the Batik and Tie-die project became the seeding inspiration for the artists, and its tremendous success both in Australia and overseas led to another successful project introduced in 1988, again by CAAMA.
This time, the artists were to paint on primed, stretched canvas, and many of the women took to the new medium with ease and enthusiasm, finding it more exciting to work with than the silk and batik techniques they had hitherto used.
The resulting works were exhibited at the S.H.Erwin Gallery in Sydney and several other notable galleries across Australia. It was the beginning of the Utopian Art Movement, and it was impressive enough to gain international attention. Gloria was one of the artists at the very centre of it.
As demand for Utopian art grew, so did Gloria's career. She travelled with her art to many countries and exhibited in France, Germany, the United Kingdom, Belgium, the Netherlands, Italy, the USA and Japan, and of course in regional and commercial galleries throughout Australia.
It would be easy to think that Gloria's works were limited to bush medicine leaves works, so popular were they. In fact she had quite a number of Dreamings in her portfolio. She painted the 'Thorny Mountain Devil Lizard Dreaming', a pattern of swirling coloured lines which imitate the tracks made in the sand by the lizard's tail. Yam Dreaming, popularly executed by her aunt Emily, was also one of her commonly painted stories. She also painted Grass Seed, Pencil Yam, Emu, Bean, Small Brown Grass and Body Paint Dreamings. This breadth of subject matter and style has made her an extremely versatile artist.
Later in her career, Gloria began to paint massive 'Big Leaf' paintings, expressionistically rendered with giant brush strokes that mix colour on the canvas to gain a variety of fascinating paint effects. The smile on her face while she painted these works revealed her delight in having a break from the finer styles that had occupied her previously.

Gloria was a multi-award winning artist and a highly collectible one. Her involvement in the founding projects of the Utopian Art Movement, and her status in the group have given her a place in Australian Art History - as well as a significant body of work. Apart from her Wynne Prize success, Gloria went on to be a finalist another four times. The most prestigious Indigenous art competition in this country, the 'Telstra National Aboriginal and Torres Strait Islander Art Award' has featured her artworks on many occasions, and her works are widely collected and commonly held in the finest Aboriginal Art Collections and Museums worldwide. Her list of artistic achievements is immense and her gift as an artist has touched many people - but it was her personal presence that left the greatest impact. The delight she took in meeting new people, unreservedly sharing the stories and songs of her Country are some of our most cherished memories of her.

She was a woman of immeasurable generosity. Her beauty truly radiated from the inside out and manifested itself in her stunning artworks that are cherished by people around the world. She has travelled safely home to her Anmatyerre Country and her beautiful spirit will continue to radiate through her canvases.


Rosemary Petyarre


Rosemary Petyarre was born in 1945 at Utopia, 350km east of Alice Springs in Central Australia. Rosemary comes from a strong artist family background, her Brother is famous aboriginal artist Grenny Purvis Petyarre (passed away 2010). Other famous Petyarre artists include well-known Gloria Petyarre, Jeannie Petyarre, Petyarre, Ada Bird Petyarre, Violet Petyarre, Myrtle Petyarre and Nancy Petyarre.Rosemary was involved in the making of batik and in 1994 she and several other women from Utopia travelled to Indonesia to learn different techniques for producing batik.Like most other Utopian artists, Rosemary began her formal artist career with the Summer Project, sponsored by CAAMA in 1988-89, which led to painting with acrylic on canvas.

Lynette Corby


The multidimensionality of Lynette’s work shows through in her usually bold and vibrant executions. The colour she uses is dramatic yet balanced. When painting on linen or canvas, Lynette creates a blend of colour that adds depth and dimension to her work, creating an almost 3-D effect.

Walter Brown


Walter’s Dreaming encompasses the sacred men’s ceremonies that come from his community in Kintore. These include Tingari, Fire Dreaming and Spear Dreaming. 
Walter’s signature Spear Dreaming was taught to him by his artist father, who is very well-known for painting Fire Dreaming. The story tells of the hunting and ceremonial spears passing through the fire, which is both a practical and symbolic tradition held by certain men within Walter’s community. This ceremony is traditionally a closed ceremony, to which only the men of Kintore are allowed to attend. 
Walter’s depictions of his Dreaming are vivid and bold, encompassing strong contrasting colours and lines to create visually stunning pieces of contemporary art.


Jeannie Petyarre


Jeannie Petyarre (Pitjara) was born in c.1957 on the Boundary Bore Outstation of Utopia in Central Australia. An established artist in Utopia, Jeannie is the niece to the late Emily Kame Kngwarreye. In the early 1980's, when Jeannie was living at Boundary Bore Outstation with her family, husband Henry Long Kemarre and their six children, Jeannie was introduced to the art of Batik. Jeannie was encouraged by her aunt, Emily Kngwarreye to continue to paint her family's Yam Dreaming. In 1990, her work was chosen to be part of the Robert Holmes a Court Collection, which toured extensively and was featured in their book "Utopia - A Picture Story". All of Jeannie's Dreamtime stories come from the Alhalkere Country and are passed down to her from her father's side. Jeannie paints the Yam Seed, Yam Leaf, Yam Flower Dreamings, body paint, Mountain Devil Lizard and My Country Dreamings Jeannie's tribal name is "Angiltha" which means little lizard.

