‘Barna (Banna) Station’
2023
120 x 90cm
Acrylic, plastic polymer and mixed media on canvas
Description:
Barna or Banna station (now known as Maroubra station) was once owned by Julie’s great grandfather, Mr Francis Latham. Her great grandmother, Mary Latham (née Oliver) gave birth to Julie’s grandmother and great aunty Dorothy at this station in a sacred birthing place with the help of Badimaya midwives and female family members. The account of her birth was written in a book by Julie’s great uncle George Latham called Copperwire George.
There are accounts of other Badimaya families such as the Fogarty’s travelling to Banna station to stay for extended periods working on the station. It was from this station that Julie’s great-grandmother and her kin drove 30,000 head of sheep down to Wubin siding to be trained down to Perth to market. Julie’s Badimaya family made her white ancestor very rich with their unpaid labour.
Banna station was named after Barna which is the Badimaya word for “sacred country”. This station is located on the east side of Lake Moore which is a large saltwater lake surrounded by significant ceremonial sites associated with women and men’s sacred business. Lake Moore is considered one of the most significant sites for Badimaya people.
The girl depicted in this picture is symbolic of the important birthing sites located on Banna or Barna station and the paperbark trees that surround freshwater tannin lakes found there. The use of semi-precious stones and freshwater pearls is a play on what is to be considered precious while still honour the significance of this place to Julie and her family.
2023
120 x 90cm
Acrylic, plastic polymer and mixed media on canvas
Description:
Barna or Banna station (now known as Maroubra station) was once owned by Julie’s great grandfather, Mr Francis Latham. Her great grandmother, Mary Latham (née Oliver) gave birth to Julie’s grandmother and great aunty Dorothy at this station in a sacred birthing place with the help of Badimaya midwives and female family members. The account of her birth was written in a book by Julie’s great uncle George Latham called Copperwire George.
There are accounts of other Badimaya families such as the Fogarty’s travelling to Banna station to stay for extended periods working on the station. It was from this station that Julie’s great-grandmother and her kin drove 30,000 head of sheep down to Wubin siding to be trained down to Perth to market. Julie’s Badimaya family made her white ancestor very rich with their unpaid labour.
Banna station was named after Barna which is the Badimaya word for “sacred country”. This station is located on the east side of Lake Moore which is a large saltwater lake surrounded by significant ceremonial sites associated with women and men’s sacred business. Lake Moore is considered one of the most significant sites for Badimaya people.
The girl depicted in this picture is symbolic of the important birthing sites located on Banna or Barna station and the paperbark trees that surround freshwater tannin lakes found there. The use of semi-precious stones and freshwater pearls is a play on what is to be considered precious while still honour the significance of this place to Julie and her family.
‘Barnabinmah’
2023
120 x 90cm
Acrylic, plastic polymer and mixed media on canvas.
Description:
Barnabinmah is a newly renamed place in Badimaya country. It was previously known as Burnabinmah Station which was purchased by the WA state government in 1995.
It was originally leased in 1878 but a mud brick house was not built there until 1884 when sheep, some cattle and horses were grazed there. Barna is the Badimaya word for “sacred country” and this place is filled with significant birthing and women’s sites that are considered extremely sacred, particularly near the swamp system that runs through this area.
Today, Barnabinmah is a significant location for the new Badimaya National Park and reserves. As Chair of the Badimaya Bandi Barna Aboriginal Corporation, Julie’s twin sister Dr. Carol Dowling negotiated for a new joint management agreement with the WA Department of Biodiversity, Conservation and Attractions. Barnabinmah (known as Burnerbinmah) is one of three ex-stations including Thundelarra station, which forms the main operation base for the new park, as well as sections of Warriedar Station.
In 2020, the WA state budget handed down an allocation of $15.7m for the new joint management agreement for the new Badimaya National Park. DBCA have recruited Aboriginal rangers to work on country and based at the former Thundelarra station pastoral lease. Badimaya people have begun cultural mapping to identify and protect important sites. This partnership now means that despite Badimaya people losing Native Title in 2015, strong agreements will protect important biodiversity while maintaining cultural connection for generations of Badimaya to come.
This painting shows a young boy just after first contact in the 1890s where western dress was given to replace traditional adornments and symbols of culture. Many Badimaya people were forced into working on these stations to make them profitable. There are symbols of walking tracks, rivers, waterholes and trees which are found at this special place.
