Created by world renowned photographer Russell James, NOMAD TWO WORLDS began as a collaborative art project with Indigenous artists. In the last decade it has evolved from James' individual attempt to understand the clash of ancient and modern cultures he witnessed growing up in Australia to what it is today - a powerful expression of partnership, reconciliation, and economic opportunity in action through art, music and film that has become a global example of true collaboration across deep cultural divides.

Photograph by Russell James. Collaborative art by Lance Chadd (AUS).

40” x 60” archival pigment ink printed on rag cotton with acrylic and ochre applications.

Photograph by Russell James. Collaborative art by Lance Chadd (AUS).

40” x 60” archival pigment ink printed on rag cotton with acrylic and ochre applications.

Coolbardi ( Magpie ) who sings for separated lovers who share one moon as a bridge, joining one heart to
another. The male Coolbardi in her hand and in the moon, is the one she loves and longs for. Our old people
are around the fire, where stories are told. For the fire is the story and the smoke is the telling of it.

Photograph by Russell James. Collaborative art by Lance Chadd (AUS).

40” x 60” archival pigment ink printed on rag cotton with acrylic and ochre applications.

‘Kuldjuk Boorangur’ is the great Black Swan Totem ( Spiritual Elder Brother ) of the ‘Bibbulman’ people. ( Aboriginals of the South Western Australia.) He came into being during the ‘Ngyddiny – Koorah Koorah’ (cold times of long ago.) As the swans were changed into Nyoongar (men ), the Spirit Kuldjuk told them that the swan was to be their ‘Boorangur’ (elder brother ) Special ceremonies would be performed at ‘Winaatj’ ( a sacred place), were they would decorate their bodies with down from their ‘elder brother’, and sing swan songs and dance the motions of the swan gathering their nest materials. This ceremony ensured great flocks of swans and plenty of food for the great gathering of their ‘Moorurtung’ and ‘Weea- binuk’, (blood relations and relations-in-law) , for the egg feast and the many ‘Ke-ning’ (corroborees ) given by the visitors. The ‘Kangaroo men’ from the North-East, the ‘Possum men’ from the East and the ‘Gum and Honey and Root men’ from the South.

Translation: Now knowing.

Photograph by Russell James. Collaborative art by Lance Chadd (AUS).

4’11” x 6’4” archival pigment ink printed on rag cotton with acrylic and ochre applications.

‘Today we were looking at those Kangaroos, about 20 or more hopping that way and there’s that one big fella leading them and he’s on the other side of the paddock. They all come as far as the fence and they stopped. He stopped because they weren’t following him and looked back, but it was because of the fence that they were restricted. They couldn’t go anywhere. That big Boomer ( Old male Kangaroo ) standing there looking back at them. Waiting’. I think there were probably a lot of people, back earlier,that were interested in Aboriginal culture but were inhibited or restricted a lot by their piers attitudes. Their families or friends may not have approved. Our culture has become more appreciated in recent times, particularly through tourism, International interest and the arts. It’s all right now for people to be interested, it’s more widely accepted. Our people should be valued, more because of who they are and their history of this place and when people learn the culture through experience and sharing, they will develop more appreciation for ‘life’. Things are changing. ‘Moolap’ is about someone who has had an awareness of culture, something’s taking time to understand ( light areas varying in brightness ) Some things are taken to heart ( hand gesture ). Through cultural knowledge, people start to appreciate land, animals etc. The more they learn about culture and Aboriginal spirituality in relation to land and totemic beings and how they are related to land and place and environment. The more they will appreciate it, respect it and care for it.

Translation: Inside

Photograph by Russell James. Collaborative art by Lance Chadd (AUS).

4’11” x 6’4” archival pigment ink printed on rag cotton with acrylic and ochre applications.