Jeannie Pwerle


Jeannie Mills Pwerle was born in 1965 and is a renowned artist who comes from Utopia located 350 km north east of Alice Springs. She comes from a family of famous Aboriginal artists, with her mother Dolly Mills and niece to the renowned Greeny Purvis Petyarre.
Jeannie’s signature dreaming is that of the ‘Bush Yam’, which she depicts in her artworks. Her dreaming is so significant, as the bush yam serves as a vital source of bush nutrition, which Utopian women have been utilising for generations.
The calibre of Jeannie’s works is most prominently reflected in 2008, where Jeannie was named a finalist in the Telstra Art Prize.
Jeannie’s representation of her dreaming, takes the viewer on a colourful, flowing visual journey. Jeannie uses multiple hues of bright, complementary colours, surrounded with fine dot work, to produce a fine representation of the bush yam.

Sonia Club


Sonia Namarnyilk started working at Bábbarra Designs in 1993. An enthusiastic sewer, screen printer and lino printer, her health has prevented her working in recent years.
Born in Gunbalanya, Sonia’s fabric designs feature Yawkyawk imagery (female water spirits), turtles and barramundi. She also created art for Maningrida Arts & Culture, making prints on paper, wood carvings and woven fibre art. Her artwork has been exhibited nationally and internationally.


Margaret Scobie


Margaret Scobie was born in January 1948 at Woola Downs which is an outstation of Ti Tree, a small community 190km north of Alice Springs. Margaret is a respected elder of her community and is related to many famous Aboriginal artists, such as Gloria Petyarre, Emily Kame Kngwarreye and Ada Bird Petyarre. Her lyrical brush stroke gives the impression of the bush medicine leaves being moved by the blowing wind.

Jacinda Hayes


Jacinda Hayes is a young artist from Alice Springs. She re-located to Darwin in 2019 for better schooling opportunities for her 6 children.
Jacinda’s great aunt is the famous artist Gloria Petyarre and her grandmother is the well-known artist Margaret Scobie. Margaret and Gloria are first cousins
Jacinda tells of how Gloria passed on the ‘Bush Medicine Leaves’ Dreaming toher Grandmother Margaret as health challenges arose. Gloria wanted to ensure the Dreaming was continued.
Margaret in turn passed this Dreaming on to Jacinda as she is her eldest grand-daughter.
Jacinda spent a lot of  time with her grandmother learning how to use colour and the brush, “this keeps the culture strong and keeps the connection”. Jacinda will pass this Dreaming down to her children in the hope that they will pass it to theirs and so on.

Violet Petyarre


Violet Petyarre was born circa 1946 at Atnagkere, on the western boundary of Utopia Station, 250kms, north-east of Alice Springs in the Northern Territory of Australia. Violet belongs to the Anmatyerr clan group and speaks Eastern Anmatyerr with English as a second language, settled at Iylently (Mosquito Bore) near Utopia Station with her seven sisters, including Kathleen, Gloria, Nancy, Myrtle, Ada and Gina establishing a family camp which she still frequently re-visits today.
Violet commenced painting on batik and silk in 1977 and in 1988 started to paint with acrylics on canvas. She shares the Dreamings: Arnkerrth (Mountain Devil Lizard Dreaming) Engcarma (Bean) Unyara (Emu) Annlara (Pencil Yam) Kadjeta (Grass Seeds) Elaitchurunga (Small Brown Grass) Awelye (women’s body paint design) with her sisters Ada, Myrtle, Jeannie, Nancy, Gloria and Kathleen. Originally working with batik tie-dying Violet’s artistic endeavours commenced 1977, with Batik Colours were then applied and these bright fabric panels were then sewn into garments that were welcomed by the Utopia women. Also Violet used woodblock printing techniques, in which her Dreaming references were burnt into wood with hot wire and then ‘stamped’ onto fabric. Violet delicately portrayed her Mountain Devil Lizard Dreaming through complex lines and dotting drawn on silk textiles (National Gallery of Victoria Collection). In 1988 her works-on-canvas followed this style, which she produced alongside her sister Kathleen Petyarre and her Aunt, the late Emily Kame Kngwarreye. With other Utopia women, Violet first works-on-canvas evolved through a special local project entitled ‘Utopia Women’s Paintings - A Summer Project 1988-1989’ (The Holmes a’ Court Collection). This project engendered a new direction of artistic output, launching Utopia as a major centre for Indigenous art and placing it firmly within the context of the Australian contemporary art scene.
During the 1990s Violet oeuvre shifted with her Body painting series which portrays a more structured composition: the essence of her Dreaming laid bare, stripped of adornment, powerfully evoking true abstract expressionism form. In 2007, she continued artistic experimentation through the introduction of bold new colours, giving her celebrated works a bright new contemporary lustre. Violet has firmly positioned herself as a major exponent of the ever-evolving Utopian and Australian contemporary art movements. Currently she divides her time between Iylently, Adelaide and Amaroo Station. Her role as a foundation member of the Utopia arts community together with her artistic individualism has firmly endorsed her position as an important contributor to Australia’s art history.