2023
120 x 90cm
Acrylic, plastic polymer and mixed media on canvas.
Description:
Barnabinmah is a newly renamed place in Badimaya country. It was previously known as Burnabinmah Station which was purchased by the WA state government in 1995.
It was originally leased in 1878 but a mud brick house was not built there until 1884 when sheep, some cattle and horses were grazed there. Barna is the Badimaya word for “sacred country” and this place is filled with significant birthing and women’s sites that are considered extremely sacred, particularly near the swamp system that runs through this area.
Today, Barnabinmah is a significant location for the new Badimaya National Park and reserves. As Chair of the Badimaya Bandi Barna Aboriginal Corporation, Julie’s twin sister Dr. Carol Dowling negotiated for a new joint management agreement with the WA Department of Biodiversity, Conservation and Attractions. Barnabinmah (known as Burnerbinmah) is one of three ex-stations including Thundelarra station, which forms the main operation base for the new park, as well as sections of Warriedar Station.
In 2020, the WA state budget handed down an allocation of $15.7m for the new joint management agreement for the new Badimaya National Park. DBCA have recruited Aboriginal rangers to work on country and based at the former Thundelarra station pastoral lease. Badimaya people have begun cultural mapping to identify and protect important sites. This partnership now means that despite Badimaya people losing Native Title in 2015, strong agreements will protect important biodiversity while maintaining cultural connection for generations of Badimaya to come.
This painting shows a young boy just after first contact in the 1890s where western dress was given to replace traditional adornments and symbols of culture. Many Badimaya people were forced into working on these stations to make them profitable. There are symbols of walking tracks, rivers, waterholes and trees which are found at this special place.
‘Dalwallinu’
2023
120 x 90cm
Acrylic, plastic polymer and mixed media on canvas.
Description:
Dalwallinu is the first town of the Wildflower way which is a popular tourist stretch that goes through to the town
of Mullewa. The town has around 700 people living there and is considered a great gathering place for many tribes. Dalwallinu is the Badimaya name for “a place to wait a while” or “good lands” where Badimaya people lived to the north of the shire with Karlamaya people living to the south.
The first Europeans who came there were Benedictine monks who came from New Norcia Mission to graze their sheep, but farmers came around 1907 to plant wheat. The town was first gazetted in 1914. By 1932 two grain elevators were fitted with an engine and a railway siding was built.
This town is now the site for the office of the Badimaya Bandi Barna Aboriginal Corporation which is the peak representative body for Badimaya people. Its inaugural chair is Julie’s twin sister Dr Carol Dowling.
The painting shows the image of an older Badimaya girl in 1940s dress with her younger sister peering shyly to the viewing behind her sister. Surrounding the girls are symbols for waterholes and walking tracks to symbolize the many different groups of First Nations people who have passed through Dalwallinu before travelling to the coast or further inland for trade and ceremonies.
2023
120 x 90cm
Acrylic, plastic polymer and mixed media on canvas.
Description:
Dalwallinu is the first town of the Wildflower way which is a popular tourist stretch that goes through to the town
of Mullewa. The town has around 700 people living there and is considered a great gathering place for many tribes. Dalwallinu is the Badimaya name for “a place to wait a while” or “good lands” where Badimaya people lived to the north of the shire with Karlamaya people living to the south.
The first Europeans who came there were Benedictine monks who came from New Norcia Mission to graze their sheep, but farmers came around 1907 to plant wheat. The town was first gazetted in 1914. By 1932 two grain elevators were fitted with an engine and a railway siding was built.
This town is now the site for the office of the Badimaya Bandi Barna Aboriginal Corporation which is the peak representative body for Badimaya people. Its inaugural chair is Julie’s twin sister Dr Carol Dowling.
The painting shows the image of an older Badimaya girl in 1940s dress with her younger sister peering shyly to the viewing behind her sister. Surrounding the girls are symbols for waterholes and walking tracks to symbolize the many different groups of First Nations people who have passed through Dalwallinu before travelling to the coast or further inland for trade and ceremonies.
‘Mount Magnet’
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Mount Magnet is a significant regional center for Badimaya people. This small town of 450 people located 567km from Perth was established in 1878 and is the longest surviving gold mining settlement in Western Australia. The largest population of Badimaya people live in the town with language being taught at the local district school. The town has the Badimaya Land Aboriginal Corp (BLAC) who run the Wirnda Barna Art Centre that supports and represents Badimaya and Wajarri artists.
