Papunya Camp and the Rise of Emerging Female Artist Debra Nangala McDonald
When a young art teacher Geoffrey Bardon took an eighteen month trip to Papunya (200 kilometres West of Alice Springs) in 1971 he documented Western Desert style painting. Bardon took over the Papunya Schools arts and craft program and the works he researched and works his students created are now some of Australia’s most historically and treasured works.
After his time at Papunya, Bardon compiled an extensive encyclopaedia documenting the art, stories, cultural practices, rich historical and spiritual significance of the Papunya Tula art movement. Thanks to Bardon’s dedication and studies, the global community gained a greater understanding of this transformative artistic movement, ensuring that the stories, traditions, and artistry of the Western Desert peoples were preserved and celebrated.
But during his trip Bardon did not hear or meet any adult women artists during his stay. Most of the stories of women were depicted by the men which seemed to focus around women gathering bush tuckers. His research was mostly record was on men and children which is why women who hail from Papuyna are valuable today. Indigenous Painting’s by women from Papunya camp are now being recorded and one of the most highly sought-after Papunya artists is Debra Nangala McDonald.
"Women's Body Painting" Debra Nangala McDonald 116cm x 81cm
Debra was born in the Papunya camp settlement but to truly appreciate the significance of Debra artistry, we must first explore her extraordinary family lineage, which is steeped in artistic excellence.
Her grandfather, Shorty Lungkata Tjungurrayi, was a celebrated Pintupi man from Lake Macdonald in the Gibson Desert, known for his powerful depictions of Dreamtime stories and sacred sites. Her mother, Martha Macdonald, was also a talented artist who contributed to the rich tapestry of Indigenous Australian art.
Perhaps the most renowned figure in her family is her uncle, Clifford Possum Tjapaltjarri, one of the most influential Indigenous artists of the 20th century, whose works brought global attention to the Papunya Tula movement.
"Mulga Trees" Debra Nangala McDonald 116cm x 204cm &
Debra is also now the custodian for the Uwalki Wayiya Tjuta (Mulga Leaves, Mulga Trees and Mulga Roots) passed down from Mitjili Napurrula. Mitjili was born in 1945 at Papunya (eventually moved to Haasts Bluff) and became a well known public figure. She even won the Alice Springs Art Prize in 1999 and gained international recognition.
Both Mitjili and Debra's works remains highly sought after, with collectors appreciating her strong compositions and these works continue to inspire new generations of Indigenous artists
The Mulga tree is not only known for its simplicity but also for its remarkable adaptability and resilience. Its innovative nature allows it to thrive in harsh environments, providing essential resources for both people and wildlife.
"Mulga Trees and Travelling Past" Debra Nangala McDonald 205cm x 145cm
Her Mulga story is usually done with a red ochre undertone and uses a wide range of colours or done in black, white and gold. She even includes other stories like "Travelling Past" which showcases her skill with composition. In the world of art, painting the Mulga Tree is a simple yet innovative way to capture the beauty and importance of this plant.
It’s not only her Mulga Leaves that make Debra’s works stand out, but also her striking depictions of Women’s Ceremonies or Women's Body Paint, which hold profound significance. These ceremonies, central to women's roles in community life, are deeply spiritual and symbolise connection to Country. The middle section usually includes goanna eggs, stomping ground and Black Berries.
"Women's Body Painting" Debra Nangala McDonald 237cm x 123cm
Not only does Debra paint Mulga Tree's or Women Ceremonies but also Sands around Papunya, Dry Swamp Lands, Bush Tuckers, Women's Hunter Gathering, Goanna Love Story. These work show her unique set of skills and understanding of the stories that have been passed down to her. These are normally painted in very bright colours with very intricate dot work and careful brush strokes patterns.
"Sands around Papunya, NT" Debra Nangala McDonald 90cm x 60cm
In conclusion, Bardon’s pioneering work in documenting and promoting the Western Desert art movement laid the foundation for the global recognition of Indigenous Australian art. While his early research primarily focused on men and children, today, the voices of women artists from Papunya, like Debra Nangala McDonald, are being celebrated for their unique contributions.
While Bardon was unable to document the women artists during his time in Papunya, it is clear that the traditions and stories were still being passed on. Debra’s work is a testament to the continuation of Women’s Ceremonies painted by Papunya women.
As a custodian of the Uwalki Wayiya Tjuta dreaming, Debra’s art not only captures the beauty of the Mulga tree and Women’s Ceremonies but also carries forward the rich cultural legacy that Bardon helped preserve. Her paintings stand as a powerful testament to the enduring strength and innovation of Indigenous art, bridging the past and future.
Click Here To View Debra's Collection
Citations:
[Photograph]. National Library of Australia. Retrieved from https://nla.gov.au/nla.obj-152744545
[Image] Geoffrey Bardon, Mr Patterns (2004) Documentary
[Book] Bardon, G., & Bardon, J. (2004). Papunya: A place made after the story – The beginnings of the Western Desert painting movement. Miegunyah Press.