As we celebrate National Wattle Day on the first day of September each year, we delve into two works that include the wattle — with over 1,000 species of acacia Australia-wide, it’s the nation’s largest family of flowering plants. While the flowering times of wattle vary greatly depending on the region, Australia’s national flower — the Golden Wattle (Acacia pycnantha) — displays our national colours, green and gold, with flowers from the beginning of September signalling the start of Spring.

The wattle has become a popular symbol of Australia and Australians and can be depicted as a unifying symbol for land and people. The wattle flower is also synonymous — as is the poppy —to acknowledge those Australian service men and women that have sacrificed and continue to sacrifice their lives.

Mavis Ngallametta Mo’Yakal (White and yellow wattles in flower) 2008

Referring to the painting Mo’Yakal 2008 (illustrated), Mavis Ngallametta said ‘White and yellow wattle flowers are all around starting in the Easter month of April with white ones and then finishing with the yellow ones around June.

An elder of the Putch clan and a cultural leader of the Wik and Kugu people of Aurukun (Cape York Peninsula, Far North Queensland), Ngallametta was one of the most well-regarded senior community-based artists in Australia, depicting her community’s riotous scenes of post-wet season abundance, a climatic phenomenon well known to people who live their lives just feet above the swamp line. Many of Ngallametta’s works were bold and celebratory — with brightly coloured flowers.

Mavis Ngallametta, Kugu-Uwanh people, Putch clan, Australia 1944–2019 / Mo’Yakal (White and yellow wattles in flower) 2008 / Synthetic polymer paint on linen / 84 x 96cm / Gift of the artist through the QAGOMA Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program / Collection: Queensland Art Gallery | Gallery of Modern Art / © Estate of Mavis Ngallametta

Mavis Ngallametta, Kugu-Uwanh people, Putch clan, Australia 1944–2019 / Mo’Yakal (White and yellow wattles in flower) 2008 / Synthetic polymer paint on linen / 84 x 96cm / Gift of the artist through the QAGOMA Foundation 2015. Donated through the Australian Government’s Cultural Gifts Program / Collection: Queensland Art Gallery | Gallery of Modern Art / © Estate of Mavis Ngallametta / View full image

Watch | Explore the work of Mavis Ngallametta with Katina Davidson

Related Stories

  • Read

    Women of the Central Desert, South Australia

    Wawiriya Burton’s Ngayuku ngura – My Country 2018 and Nellie Ngampa Coulthard’s Tjuntala Ngurangka (Country with Acacia Wattle) 2018 are vibrant compositions that hum with energy and evoke the colours and heat of desert sands. Burton and Coulthard are nationally significant contemporary painters whose colourful representations of their Country are shaping stylistic movements and traditions within their communities. Wawiriya Burton Ngayuku ngura – My Country 2018 Wawiriya Burton is a senior Pitjantjatjara woman of law and culture and a revered Ngangkari (traditional healer). Born in 1925, Burton lives and works at Amata in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands of far north-western South Australia. During her childhood her family travelled across their country to the Warburton Mission in Western Australia, where she first recalls coming into contact with non-Indigenous people. Memories of her youth and stories of where she was born — on her father’s Country near Pipilyatjara in Western Australia, west of Amata — are often subjects of her work, which she paints in refined, complex depictions in brilliant colour. The minyma mingkiri tjuta (small female desert mice) found at important cultural sites are celebrated in Ngayuku ngura – My Country. The artist explains: The mingkiri are pregnant and give birth to many babies. They then journey to the surrounding rock holes in search of food and water for their young. The dotted lines [in the work] are mingkiri tracks. At almost two metres square the work has a confident presence, which is enhanced by an evocative composition of dense colour fields that hum with energy. Ngayuku ngura is arguably her most painted and revered subject, and in this work her Country appears as vast fields of dusty pink and eucalypt green, described by curator Diane Moon as ‘sage and silver contrasting with the rich, red colour of the earth’. The fields of colour bleed into each other in thickly clumped trails, reminiscent of the Amata landscape which is ‘dotted with round clumps of spinifex, sparse desert oaks and soft grasses’. These tracks, simultaneously macro and micro in their appearance, are of the earth, the mingkiri (mice), the flora and the Pitjantjatjara people. Nellie Ngampa Coulthard Tjuntala Ngurangka (Country with Acacia Wattle) 2018 Roughly 300km south-east of the APY Lands is the community of Indulkana, home to respected Yankuntjatjara painter and educator Nellie Ngampa Coulthard. Coulthard’s striking and idiosyncratic works are reminiscences of her childhood living on country around Wintinna Homestead near Oodnadatta, on the edge of the Simpson Desert. Coulthard was raised in a wiltja (tin-and-log shelter) in this area and lived a semi-traditional lifestyle while her father worked at the homestead for rations. Coulthard paints the country in a mix of styles, combining traditional dotting techniques in whites and yellows — evoking the colours and heat haze of the desert sands — while dividing the painting with meandering lines, which in one orientation reveal the local acacia wattles that she vividly recalls seeing in flower as a child, their vibrant yellows piercing the hard country. In Tjuntala Ngurangka (Country with Acacia Wattle), Coulthard’s composition of wattle trees is also suggestive of the many creeks that flow through the area, feeding Lake Eyre some 200km away. This country is renowned for transforming during times of rain, and Coulthard’s paintings often exhibit a tonal shift from hot colours to cool, evocative of the transformations that the country periodically undergoes. Expansive and personal, gestural and precise, these two vibrant recollections of Country have made a vital contribution to the Gallery’s Collection of desert women’s paintings. Katina Davidson is Curator, Indigenous Australian Art, QAGOMA and Bruce Johnson McLean is former Curator, Indigenous Australian Art, QAGOMA.
  • Read

    Judy Watson surveys the rising tide of climate change

    In this large-scale painting moreton bay rivers, australian temperature chart, freshwater mussels, net, spectrogram 2022 (illustrated) on display within ‘mudunama kundana wandaraba jarribirri‘ (tomorrow the tree grows stronger) at the Queensland Art Gallery until 11 August 2024, Judy Watson surveys the rising tide of climate change by representing a bird’s-eye view of Queensland’s Moreton Bay and its rivers, overlaid with a chart of Australia’s average air and water temperatures recorded between 1910 and 2019. Queensland Art Gallery Watermall Watson integrated this data with the knowledges of women close to her. With her nephew’s partner, Tor Maclean, she experimented with botanical-dyeing and stencilling. Aunty Helena Gulash spoke the Kabi Kabi word ‘gila’, meaning ‘light coloured native bee’ — represented here in the form of a spectrograms (visual representations of recorded sound). At her mother Joyce Watson’s home, the artist painted the spectrograms, while at her cousin Dorothy Watson’s home in Oxley — close to the flood-prone Oxley Creek — she dyed the work in indigo. Three freshwater mussel shells, known as malu malu in Watson’s Waanyi language, are also represented in this work. Judy Watson ‘moreton bay rivers, australian temperature chart, freshwater mussels, net, spectrogram’ 2022 The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) acknowledges the Traditional Owners of the land on which the Gallery stands in Brisbane. We pay respect to Aboriginal and Torres Strait Islander Elders past and present and, in the spirit of reconciliation, acknowledge the immense creative contribution First Australians make to the art and culture of this country. It is customary in many Indigenous communities not to mention the name or reproduce photographs of the deceased. All such mentions and photographs are with permission, however, care and discretion should be exercised.
Loading...