In this painting, she’s entangled which is a form of inhibition, and reaching for something deeper. Trying to break out of her restrictions. This larger form here ( stone shape) is something forming in the woman , something growing that she is a part of . She is searching and reaching into the depths of herself, as far as she can go. She is still feeling it out , she’s not sure for what. The upper and lower half circles represent the balance in life that she is trying to achieve. There is also a self embracing and supportive structure formed within herself during this process, that allows more flexibility in her life.

Translation: Heart

Photograph by Russell James. Collaborative art by Lance Chadd (AUS).

4’11” x 6’4” archival pigment ink printed on rag cotton with acrylic and ochre applications.

‘Koort’ , has an innocent face, its good and its kind and I think that people like that, who do eventually experience some Aboriginal culture and talk to Aboriginal people will find that they have a lot of intelligent wisdom and good humor that they don’t mind sharing. These people will learn to appreciate that the first Australians back then, were intelligent people with a culture and spirituality rich in respect for land and environment. Knowledge and wisdom we could all learn from today. This color and circles here, represent the culture or elements of a persons life. Or times of a persons life. Or three individual people, like Daughter, Mother and Grandmother. Or ones life at different stages. Like, when they are a girl, then when they are a woman and then when they are an elder. When people share cultures, you get a merging like we have today. We have merged here with white people photos and white peoples paints and that, but using that to represent culture, and small things like this here (smaller shapes) represent connections as well, between cultures and sharing’s. I turned this image around and I saw her looking at it’. (Aboriginal culture).

Translation: Stop, look & listen.

Photograph by Russell James. Collaborative art by Lance Chadd (AUS).

4’11” x 6’4” archival pigment ink printed on rag cotton with acrylic and ochre applications.

If we say we’ve ‘discovered’ something then we take the credit for it, we name it after ourself, we claim it, but if we have the attitude that whatever we come across has been ‘revealed’ to us, it was there all the time, then we don’t take the credit. We are grateful, thankful and give appreciation to whoever put these things in place. ( the creator, spirit or god ) I believe we have a need to be grateful, somewhere in our soul which asks the question, to who? I find things are ‘revealed’ to me when I’m looking or searching. I’m in that humility, in that learning mode and so then ‘more’ truths are revealed, because of that humility. The ‘I’ in the claim of discovery, the pride, is the opposite to humility. ‘Even our old people – I remember hearing my Dad and them saying, old ‘Marbarn’ men or doctor in our culture. He heals people spiritually. If they misuse that gift that they got, then that would be taken away from them. If they get proud or arrogant, it’ll leave them like their shadow and walk away from them, dad used to say.’

These circles in this painting represent the three stages of her life again. It starts with the young girl, then woman, then elder or grandmother. It’s herself, her life, her heart, her soul, her spirit. The light’s, are the truths revealed to her. Its not just something in her head, it will go to her heart and truth is food for the soul. It’s what nurtures it, what edifies it.

Translation: Woman

Photograph by Russell James. Collaborative art by Lance Chadd (AUS).

4’11” x 6’4” archival pigment ink printed on rag cotton with acrylic and ochre applications.

‘I’ve added little to this image. I like the shapes and curves of the female form and so I have tried to maintain that by following the lines and enhancing what is already there. So it is sensual. She is a beautiful woman and has a beautiful body. The innocence in this image is the model herself. She is innocent to how some may perceive her body.

This painting will make people look at the beauty of female form and I don’t know where from there’.

Translation: No shame.

Photograph by Russell James. Collaborative art by Lance Chadd (AUS).

4’11” x 6’4” archival pigment ink printed on rag cotton with acrylic and ochre applications.