Jorna Newberry


Jorna Newberry is an Indigenous female artist from Angus Downs in the Northern Territory. Jorna was born in 1959 and is a Pijantjatjara woman who now resides in both Alice Springs and her traditional land in Warakurna with her family.
Jorna is the niece and was the carer of the internationally acclaimed Aboriginal artist, the late Tommy Watson Yannima. As a result, she was artistically influenced by her famous uncle and has now become a renowned artist in her own right.
Jorna is most recognised for her representation of ‘Fire Dreaming’. This story depicts the creation of the artist’s sacred land and the power of the Earth’s natural elements. 
In addition, Jorna paints stunning representations of her Country titled “Walpa Tjukurpa” or “My Country”. Jorna’s arial depictions of her land utilise deep, rich colours which acknowledges the sacred ancestral sprits, who defined the landscape of her country. 
Jorna’s unique style makes her a highly sought after artist who has been exhibited in galleries throughout Australia.
The intricate, fine line work utilised by the artist in association with her attention to detail, make Jorna’s works truly remarkable representations of her innate Dreaming. This is enhanced with her deep and bold colour palette, which beautifully represents the natural element of fire and the power seen in it’s movement.

Elsie Granites


Elsie Granites Napanangka (1959) is a respected and well established Indigenous artist from Yuendumu, in the Northern Territory.

Yuendumu is one of the largest remote communities in central Australia and has a thriving community of Aboriginal artists, including Felicity Robertson Nampitjinpa and the late Dorothy Napangardi.

Yuendumu lies 293km northwest of Alice Springs on the Tanami Track in the Gibson Desert and is a community largely made up of the Warlpiri and Anmatyerr Aboriginal people.

Elsie’s paintings are based on the Dreamings of her custodial land “Mina Mina” the Country west of her birthplace in Yuendumu. Elsie paints in the minimalist black and white dotting style, similar to the late Dorothy Napangardi who also painted “Mina Mina”.

Elsie’s often monochrome depiction of “Mina Mina’ is an abstract representation of her Country, with each and every dot representing the Ancestral Spirits that travelled across the land during the Dreamtime. It is believed that where ever the Ancestral Spirits lay, the natural formations of the land occurred. Thus, it is clear to see why Elsie’s work is such an important and beautifully represented depiction of her sacred land.

Elsie also paints the sacred, “Seven Sisters Dreaming” story.
The seven sisters Dreaming illustrated by Elsie tells of the sacred story of the ancestral sisters who are being chased by the ancestral Jakamarra man, who was in love with them. The story goes that in an attempt to escape the Jakamarra man, the seven sisters turned themselves into the stars an ascended into the heavenly skies which today make up the constellation of Taurus. The Jakamarra man depicted as the lone star in this painting is still chasing the love of the sisters today.

The powerful story in this work so intricately detailed by Elsie is enhanced with her use of contrasting colours including blue, black and white.

Gary Wilson


Gary Wilson Reid Tjampitjinpa was born around 1966 and originates from the Anangu Pitjantjatjara Lands of Sawn Hill in Victoria.
However Gary was adopted out into a non-indigenous family very early on in life and thus, did not start re-connecting fully with his indigenous culture until his early 20’s when he retuned to his country in Swan Hill.
Gary thereafter married renowned artist Lily Campbell Napangardi.
Gary paints his dreaming ‘Nantucker’ which is a vivid portrayal of his country and also often paints ‘Lizard Dreaming’ and ‘Water Dreaming’.
Gary uses bright hues of blue, red, orange and yellow to create highly detailed artworks, which are distinct representations of Aboriginal culture, the land and the water flowing through it.


Barbara Pananka


Barbara was born in 1950 at Bush Park Outstation near Ti Tree. She has 6 daughters, known in the Aboriginal art world as the Numina Sisters, and two sons. Barbara holds many ceremony stories for Anmatjerra language group as with her famous artist sisters and aunties. 

As an elder and senior artist, Barbara paints the old stories of her country and holds some of the secret business stories of her people and kinship groups from the North East Central Australia Desert region.

Barbara moved to Darwin to be near her children who chose to settle in Darwin after attending high school at Kormilda College.
Sadly her loving husband passed away, whom was a much respected stock-man and cultural lawman.

Rosemary Pitjara


Rosemary Bird Pitjara (Petyarre) was born in the early 1950s at Atneltye, or Boundary Bore, on Utopia Station in the Northern Territory, located 270 km north-east of Alice Springs. Rosemary is niece of the famous Aboriginal artist, Emily Kame Kngwarreye, and sister of Jeannie Pitjara and half sister of artists Greeny Purvis Petyarre and Evelyn Pultara. She is also a skin sister to other well-known artists including Gloria Petyarre, Kathleen Petyarre and Ada Bird Petyarre.  Rosemary has established herself as an accomplished bush medicine leaf painter, capturing both the movement, depth and rhythm of the leaves as they dry in the wind.  Rosemary also shows an innate sense of colour in her works and is a sought after artist.