The Badimaya name for the town is Warramboo meaning “campfire camping place”.The name of Mt Magnet was devised by early explored Robert Austin who noted the extremely high iron content in the hill which affected the reading of his compass noting that Mt Magnet has a magnetic variation of zero in that magnetic north equals true north from the town site.
Local history for Badimaya people includes remembering concerts where local people would use their talents at the town hall for everyone to see. The woman depicted in this picture is from the 1960s dressed in her finest to attend local dances. The mixed media in this painting includes original items to demonstrate the sewing expertise of town women who could make something special to wear out of hardly anything.
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Mount Magnet is a significant regional center for Badimaya people. This small town of 450 people located 567km from Perth was established in 1878 and is the longest surviving gold mining settlement in Western Australia. The largest population of Badimaya people live in the town with language being taught at the local district school. The town has the Badimaya Land Aboriginal Corp (BLAC) who run the Wirnda Barna Art Centre that supports and represents Badimaya and Wajarri artists.
The Badimaya name for the town is Warramboo meaning “campfire camping place”.The name of Mt Magnet was devised by early explored Robert Austin who noted the extremely high iron content in the hill which affected the reading of his compass noting that Mt Magnet has a magnetic variation of zero in that magnetic north equals true north from the town site.
Local history for Badimaya people includes remembering concerts where local people would use their talents at the town hall for everyone to see. The woman depicted in this picture is from the 1960s dressed in her finest to attend local dances. The mixed media in this painting includes original items to demonstrate the sewing expertise of town women who could make something special to wear out of hardly anything.
‘Warida’
2023
120 x 90cm
Acrylic and mixed media on canvas
Description:
Warida or Warriedar is the Badimaya term for Wedge Tailed Eagle and is a totemic being associated with Julie’s family. It is also the name of a station that was named and purchased by Julie’s white ancestor Edward Oliver and his brothers. It is believed that Melbin (Julie’s apical ancestor) may have had a say in the naming of the site, but it is known that many eagles nest in this location. This station was purchased by the WA state government in 1995.
Today, Warriedar is a significant location within the new Badimaya National Park and reserves. As Chair of the Badimaya Bandi Barna Aboriginal Corporation, Julie’s twin sister Dr. Carol Dowling negotiated for a new joint management agreement with the WA Department of Biodiversity, Conservation and Attractions. Warriedar or Warida is one of
three ex-stations including Thundelarra station, which forms the main operation base for the new park, as well as Barnabinmah Station.
In 2020, the WA state budget handed down an allocation of $15.7m for the new joint management agreement for the new Badimaya National Park. DBCA have recruited Aboriginal rangers to work on country and based at the former Thundelarra station pastoral lease. Badimaya people have begun cultural mapping to identify and protect important sites. This partnership now means that despite Badimaya people losing Native Title in 2015, strong agreements will protect important biodiversity while maintaining cultural connection for generations of Badimaya to come.
This painting shows a young mother holding her baby daughter in the 1920s as Warida holds many birthing sites. There are stories of powerful spirits still living in the caves on this location. Many Badimaya people worked on these stations to make them profitable. There are symbols of creation serpent around this figure symbolizing the strong connection to the Beemara or rainbow serpent.
2023
120 x 90cm
Acrylic and mixed media on canvas
Description:
Warida or Warriedar is the Badimaya term for Wedge Tailed Eagle and is a totemic being associated with Julie’s family. It is also the name of a station that was named and purchased by Julie’s white ancestor Edward Oliver and his brothers. It is believed that Melbin (Julie’s apical ancestor) may have had a say in the naming of the site, but it is known that many eagles nest in this location. This station was purchased by the WA state government in 1995.
Today, Warriedar is a significant location within the new Badimaya National Park and reserves. As Chair of the Badimaya Bandi Barna Aboriginal Corporation, Julie’s twin sister Dr. Carol Dowling negotiated for a new joint management agreement with the WA Department of Biodiversity, Conservation and Attractions. Warriedar or Warida is one of
three ex-stations including Thundelarra station, which forms the main operation base for the new park, as well as Barnabinmah Station.