This painting is where I met my own inhibitions. I felt restrained, blocked suppressed in trying to fit my own expression of inhibition with an image that is conceptually foreign to my understanding of that word. The dictionary definition of Inhibition states: ‘The weakening of a learned response usually as a result of extinction or because of the presence of a distraction stimulus.’ This reminds me of our culture and its near extinction. The distraction of Whadjella stimulus, Whadjella systems and ways. Monetary values devoid of land based spirituality. Destructive of our Mother (land), foreign and destructive to my people. It reminds me of Aboriginal people trying to fit into mainstream. Into a Whadjella world. We try and fit in terms of acceptance and equality and having the same kind of rights as everybody else. Access and respect as everybody else. In our history, people like the famous Aboriginal artist ‘Albert Nammatjirra’ was restricted from buying land or buying a house or travelling to his own exhibition , and so restrictions are major ‘conditioned’ inhibitions for Aboriginal people in that sense. Things are changing. Art as an uncensored medium, is freedom and a powerful expression, with potential that can change things for the better in all kinds of areas and then it’s a great thing! It’s a different voice and smart Psychology, a way of getting things across without building walls straight away, in fact breaking down those barriers.

The minimal amount I have painted on this image, of ‘Wirin’ ( spirit figure ) and the land, representing culture, clearly expresses my own inhibitions and restrictions.

Translation: Exchange

Photograph by Russell James. Collaborative art by Lance Chadd (AUS).

4’11” x 6’4” archival pigment ink printed on rag cotton with acrylic and ochre applications.

Here I’ve got the brown eye on one side representing the brown or black people, and blue eye on the other side, representing white people or Whadjella’s. I’ve placed the other shoulder in here to balance it up with the original, so that we have an equality. I’ve also lightened one side to represent the white person and darkened the other to represent the black person. So I have the Whadjella eye looking from a black persons perspective and a black person looking from the Whadjella’s perspective.

There is a sharing and understanding of some sort. A merging and collaboration. It also suggests that it’s not just black and white! You need to start to see from the other cultures point of view in order to understand. If they’re looking, this one into that culture and this one into that culture and they’re sharing, so there develops an equality and a mutual respect. Which can only come from what is revealed in that relationship. We all have red blood! The more one looks, shares and understands of another culture the more they discover or have revealed about themselves.

Translation: Looking

Photograph by Russell James. Collaborative art by Lance Chadd (AUS).

4’11” x 6’4” archival pigment ink printed on rag cotton with acrylic and ochre applications.

‘This painting reminds me of teaching my Aboriginal and Whadjella (white) students the gouache (Carrolup style painting). Sometimes, while teaching, I talk about our stories of how the Balga trees (grass trees) are our fire trees. So here I’ve got the fire coming off the stem. Sometimes that stem is called ‘Murliny’, sometimes its called ‘Karriduk’ . When its ‘Karriduk’ its in association with how fire came to the Nyoongar people of the South West. A lot of the times they (students) would come to me afterwards and say ‘After doing that gouache, I’ve been seeing that country, these paintings, everywhere I go’. So they have this new awareness. Looking at country and recognizing things from what I have taught them in the painting workshops.

These earthy colored waving lines here, represent the rhythm in the land, the vibrations in the land and the different moods in the land. When you look at those eyes here, you think to yourself, well, we are never alone, and in our culture, as far as your totemic spirit, your ‘Boorungar’, your spiritual guardian, he’s with you all the time. The world may think of Jesus or God or Creator as the wholly spirit with you all the time. Ours is a land-based spirituality, its here in the birds and animals and plants and fish, all things related to true totemic spirituality. There’s a feeling of never being alone. These lines in the painting also represent the great snake and how he move’s. The ‘Wargyl’, the Rainbow serpent. He’s the creator of our rivers and waterways. He’s in the wind and in the flowing of water. He can be wherever’.

Photograph by Russell James. Collaborative art by Nathan Mundraby (AUS).

The hungry Goanna camouflages itself, hiding from local hunters and waiting patiently for unsuspecting prey to wander close.

Photograph by Russell James. Collaborative art by Nathan Mundraby (AUS).

4’10” x 7’ archival inkjet on canvas with acrylic and ochre applications.

A storm is gathering on the horizon, the chameleon races for shelter. Confused by the thunder it fails to camouflage itself as it moves to new surroundings. It is vulnerable and without shelter.

