Roseanne Morton Pwerle
Roseanne Morton Petyarre, an Anmatyerre woman, hails from the Utopia region of Central Australia, where she was born in Boundary Bore in 1984. Situated 280 km north-east of Alice Springs in the Northern Territory, Utopia provided the backdrop for Roseanne's traditional upbringing, as she attended school there to remain close to her family.
As a scion of a family of esteemed artists, Roseanne is the daughter of the highly regarded Utopia artist Gracie Morton Pwerle and the granddaughter of the internationally acclaimed Kathleen Petyarre. The artistic tradition within Roseanne's family and the broader Utopia community runs deep. Not only are Gracie's aunties artists, but her sisters, Mary, Rita, and Elizabeth, also contribute to this rich legacy. From a young age, Roseanne absorbed the art of painting her Dreamings, associated ceremonies, and bush foods from her mother, aunties, and grandmothers. She represents an exciting new generation of artists from this region's Petyarre/Pwerle families.
Roseanne resides in Utopia with her husband, James Morris, a Papunya artist, and their two children. Possessing immense talent, this third-generation artist undoubtedly anticipates a long and prosperous career.
Gracie Morton Pwerle, born on Utopia Station around 1956, hails from a family with a rich artistic tradition deeply rooted in the Utopia community. She is the daughter of the renowned artist Myrtle Petyarre and the sister of the well-known artists Gloria and Kathleen Petyarre. Moreover, her sisters, Mary, Rita, and Elizabeth, also carry forward the family's artistic legacy.
Gracie Morton Pwerle embarked on her artistic journey in the late 1980s during the "A Summer Project," which introduced acrylic paints and canvas to the women of Utopia. Her artistry has been widely acclaimed across Australia and internationally. As a senior traditional custodian of the Arnwekety (Bush Plum) Dreaming, Gracie is entrusted with the responsibility of preserving the Dreaming, customs, and traditions associated with the Bush Plum in accordance with traditional law, a duty passed down to her from her father and aunt.
The focal point of Gracie's artwork is the Arnwekety, through which she portrays the seasonal variations that influence the plant. Her creations exude a captivating lyricism, fostering a three-dimensional visual effect that guides the viewer through the soft, outward-reaching fields of color.
Gracie Morton Pwerle's artworks grace major private collections, including the esteemed Holmes à Court Collection, and are frequently exhibited throughout Australia. She has also participated in international exhibitions in China, Germany, Italy, and The Netherlands.
Roseanne's artwork emanates from a foundation of traditional knowledge, showcasing her proficient painting approach through the meticulous assembly of bush seed images. The layering of dots characterizes this method to create a dense surface, employing a vivid color palette.
Her subject matter derives from acute observation and memory, reflecting an intimate understanding of the land, interwoven with personal history and ancestral journey.
The Bush Plum Dreaming Story is a significant narrative spanning the western and central deserts, from Lajamanu and Warlpiri country to the Utopia homelands. Originating from the Utopia region, the Dreaming or Creation Story of the Bush Plum recounts the dispersal of bush plum seeds to the artists' ancestral lands by winds during the Dreamtime. The first bush plum of the Dreamings grew, bore fruit, and dispersed its seeds across the lands through the gusts of the winds.
To ensure the perennial fruiting of the bush plum, the Aboriginal people pay homage to its spirit through ceremonial song, dance, and paintings. The patterns in these paintings symbolize the plant's fruit, leaves, flowers, and body paint designs associated with it during ceremonies. The bush plum, a sought-after type of bush tucker, is only available at specific times of the year and is distributed throughout most of the Utopia region and as far west as Lajamanu. However, its abundance has dwindled due to the grazing of introduced animals, especially cattle and rabbits.