In 2020, the WA state budget handed down an allocation of $15.7m for the new joint management agreement for the new Badimaya National Park. DBCA have recruited Aboriginal rangers to work on country and based at the former Thundelarra station pastoral lease. Badimaya people have begun cultural mapping to identify and protect important sites. This partnership now means that despite Badimaya people losing Native Title in 2015, strong agreements will protect important biodiversity while maintaining cultural connection for generations of Badimaya to come.
This painting shows a young mother holding her baby daughter in the 1920s as Warida holds many birthing sites. There are stories of powerful spirits still living in the caves on this location. Many Badimaya people worked on these stations to make them profitable. There are symbols of creation serpent around this figure symbolizing the strong connection to the Beemara or rainbow serpent.
‘Wydgee Station’
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Wydgee Station holds significance to Julie’s family. In the mid 1890s, Julie’s white ancestor Edward Oliver and his brothers established the property having mustered sheep from Dongara on the coast. The place was invaded because of its permanent water source and rich vegetation. A house was built as the first homestead with forced labour from local Badimaya people who always gathered there for birthing sites and ceremonies. It is believed that Julie’s apical ancestor Melbin was from this place, and she gave birth to her daughter at Wydgee’s outstation New Gullewa around 1882. This daughter was Julie’s great grandmother Mary Latham (née Oliver).
Wydgee is the Badimaya word for nothing or no one. Yet this location holds birthing sites and part of a very significant creation story for Badimaya people. In the dreaming a massive red kangaroo spirit was speared here and its blood was spilled on the ground. As it travelled north it created red ochre pits and finally died at Wilgie Mia (a significant red ochre deposit site). Ochre from these pits were traded and have been found by archeologists in communities as far away as the Northern Territory.
Today, Wydgee is prized for growing large juicy oranges and apricots in the rich red soils. The original Oliver homestead ruins still stand having been made of mud from ant hill mounds by Badimaya people for the Oliver brothers who have long gone.
The painting shows a male Badimaya farm worker around 1950s when sheep were brought to Wydgee Station to be sheared and transported by truck down to Wubin and elsewhere. It was hard work for our men. The plastic coins and other items symbolize the illusion of wealth in this sacred country but what remains are the red ochre dreaming that is overlooked. The symbols used are waterholes, sacred rivers and trees for its rich soils.
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Wydgee Station holds significance to Julie’s family. In the mid 1890s, Julie’s white ancestor Edward Oliver and his brothers established the property having mustered sheep from Dongara on the coast. The place was invaded because of its permanent water source and rich vegetation. A house was built as the first homestead with forced labour from local Badimaya people who always gathered there for birthing sites and ceremonies. It is believed that Julie’s apical ancestor Melbin was from this place, and she gave birth to her daughter at Wydgee’s outstation New Gullewa around 1882. This daughter was Julie’s great grandmother Mary Latham (née Oliver).
Wydgee is the Badimaya word for nothing or no one. Yet this location holds birthing sites and part of a very significant creation story for Badimaya people. In the dreaming a massive red kangaroo spirit was speared here and its blood was spilled on the ground. As it travelled north it created red ochre pits and finally died at Wilgie Mia (a significant red ochre deposit site). Ochre from these pits were traded and have been found by archeologists in communities as far away as the Northern Territory.
Today, Wydgee is prized for growing large juicy oranges and apricots in the rich red soils. The original Oliver homestead ruins still stand having been made of mud from ant hill mounds by Badimaya people for the Oliver brothers who have long gone.
The painting shows a male Badimaya farm worker around 1950s when sheep were brought to Wydgee Station to be sheared and transported by truck down to Wubin and elsewhere. It was hard work for our men. The plastic coins and other items symbolize the illusion of wealth in this sacred country but what remains are the red ochre dreaming that is overlooked. The symbols used are waterholes, sacred rivers and trees for its rich soils.
‘New Gullewa’
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
New Gullewa hold significant status for Julie’s family as it is the birthplace of her great grandmother, Mary Latham (née Oliver) who was born at this outstation of Wydgee Station in 1882. Gullewa is believed to mean “where the wattle grows plentiful” and is still considered a good place for Badimaya people to camp with family.