Photograph by Russell James. Collaborative art by Nathan Mundraby (AUS).

4’10” x 6’4” archival inkjet on canvas with acrylic and ochre applications.

The male Brolga performs in unison with his female. They flow as one and shall remain partners for as long as she retains a feather from his wing and cradles his head gently in her loving palm.

Photograph by Russell James. Collaborative art by Nathan Mundraby (AUS).

4’10” x 6’4” archival inkjet on canvas with acrylic and ochre applications.

Lured by the song of the serpent, the beautiful woman feasted on the magical flowers and found herself a queen.
Now she waits to meet her king for the first time.

Photograph by Russell James. Collaborative art by Nathan Mundraby (AUS).

This purple flower was used for many ailments including fever, open wounds and stings. Ground to a paste it can be consumed or spread onto the wound.

Photograph by Russell James. Collaborative art by Nathan Mundraby (AUS).

4’10” x 6’4” archival inkjet on canvas with acrylic and ochre applications.

The harsh Australian landscape was occupied by Indigenous peoples for thousands of years before new people came and changed the way we lived. The new people had different ways which evolved rapidly into the modern world of today. The landscape was changed forever and adjusting to this world has not been easy. Some of the modern landscape is more helpful, more positive, to Indigenous culture than other parts. Hugh has shown through his inclusion of Indigenous story and song in his theatre productions and his continued support of positive projects such as Nomad Two Worlds that he can see which part of the landscape he wishes to inhabit, and as such the goanna is very careful not to cover his eyes so he can always see the right path. With a resting tail and one claw still firmly attached to the land of which we are one, the goanna and all his people continue to climb forward over a landscape of reconciliation and understanding. The goanna is grateful to those that understand that this landscape can still be very harsh and have assisted him on his way.

Photograph by Russell James. Collaborative art by Nathan Mundraby (AUS).

4’10” x 7’ archival inkjet on canvas with acrylic and ochre applications.

As a young child growing up in Yarrabah North Queensland we climbed trees picking the nuts making whistles out of them, calling out to each other like birds.

Photograph by Russell James. Collaborative art by Nathan Mundraby (AUS).

4’10” x 6’4” archival inkjet on canvas with acrylic and ochre applications.

The rainforest moves continuously, never ceasing, growing. Stop too long and the leaves will approach from above, the vines will climb from the ground and the flowers will grow in your hair blending you into its environment.

Translation: Eyes of the Soul

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

The symbols in the art represent the pirlirr or soul at its purest without human affliction. My tribe defines their sense of self and worth by the depth of understanding and respect for culture and lore. This knowledge is carried in the pirlirr.

Translation: Earth's Spirit

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

This painting represents the birth of a human soul (pirlirr). The markings surrounding the pirlirr symbol are the spirits of the earth gathering for rebirth to the human soul.

Translation: Wise Power

5’ x 6.25’ archival pigment ink printed on rag cotton with acrylic and ochre applications.

James’ photograph represents the tracks of the eternal rise and fall of the tide: perpetually in motion and fleeting in its form, but permanent in its rhythm and continuous since the beginning of time.

Bieundurry’s collaborative art represents the birth of the human soul or pirlirr, and spiritual guidance. The smaller impressions represent the human soul left to its own fate to find its human shell. The larger markers represent the guardians of the human soul that guard and shepherd others. Bieundurry was inspired by the daily tidal finding of the path by the water, like the pirlirr must find their way.

The art piece represents an overall image of rhythmic perfection and the continuity of life.

Translation: Spirit Search

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

James' photograph represents a character he imagined called 'Discovery', a powerful new being who emerges from the conflicted time of 'Inhibition'.

The spiral represents the journey of the pirlirr. The pirlirr often wander the earth searching for a chosen human with whom it becomes compatible. During the journey pirlirr may take the temporary form of an animal before it enters the human it bonds with. The animals that precede the human entity become the totem or jarriny (animal brother or sister of the human) and holds significance in the way the human interacts with that animal in the natural environment.

