Yondee Shane Hansen
Yondee Shane Hansen is a distinguished Noongar artist, born in 1964 in Dumbleyung, situated 270 kilometres south of Perth in the southwestern region of Western Australia. He acquired foundational knowledge from his father, who imparted lessons on hunting and the creation of sand drawings. Furthermore, visits to his aunts residing along the Swan River afforded him opportunities to gather paper bark, which facilitated their artistic pursuits. These formative experiences constituted the foundation of his artistic education, as older relatives, revered for their paper bark paintings, served as his earliest instructors.
Regarding his contemporary artistic practice, Yondee Shane Hansen expressed, "I create sand paintings by sourcing sand from the creeks. The sand displays a smoother texture following meticulous washing to eliminate salt. Upon undergoing numerous washes and sieving, it becomes appropriate for artistic application when amalgamated with paint. The combination of black and white sand in my paintings conveys a simple yet potent message."
As a seasoned artist, Yondee Shane Hansen has honed techniques to employ sand and ochres in the depiction of the narratives and legends of his people. In addition to these traditional portrayals, he produces intricate figurative works that tackle themes such as mission life, hunting, and wildlife. Despite their abstract characteristics, his works encapsulate a narrative essence. Yondee draws from the knowledge of ground paintings imparted by his grandfather during his youth and aspires to preserve and elevate these art forms. He maintains that the translation of these concepts into sand paintings honours their origins and broadens their appeal to new audiences. His bush name, Yondee, translates to Black Goanna. Moreover, Yondee Shane Hansen has collaborated with the Campfire group of Aboriginal artists in Brisbane and has exhibited his artwork in a variety of galleries across Western Australia, New South Wales, Queensland, and internationally in countries such as the United States, the Czech Republic, and Ireland.
Yondee elucidates the characteristics of this painting by stating: “The stems of the tree are employed for the creation of spears, selected for their linearity, height, and robustness. These stems are derived from the eucalyptus mallee gums, which are prevalent throughout the southwest of Western Australia and extending into South Australia. The portion of the mallee utilised is the stem that emerges from the base of the tree, which is meticulously shaved to reach the core, the strongest section of the tree.
The wood is subjected to the process of heating over a fire, not only to enhance its straightness but also to increase its hardness. The methodologies employed by spear makers vary, resulting in weapons that differ in style, weight, and strength. Initially, when the wood is carved, it possesses considerable flexibility, allowing the artisan to bend and shape it accordingly.
Subsequently, to maintain the finalised form, the wood is passed over the fire. Following this, tests are conducted by throwing the spear, and further adjustments are made by shaving additional material if necessary. Initially, the spear may exhibit excessive weight; thus, layers are removed to attain the essence of the tree and the spear. Finally, the spear is treated with eucalyptus gum and coated with emu oil. Spear makers are committed to utilising only trees that can be responsibly harvested, which reflects a dedicated approach to caring for the Country. "