In the mid 1870s, Julie’s white ancestor Edward Oliver and his brothers established the property having mustered sheep from Dongara on the coast. The place was claimed because of its permanent water source and rich vegetation. A house was built as the first homestead with assistance from local Badimaya people who always gathered there for birthing sites and ceremonies. It is believed that Julie’s apical ancestor Melbin knew this place well and many Badimaya babies were born there over many generations.
New Gullewa holds many birthing sites and is part of a very significant creation story for Badimaya people. In the dreaming a massive red kangaroo spirit was speared here and its blood was spilled on the ground. As it travelled north it created red ochre pits and finally died at Wilgie Mia (a significant red ochre deposit site). Ochre from these pits was traded and has been found by archeologists in communities as far away as the Northern Territory.
The painting shows mother and daughter in modern dress with landscapes of this sacred country in their interior landscape with plastic and glass beading. These figures are ready to go walking at the camping sites of New Gullewa with the young girl visiting with her mother. On the mother’s bag is a moonlit scene with trees and on her shirt the symbol for First Nation sovereignty symbol using a landscape with the child looking directly at the symbol for the main campsite.
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
New Gullewa hold significant status for Julie’s family as it is the birthplace of her great grandmother, Mary Latham (née Oliver) who was born at this outstation of Wydgee Station in 1882. Gullewa is believed to mean “where the wattle grows plentiful” and is still considered a good place for Badimaya people to camp with family.
In the mid 1870s, Julie’s white ancestor Edward Oliver and his brothers established the property having mustered sheep from Dongara on the coast. The place was claimed because of its permanent water source and rich vegetation. A house was built as the first homestead with assistance from local Badimaya people who always gathered there for birthing sites and ceremonies. It is believed that Julie’s apical ancestor Melbin knew this place well and many Badimaya babies were born there over many generations.
New Gullewa holds many birthing sites and is part of a very significant creation story for Badimaya people. In the dreaming a massive red kangaroo spirit was speared here and its blood was spilled on the ground. As it travelled north it created red ochre pits and finally died at Wilgie Mia (a significant red ochre deposit site). Ochre from these pits was traded and has been found by archeologists in communities as far away as the Northern Territory.
The painting shows mother and daughter in modern dress with landscapes of this sacred country in their interior landscape with plastic and glass beading. These figures are ready to go walking at the camping sites of New Gullewa with the young girl visiting with her mother. On the mother’s bag is a moonlit scene with trees and on her shirt the symbol for First Nation sovereignty symbol using a landscape with the child looking directly at the symbol for the main campsite.
‘Wubin’
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
The name of Wubin was originally a reference to Woobin Well which was a known Badimaya water source near to the town which was recorded in 1907.
Wubin town flourished in post-World War II so an all-weather road was made linking the Murchison and Pilbara regions through the Great Northern Highway making the town an economic centre where bulk grain handling occurs.
Wubin is the main town where travelers turn to head north into Badimaya country.
This painting shows a woman in work uniform working for the Wubin hotel around 1937. She is carrying bed sheets to make up the beds. A lot of Badimaya women worked for hotels in the region in the laundry and kitchens.
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
The name of Wubin was originally a reference to Woobin Well which was a known Badimaya water source near to the town which was recorded in 1907.
Wubin town flourished in post-World War II so an all-weather road was made linking the Murchison and Pilbara regions through the Great Northern Highway making the town an economic centre where bulk grain handling occurs.
Wubin is the main town where travelers turn to head north into Badimaya country.
This painting shows a woman in work uniform working for the Wubin hotel around 1937. She is carrying bed sheets to make up the beds. A lot of Badimaya women worked for hotels in the region in the laundry and kitchens.
‘Kirkalocka’
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Kirkalocka station has operated as a working station since 1903. It is the birth place and resting place of the last fluent speaker of Badimaya language, Uncle Ollie George. The last known traditional gathering of Badimaya people for ceremony was held here in the 1950s but was stopped forever due to concerns by local non-Aboriginal people for fear of violent retaliation due to oppressive policies. A Badimaya gathering has not occurred since. Kirkalocka is a name derivative of gargarlagu which is the Badimaya name for the Major Mitchell cockatoo found locally. The name is supposed to sound like the call of this cockatoo.
In 2014, the station was the location for the launch of the first edition of the Badimaya language dictionary. The station covers 76,000ha and is one of the longest family-owned pastoral stations in WA by descendants of Fred and Alfred Broad.
