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 in hunting and sand drawing. Furthermore, visits to his aunts living along the Swan River afforded him opportunities to gather paper bark, which they used in 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 has a smoother texture after meticulous washing to remove salt. After numerous washes and sieving, it becomes suitable for artistic application when mixed 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 for employing sand and ochres to depict 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 translating 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, and Queensland, as well as internationally in the United States, the Czech Republic, and Ireland.
Situated in the heart of Western Australia's South West region, the Noongar people adhere to a calendar that transcends the conventional four seasons. Their six seasons serve as a testament to their profound connection with the land, guiding the rhythms of the natural world and reminding us of the deep-rooted ties between the environment and Noongar culture.
The period of Birak (December to January), characterised by its red hues, is the appropriate time to burn the bush in mosaic patterns, a practice that revitalises the land. Concurrently, as temperatures rise, activity levels increase among fledglings and reptiles.
The Bunuru season (February to March), characterised by the colour orange, represents the hottest period of the year. This season is distinguished by coastal fishing and the blooming of white flowers, notably the zamia plant.
The Djeran season (April to May) introduces a cooler, verdant phase, showcasing red flowering gums and a shift towards hunting terrestrial animals as night temperatures decrease.
Makuru (June to July), signified by dark blue, is the wettest period, necessitating inland migration and facilitating animal pairing in anticipation of the breeding season.
Djilba (August to September) marks a transitional phase, blending both cold and warm days, during which pink wildflowers signal growth and the appearance of newborn animals.
Kambarang season (October to November) encompasses a vivid yellow period of floral abundance as the landscape becomes saturated with colour and vitality, heralding the impending return of warmer weather.
Each season constitutes a chapter in a continuous narrative, embodying themes of survival, adaptation, and profound respect for the land that nourishes the Noongar people.