The art piece represents the desire for self-realization and of how identity is a complex and fluid idea, but also that this is linked to group identity in the unification of different people across cultures.

Translation: Rise Up / Grow

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

4’5” x 6’4” Archival inkjet on canvas with acrylic and ochre applications.

This painting symbolizes the spiritual journey of a being as it transforms itself from soul to human form. The journey is physical as the human grows and changes with the passing of time, as well as spiritual as the experiences and cultural stories shape the personal and community journey.

Translation: Water Grass

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

4’5” x 6’4” Archival inkjet on canvas with acrylic and ochre applications.

The painting depicts the water grass that grows in natural lakes of the Great Sandy Desert. This grass would be used by Walmajarri men to catch water birds by placing the grass on their head then slowly the hunter would approach the water bird and catch them. The grass, when gathered in abundance, would make a good raft or floating device when crossing deep creeks. It is also known as the beard of the great spiritual serpent that created the Earth and who now resides in sacred waterholes. Traditionally, the Walmajarri people announce their presence to the Water Spirit by throwing pebbles into the water and stating aloud their kin group and tribe before drinking or entering the water.

Translation: Hand

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

4’5” x 6’4” Archival inkjet on canvas with acrylic and ochre applications.

Walmajarri people believe that our human incarnation retains a deep and spiritual connection to the earth, because it was from the earth that our soul emerged. Human handprints are unique and have been recorded in Aboriginal rock art and designs for thousands of years. It is important to retain our connection to the earth and to feel its spirit to allow it to guide us on our human journey.

Translation: A fine, mineral rich red earth found in the Kimberly Region of Australia.

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

5’ x 7’ archival pigment ink printed on rag cotton with acrylic and ochre applications.

James’ photograph was taken while accompanying Bieundurry to his ‘country’ by Lake Gregory in North Western Australia. The orange (pindan) is ever hot and shifting and forms a vast part of the land as a whole, while it plays a large role in Bieundurry’s family story.

In Aboriginal lore pindan represents the journey the indigenous soul or pirlirr takes in finding its homeland, carrying with it a hair belt which shows artefacts that identify it. The hair belt Bieundurry has painted indicates to other spirits (pirlirri) its origins and what lore it follows.

The art piece represents the conflicted values of a similar landscape and the soulful journey that is taking place.

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

4’10” x 6’4” archival inkjet on canvas with acrylic and ochre applications.

There was once a great spirit that rested in the oceans, rivers and lakes. It flowed with the tides and currents of the earth’s water and showed its powers of creation and destruction.

The water spirit was balanced by its twin spirit in the Earth. Together they form the essence of the path which we can follow on a journey towards becoming greater than what we are.

This painting represents one such journey of a human who has accepted the challenge of discovering his own spirit. He has allowed himself to be guided by the spirits of our elders; surrendering himself to the cultural experiences and ancient wisdom of Indigenous people who have passed on knowledge of balance and respect for earth and water’s gifts.

This self-discovery has opened the man’s spirit to becoming Jangala.

Translation: Spirit of a woman.

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

4’10” x 7’ archival inkjet on canvas with acrylic and ochre applications.

Pirlirr is an expression of spirit that comes from land, culture and family. The connection of Aboriginal people to ‘country’ is integral to the continuity of cultural beliefs and practices. Pirlirr underpins the importance of family in how the spirit of Aboriginal culture is maintained and how the spirit of an individual is shaped.

In my traditional lands every living and nonliving thing has a spirit (in the painting these are represented by the outer tips of the large design) , when elements of all these spirits come together they form a pirlirr (human soul) (the central point of each ‘star’).

This pirlirr will roam the land, sometimes for years or even decades, in search of the parents of an unborn child who will carry this pirlirr. When the pirlirr finds the right parents it transfers itself into a totem (jarriny), which comes in the form of an animal and while in the totem it will guide this animal into path of the parent/s.