The painting depicts a young man in the 1940s in his best clothes. It is symbolic of the young men, such as Uncle Ollie George, who worked this property as station hands and workers. The symbols depicted include waterholes and trees. The station holds permanent water and is considered a highly significant cultural site for Badimaya people. People can stay at this station when they travel up the Great Northern Highway heading to Mt Magnet.
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Kirkalocka station has operated as a working station since 1903. It is the birth place and resting place of the last fluent speaker of Badimaya language, Uncle Ollie George. The last known traditional gathering of Badimaya people for ceremony was held here in the 1950s but was stopped forever due to concerns by local non-Aboriginal people for fear of violent retaliation due to oppressive policies. A Badimaya gathering has not occurred since. Kirkalocka is a name derivative of gargarlagu which is the Badimaya name for the Major Mitchell cockatoo found locally. The name is supposed to sound like the call of this cockatoo.
In 2014, the station was the location for the launch of the first edition of the Badimaya language dictionary. The station covers 76,000ha and is one of the longest family-owned pastoral stations in WA by descendants of Fred and Alfred Broad.
The painting depicts a young man in the 1940s in his best clothes. It is symbolic of the young men, such as Uncle Ollie George, who worked this property as station hands and workers. The symbols depicted include waterholes and trees. The station holds permanent water and is considered a highly significant cultural site for Badimaya people. People can stay at this station when they travel up the Great Northern Highway heading to Mt Magnet.
‘Yalgoo’
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Yalgoo is a town in Badimaya country with 120 people living there. Its original name meaning in Badimaya is still up for debate but the most official explanation is that it means ‘blood’ or ‘place of blood’ from the word ‘Yalguru’ but some believe it comes from the Yalguru bush which has blood red sap. Within Julie’s family, the name was explained by her late great Uncle George Latham as meaning ‘the fat found near the stomach of a goanna which resembles gold nuggets’.
Yalgoo was recorded by John Forrest in 1876 but wasn’t gazette until 1938 - by then a major gold rush had occurred. By 1895, Yalgoo was declared a separate goldfield from Kalgoorlie - the following year saw the town thriving with seven hotels serving a vast tent city. This meant that many Badimaya people were employed in the town and surrounding properties. It was also the town were many births of Badimaya people were registered even though these babies were often birthed traditionally at different locations at earlier dates. Families would travel for many miles to register their children including Julie’s own grandmother who was registered there months after she was born at Banna station on the east side of the sacred Lake Moore. She was registered at Yalgoo in September 1918, but it is believed she was born earlier in a field of everlasting flowers.
This painting shows a woman dressed in clothes from 1910s with symbols surrounding her showing gold found around the town and trees symbolizing those found at this site.
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Yalgoo is a town in Badimaya country with 120 people living there. Its original name meaning in Badimaya is still up for debate but the most official explanation is that it means ‘blood’ or ‘place of blood’ from the word ‘Yalguru’ but some believe it comes from the Yalguru bush which has blood red sap. Within Julie’s family, the name was explained by her late great Uncle George Latham as meaning ‘the fat found near the stomach of a goanna which resembles gold nuggets’.
Yalgoo was recorded by John Forrest in 1876 but wasn’t gazette until 1938 - by then a major gold rush had occurred. By 1895, Yalgoo was declared a separate goldfield from Kalgoorlie - the following year saw the town thriving with seven hotels serving a vast tent city. This meant that many Badimaya people were employed in the town and surrounding properties. It was also the town were many births of Badimaya people were registered even though these babies were often birthed traditionally at different locations at earlier dates. Families would travel for many miles to register their children including Julie’s own grandmother who was registered there months after she was born at Banna station on the east side of the sacred Lake Moore. She was registered at Yalgoo in September 1918, but it is believed she was born earlier in a field of everlasting flowers.
This painting shows a woman dressed in clothes from 1910s with symbols surrounding her showing gold found around the town and trees symbolizing those found at this site.
‘Wardagga’
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Wardagga, known as Wardagga Rock, is a sacred granite monolith on Ninghan station resting between Wubin and Paynes Find. The rock is known for both men’s initiation sites and a women’s birthing cave system both of which are gender exclusive to this very day.
