'Bush Medicine Dreaming' or 'Leaves' Is the story of this painting. It is one of the most popular and most frequently painted images in the history of Australian Aboriginal Art. Those paintings depict a rhythmic image of bush medicine leaves that have fallen to the ground in season and formed swirling patterns. The leaf is from a desert Fushia that grew in Gloria's country and for many generations her clan has relied on this shrub to form the basis of a bush medicine that is effective for medical problems.

Gloria Petyarre: Life, Art and Legacy

Early Life and Artistic Beginnings

Gloria Petyarre, also known as Gloria Pitjara, was born in 1942 in Utopia, Northern Territory, Australia, and passed away in 2021. She was an Aboriginal Australian artist from the Anmatyerre community, located just north of Alice Springs. Among her most renowned works is "Bush Medicine". Gloria's artistic journey began in 1977 as part of the Women's Batik Group, initiated by the Central Australian Aboriginal Media Association (CAAMA). She continued developing her craft through painting, often collaborating with one of her six sisters, Kathleen Petyarre.

Formation of the Utopia Women’s Batik Group

During the late 1970s, Gloria became a founding member of the Utopia Women’s Batik Group. Her aunt, Emily Kame Kngwarreye, a celebrated figure in Aboriginal art, was present from the group's inception, and together, niece and aunt played significant roles in shaping the early art movement in Utopia.

Transition to Painting and International Representation

Gloria painted her first canvas for CAAMA’s “Summer Project” exhibition in 1988-89, making her one of the earliest artists in the 'new way' of painting at Utopia. In 1990, she travelled to Ireland, London, and India as a representative of the Utopia women for the “Utopia: A Picture Story” exhibition. Her first solo show took place in 1991 at ‘Utopia Arts’, Sydney, under the guidance of Christopher Hodges.

Influences and Artistic Practice

Gloria drew considerable inspiration from her close relationship with Emily Kame and other Aboriginal painters as they emerged as a collective in Utopia. Her art was deeply rooted in her experiences living in her country, reflecting rituals and ceremonies integral to her culture. Gloria’s subjects were intimately connected to her life, and she was recognised as a natural painter with a confident technique. Observing her at work, it was clear she was highly accomplished; she would sometimes sing gently while painting, performing verses from the ‘Medicine Leaf’ song. This singing, composed of short rhythmic verses, often led her into a trance-like state, traditionally a precursor to ceremonial dance and body painting.

Dreamings and Ceremonial Art

Gloria described each of her ‘dreamings’ as carrying a traditional, ancient song. Her painting process, paired with singing, was seen as a performance that substituted for ancient ceremonies, with the finished artwork being secondary to the act itself.

The Leaves Series and Cultural Significance

Gloria Petyarre is renowned for the "Leaves" series, one of the most popular and frequently painted images in Australian art. These paintings depict bush medicine leaves from the Eremophila Dalyana shrub (Desert Fuschia), which her clan has used for generations to treat kidney problems. Gloria first painted this subject in April 1994 at Mosquito Bore, Utopia.

Recurring Subjects

Throughout her career, Gloria explored several recurring themes, including Awelye and Arnkerrthe (Mountain Devil Lizard, Moloch horridus). These motifs represent her traditional ties to country and the mythology of her people, often taking the form of women's body paint designs for ceremonies, reduced to minimal patterns. Her early work focused on body designs, with her unique system of marks delivering powerful messages that resonated within her society.

Innovation and Experimentation

Gloria was frequently described as an innovative and dynamic artist, always willing to experiment. As the niece of Emily Kngwarreye, she shared the prolific subject of ‘Awelye’, encompassing both specific and general meanings, or as Emily summed up, ‘the whole lot, everything’. Ceremonies celebrated ancient knowledge, brought into the present through singing, dancing, and body painting.

Arnkerrthe (Mountain Devil Lizard) Dreaming

The Arnkerrthe Dreaming, unique to the Utopia area, was a special subject for Gloria and her siblings. They were custodians of this lizard’s story, passing down oral history, body paint designs, and mythology through generations. The stories describe the lizard’s travels across the country, creating ‘dreaming trails’ or ‘songlines’. Survival and sharing were central to the clan’s daily life, and oral tradition replaced written literature, with singing, dancing, chanting, and body painting preserving history and navigation schemes.

Thorny Mountain Devil Lizard: Natural Connections

The Thorny Mountain Devil Lizard (Moloch horridus) is the only species in its genus, growing up to 20 cms long and camouflaged in desert colours. Its body structure and spiny “false-head” help it survive in harsh conditions, and it can collect water through its ridged body. Both Gloria and Kathleen Petyarre believed the lizard carried their dreamings on its back, deeply associating it with bush medicines, grasses, plants, and foods in Anungura. The lizard’s resilience was highly valued and revered by desert people for its ability to withstand drought and extreme conditions.

Personal Memories and Collaborations

Personal recollections highlight Gloria’s professionalism and warmth. Encounters in galleries in Australia and Europe revealed her presence alongside her sister, Kathleen. The first meeting with Gloria was at a traditional dance performance at Tantanya, the Aboriginal Art Centre in Adelaide. By the late 1990s, a close working relationship developed with Gloria and Kathleen, evolving from friendly business dealings to personal friendship over the years.

Anecdotes and Shared Experiences

Gloria became a regular visitor, preferring a quiet environment with only one artist present. On one occasion, she arrived with a severe cold, prompting a sharing of childhood remedies. Enjoying a special soup, Gloria rested and later began to paint and sing, sharing stories about her grandmother. Her affection for the soup even led her to pay AUD50 for a taxi just to return for more.

During later years, Gloria stayed fortnightly at the studio, enjoying Elena’s cooking. On her last visit, mobility issues required assistance, and an incident with a painting was deftly resolved by Gloria’s skilled touch. Their final workshop together was marked by Gloria’s heartfelt farewell, “I miss you”, a memorable reward.

On another occasion, a chance encounter with a passer-by led to a news segment featuring Gloria and a small painting gifted in gratitude. Observing Gloria paint revealed her quiet dignity and accomplished technique. Her singing during painting sessions, especially of the Medicine Leaf song, reflected her connection to ceremonial traditions.

Recognition and Achievements

Despite limited media attention, Gloria won Australia’s longest running art prize, The Wynne Prize, in 1999, becoming the first Indigenous painter to receive this prestigious award.

Exhibitions, Collections, and Awards

Gloria Petyarre’s work has been featured in numerous exhibitions across Australia and internationally. Her art is held in major collections, including the Art Gallery of New South Wales, Art Gallery of Western Australia, National Gallery of Australia, National Gallery of Victoria, and international institutions such as the British Museum and Singapore Art Museum.

Her accolades include being a finalist and winner of the Wynne Prize on multiple occasions, the Kings School Art Prize, and recognition as a top collectable artist in Australian Art Collector Magazine. Gloria’s contributions to art and culture are evident in her extensive exhibition history and the enduring presence of her work in public and private collections.