For traditional people with whom the totem makes contact, the animal is hunted and eaten for food; but for non- Indigenous people the pirlirr will guide the jarriny in the path of the parents and makes itself known that it has found the Mother/Father of carrier of this pirlirr. The totem is transferred into the spirit of the unborn child. After the carrier human has passed on the spirit disperses back into the earth from where it came, and the process begins all over again.

Translation: Water Edge/River Bank

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

James' photograph of his imagined character 'Innocence' represents the near death of the planet's oldest surviving culture, collectively known as Australian Indigenous culture. The impact of modern civilization in the near extinction of this culture is now part of the Australian collective conscience and the motivation for reconciliation.

Bieundurry's collaborative art represent the spirit/soul or pirlirr, the introduction to the human shell in which it has chosen to dwell and ready for the conflicts it is to face from the choice. Pirlirr travel the earth in search of an appropriate form, human and non-human.

The combined art piece represents the end of innocence and the willingness of the indigenous culture to accept the new world in its stride.

Translation: The people of a specific area in The Kimberly Region.

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

James' photograph represents 'Discovery', a character that he imagined to represent the new powerful entity we could become by combining the best of both cultures signifying the end of the time of conflict and the birth of a new unified time in our future.

The collaborative art represents the central fireplaces used as meeting areas for members of the Walmajarri tribe. Tribes gather around the fire to share food, tell stories and share traditions with the younger family members and to learn about the land. The energy of the fire gives strength and purpose to culture. Fire also represents the new growth the land has after it has been burned, bringing a time of renewal.

The combined image represents what may emerge from mutual respect and renewal of tradition.

Translation: Tracking of the journey.

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

James' photograph of the feet represents the journey taken by modern civilization as it trampled the country that was so significant to the indigenous culture.

The collaborative art by Bieundurry represents the path indigenous people have taken through gathering information and gaining knowledge over time. The intersections represent significant decisions in the cultural past that have influenced cultural knowledge and identity. For Walmajarri people, there have been important decisions made at various times in their very long history, in this way strengthening and maintaining culture.

The combined art piece represents the journey of both cultures that have lead us to where we are today.

Translation: The Soul

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

James' photograph represents his vision of 'Innocence', a perfect time in indigenous culture without external influence. However, 'Innocence' can be seen closer to the surface and unbeknownst to her, change was imminent.

Bieundurry's collaborative art represents the birth of a spirit at its purest. This spirit exists in culture and the lore of all the land and waters and its creatures. This particular incarnation of pirlirr inhabits 'Innocence'.

The art piece represents a perfect moment in ancient history that prevailed for tens of thousands of years, naive to any signs of approaching change.

Translation: Creation Serpent

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

The serpent is symbolic as it is the great being who created the Earth during the Dreaming (creation). It was an immense creature who traveled the land forming hills, lakes, creeks, mountains, gorges and desert springs. This serpent rests in the earth, and must be respected and acknowledged by each generation. Just as the creative and spiritual mind of physical beings must be respected, nourished and acknowledged.

Translation: Essence of self, the DNA of the soul.

Photograph by Russell James. Collaborative art by Clifton Bieundurry (AUS).

James' photograph of Bieundurry's face painted in traditional ochre represents James' desire to understand the ancient culture of Indigenous Australians.

Bieundurry's collaborative art represents the essence of Walmajarri people and their bloodlines and beliefs - physically and spiritually - ingrained in their art and ways of being, and passed down to generations as artistic expression. Bieundurry learned from his father, uncles and brothers and pledges to continue by passing this cultural knowledge to his own son.

Ngajimana minyarti nguwajanka. Minyarti nguwapa ngaji. Pirlajartipa ngaji. Ngajipaju pirlirr manyanjadu minyarti nguwanga. (Translation: I am of this earth. The earth is of me. My flesh will perish. But in the earth my soul will rest.)

The combined art piece represents the transference of cultural knowledge.

