Christine Winmar
Artist: Christine Winmar
Born: 1965, Midland, Western Australia
Size: 120 x 90 cm
Language Group: Noongar
Skin Name: Allawah (“Stay Here”)
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Christine Winmar is a proud Noongar woman and contemporary Aboriginal artist from Western Australia. Born in 1965 in Midland, her skin name, Allawah, meaning “Stay Here,” reflects her deep-rooted connection to Noongar Country and culture. Christine’s work is grounded in her identity and her ongoing commitment to sharing the stories, symbols, and colours of her heritage through art.
Christine was taught to paint by her father, a respected Noongar artist and didgeridoo craftsman, who passed on to her many of the traditional techniques and cultural teachings that continue to influence her work today. With his guidance, Christine developed a strong foundation in Noongar design and storytelling, and she later expanded her artistic practice through experimentation with new materials, styles, and media — always maintaining a deep respect for her cultural traditions.
Christine spent several years living in the Kimberley region, where she was inspired by the landscapes and the artistic practices of Aboriginal artists from the Northern Territory, enriching her own creative expression.
By the late 1990s, Christine was exhibiting and selling her works through Aboriginal art galleries in Perth. Her first group exhibition took place in 2005 alongside fellow artists Mingi May Barnes, Geoff Lindsey, and Tjinanginy in Perth and Cottesloe. In 2009, she gained international exposure when her works were exhibited in Perth and San Francisco as part of the “Colours of Australia” exhibition.
Christine’s art practice reflects her versatility and creative spirit. She works across canvas, pottery, wood, and glass, often using vivid dot painting techniques to create bright, rhythmic compositions inspired by the natural world and her cultural heritage.
One of Christine’s recurring themes is the Illawarra Flame Tree, a powerful symbol in both Noongar and broader Aboriginal storytelling. Known for its brilliant red flowers, the tree represents passion, vitality, and the cycles of life and renewal. In Aboriginal Dreaming narratives, it is associated with fertility, strength, and the interconnectedness of all living things.
Also referred to as the Flame Kurrajong, the tree is admired for its lush, lobed leaves and vivid crimson blossoms that light up the landscape in spring and summer. Traditionally, it provided shade and served as a gathering place — a living emblem of warmth, beauty, and resilience.
Through her vibrant use of colour and intricate dot patterns, Christine captures the energy and movement of the Flame Tree in bloom, paying tribute to its cultural significance and natural splendour. Her works honour the enduring spirit of the Noongar people and the powerful relationship between culture, Country, and creation.