Julie’s families always travel to stay at this location to visit these sacred sites as a spiritual recharge. The women’s sites are particularly powerful as they represent intricate ceremonies where hundreds of generations of babies have been born there including many members of Julie’s family. There are also many Badimaya people buried at Wardagga at the rock’s base. At the top of the hill is purely a men’s initiation site whereby climbing of the rock is considered restricted although tourists still climb to the summit to view the sunrise over Badimaya country.
Ninghan station is run as an Indigenous Protected Area (IPA) with Badimaya people running the station holding a rich biodiversity of plants, birds and reptiles. Badimaya people have worked this station since first contact with rich groves of native sandalwood protected for future generations.
Julie’s great grandmother Mary Latham (née Oliver) and her grandmother Mollie Dowling (née Latham) as a small child would travel from the town of Coorow to Ninghan station to visit family on a spring cart.
The painting shows a Badimaya warrior post-contact holding a spear. He is wearing a human hair belt and head wrap. The symbols used are human handprints to emphasis the sacredness of Wardagga to Badimaya people.
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Wardagga, known as Wardagga Rock, is a sacred granite monolith on Ninghan station resting between Wubin and Paynes Find. The rock is known for both men’s initiation sites and a women’s birthing cave system both of which are gender exclusive to this very day.
Julie’s families always travel to stay at this location to visit these sacred sites as a spiritual recharge. The women’s sites are particularly powerful as they represent intricate ceremonies where hundreds of generations of babies have been born there including many members of Julie’s family. There are also many Badimaya people buried at Wardagga at the rock’s base. At the top of the hill is purely a men’s initiation site whereby climbing of the rock is considered restricted although tourists still climb to the summit to view the sunrise over Badimaya country.
Ninghan station is run as an Indigenous Protected Area (IPA) with Badimaya people running the station holding a rich biodiversity of plants, birds and reptiles. Badimaya people have worked this station since first contact with rich groves of native sandalwood protected for future generations.
Julie’s great grandmother Mary Latham (née Oliver) and her grandmother Mollie Dowling (née Latham) as a small child would travel from the town of Coorow to Ninghan station to visit family on a spring cart.
The painting shows a Badimaya warrior post-contact holding a spear. He is wearing a human hair belt and head wrap. The symbols used are human handprints to emphasis the sacredness of Wardagga to Badimaya people.
‘Coodingnow’
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
This painting depicts a young girl representing the (wiru) spirit of Coodingnow to our people, the Badimaya people of the Central West of Western Australia. Around her are layers of spiritual connection signifying her country with symbols of waterholes, emu tracks, gatherings, stars, and river symbols. The teenage girl is wearing a straw hat and dress of the 1930s when this country was full of wildlife and people would still hold gatherings even though Badimaya people worked on this station for the white squattocracy.
Coodingnow (also known as Goodingnow) station is an extremely sacred location for Badimaya people. It was previously the site of a farm that ran sheep and horses. In earlier times, it was owned by a non-Aboriginal man named Augustus Clinch who married two Badimaya wives – Galina and Uwanda. Many descendents from the Clinch family as well as many other Badimaya families came from this place including the artist’s family.
For generations, prior to invasion, Coodingnow was used as a major gathering ground for ritual warfare, trade, marriage arrangements and sacred ceremonies associated with the Beemara (male Rainbow serpent). Badimaya people hosted Amangu from the coast, Wongi from Kalgoorlie, Noongars from the south and Western desert people would travel hundreds of kilometres to meet there.
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
This painting depicts a young girl representing the (wiru) spirit of Coodingnow to our people, the Badimaya people of the Central West of Western Australia. Around her are layers of spiritual connection signifying her country with symbols of waterholes, emu tracks, gatherings, stars, and river symbols. The teenage girl is wearing a straw hat and dress of the 1930s when this country was full of wildlife and people would still hold gatherings even though Badimaya people worked on this station for the white squattocracy.
Coodingnow (also known as Goodingnow) station is an extremely sacred location for Badimaya people. It was previously the site of a farm that ran sheep and horses. In earlier times, it was owned by a non-Aboriginal man named Augustus Clinch who married two Badimaya wives – Galina and Uwanda. Many descendents from the Clinch family as well as many other Badimaya families came from this place including the artist’s family.
For generations, prior to invasion, Coodingnow was used as a major gathering ground for ritual warfare, trade, marriage arrangements and sacred ceremonies associated with the Beemara (male Rainbow serpent). Badimaya people hosted Amangu from the coast, Wongi from Kalgoorlie, Noongars from the south and Western desert people would travel hundreds of kilometres to meet there.