Photograph by Russell James. Collaborative art by Clifton Biendurry (AU).

4'6" x 7' archival inkjet on canvas with acrylic applications.

This painting is called "Australian Roots" because it is a reminder of what connects us to our home, that the Earth will draw us back and guide us. There are symbols within this painting that represent family and their roles within the family including nurturer, provider and protector.

Translation: Innocence Water Spirit

This piece is a reproduced as an N2W only. The work is based on the original work titled Innocence Triptych which contained 3 individual panels each 5’ x 12’ archival pigment ink printed on rag cotton with acrylic and ochre applications. The N2W, Innocence Ngapa Pirlirr, measures 48”x60”.

James’ photograph represents the period of Innocence, when indigenous culture was at the height of its peaceful reign.

Bieundurry’s collaborative art is inspired by pirlirr, an expression of spirit that comes from land, culture and family. The connection of Aboriginal people to ‘country’ is integral to the continuity of cultural beliefs and practices. In his traditional country every living and non-living thing has a spirit and when several spirits join they can form a pirlirr (soul). Pirlirr roam the country for decades in search of the parents of an unborn child who will carry it. Upon finding the right parents it transfers itself into a totem (jarriny), which comes in the form of an animal. While in the totem it will guide this animal into the path of the parents.

The animal is hunted and eaten for food by the people its related to and the pirlirr is guided into the path of the parent. After the pirlirr has passed on the spirit disperses back into the earth from where it came.

The collaborative art piece represents the birth of a spirit/soul or pirlirr.

Photograph by Russell James. Collaborative art by Edwin Lee Mulligan (AUS).

"This is a dream I had...Flying through the clear blue sky, feeling free as a bird could ever be, I was overwhelmed with relaxation over a familiar dotted landscape that was before me, spotted with splendid colors it was so rich and breathtaking I didn't realize that it was a large bird until looking over my shoulders I had dark brown feathers. I called out to the silent air and as I gazed into the distance noticing the whole scenery that was somehow previously painted by myself, it was beautiful only a place, suddenly the painting sprung into life, tree, grass sand rock, the mighty river hills and dominated mountains in the background, those mountains themselves became like human figures, moving side to side like walking talking singing dancing among themselves, they were all grouped together as a large extended family group a long line of them that stretched for kilometers, from the place which I was closest to, a place called Djugerari, Yakanarra the place where I grew up most of my childhood."

Photograph by Russell James. Collaborative art by Edwin Lee Mulligan.

4’10” x 7’ archival pigment ink printed on rag cotton with acrylic and ochre applications.

“This is a dream I had…Flying through the clear blue sky, feeling free as a bird could ever be, I was overwhelmed with relaxation over a familiar dotted landscape that was before me, spotted with splendid colours it was so rich and breathtaking I didn’t realize that it was a large bird until looking over my shoulders I had dark brown feathers. I called out to the silent air and as I gazed into the distance noticing the whole scenery that was somehow previously painted by myself, it was beautiful only a place, suddenly the painting sprung into life, tree, grass sand rock, the mighty river hills and dominated mountains in the background, those mountains themselves became like human figures, moving side to side like walking talking singing dancing among themselves, they were all grouped together as a large extended family group a long line of them that stretched for kilometers, from the place which I was closest to, a place called Djugerari, Yakanarra the place where I grew up most of my childhood”

Photograph by Russell James. Collaborative art by Rebecca Morgan (AU).

4'6" x 7' archival inkjet on canvas with acrylic applications.

Mother Earth - "The land does not belong to us, we belong to the land." This is our belief; a saying we grow up with.

Photograph by Russell James. Collaborative art by Rebecca Morgan (AU).

4’6” x 7’ archival inkjet on canvas with acrylic applications.

“I come from freshwater and saltwater country. Most of my life I thought I was only a freshwater person until I acknowledged my connection to the saltwater. My inner spirit urges me to be near the ocean where my inspiration comes from.”