‘Pinyaling Hills’
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Pinyaling hills is a beautiful range of hills found on Badimaya country that can be seen wherever you travel around. There are many significant sites linked to these hills and they are associated with good spirits.
The Pinyaling hills are located about 15 km north-east of the Warridar station homestead. The hill is considered significant for its rich deposit of jasper and opalite making the site open for the specimen trade.
This painting shows a young teenage boy in his best clothes around 1950s. Surrounding him are Crinoid ossicle fossil discs to symbolize the ancient nature of the land on the hills. There are also symbols for rivers and gatherings.
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Pinyaling hills is a beautiful range of hills found on Badimaya country that can be seen wherever you travel around. There are many significant sites linked to these hills and they are associated with good spirits.
The Pinyaling hills are located about 15 km north-east of the Warridar station homestead. The hill is considered significant for its rich deposit of jasper and opalite making the site open for the specimen trade.
This painting shows a young teenage boy in his best clothes around 1950s. Surrounding him are Crinoid ossicle fossil discs to symbolize the ancient nature of the land on the hills. There are also symbols for rivers and gatherings.
‘Waddi Forest’
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Waddi Forest is the known birthing place for Julie’s maternal great uncle George Latham. Uncle George lived his life as a horseman, prospector and Badimaya knowledge keeper. He wrote a book entitled ‘Copperwire George’ which is still prized by his extended family for its knowledge of family and Badimaya culture. Waddi or Waddy Forest is located near the town of Coorow where his mother had a small farm. Uncle George was born with the help of Badimaya midwives assisting his mother, Mary Latham (née Oliver) in 1914.
The two girls in this image set in the 1940s represent the importance of women’s sites on Badimaya country including Waddi Forest.
The painting shows images of trees, sacred rivers, and waterholes surrounding the figures in a halo containing antique buttons, crinoid fossils, plastic jewels, and semi-precious stones.
2023
120 x 90cm
Acrylic and mixed media on canvas.
Description:
Waddi Forest is the known birthing place for Julie’s maternal great uncle George Latham. Uncle George lived his life as a horseman, prospector and Badimaya knowledge keeper. He wrote a book entitled ‘Copperwire George’ which is still prized by his extended family for its knowledge of family and Badimaya culture. Waddi or Waddy Forest is located near the town of Coorow where his mother had a small farm. Uncle George was born with the help of Badimaya midwives assisting his mother, Mary Latham (née Oliver) in 1914.
The two girls in this image set in the 1940s represent the importance of women’s sites on Badimaya country including Waddi Forest.
The painting shows images of trees, sacred rivers, and waterholes surrounding the figures in a halo containing antique buttons, crinoid fossils, plastic jewels, and semi-precious stones.
‘Self Portrait with Mum’
2023
30 x 107cm
Acrylic and red ochre on canvas.
Description:
On 4th August 2022, Julie’s mother passed away at home surrounded by her family. Her mum raised Julie and her twin sister as a single mother on welfare. At the time of her passing, both her daughters held doctoral degrees and had successful careers. Both daughters accredit this to their mother’s support and encouragement throughout their lives.
Julie’s mother was cared for by Julie’s twin sister Carol and Aunty Elizabeth Dowling as she fought the worst disease – Motor Neuron Disease. This painting shows Julie sitting with her mother on Badimaya country where her spirit has returned. Everlasting flowers are depicted along with trees shadowed by sacred hills. Both Carol and Julie believe that their mother is still guiding them with the ancestors.
2023
30 x 107cm
Acrylic and red ochre on canvas.
Description:
On 4th August 2022, Julie’s mother passed away at home surrounded by her family. Her mum raised Julie and her twin sister as a single mother on welfare. At the time of her passing, both her daughters held doctoral degrees and had successful careers. Both daughters accredit this to their mother’s support and encouragement throughout their lives.
Julie’s mother was cared for by Julie’s twin sister Carol and Aunty Elizabeth Dowling as she fought the worst disease – Motor Neuron Disease. This painting shows Julie sitting with her mother on Badimaya country where her spirit has returned. Everlasting flowers are depicted along with trees shadowed by sacred hills. Both Carol and Julie believe that their mother is still guiding them with the ancestors.