Very often, the Aboriginal Artists' personality is reflected in their painting – much is written about technique, style according to country – and these are important topics.

However, the late Jack Britten (dcsd. July 2002) was a bold, strong painter – his works only slightly "toned down" in the last year of his life – in direct contrast to his "mate" of fifty odd years, Henry Wambini, who passed away February 2003. These men worked together, lived together, knew the same country. Both ochre painters – with entirely different styles. They could paint the same theme, same title – totally different paintings.

Jack was outgoing, a great "joker", always anxious to talk, tell stories, teach the young artists when asked, not afraid to speak his mind. He was "street wise", knew the "art game" and all the pitfalls. He was generous as is inherent in his culture, a prolific artist who devoted his life after retiring in early 1980’s to his art, and painted until the end. Henry was a much "quieter" man, gentle in nature, loved to paint but without the passion of Jack. Therefore Henry’s paintings in the main were peaceful, easy on the eye, relaxing – as reflected in the man.

JACK’S VISION:
THE ONLY WAY OUR CULTURE WILL SURVIVE IS THROUGH OUR DANCING, OUR STORIES AND OUR PAINTING.

HENRY’S VISION:
HE NEVER TOLD US - BUT WE ASSUME IT MAY HAVE BEEN "PEACE FOR ALL".

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CHURCHILL CANN paints Texas Downs – to Yoonany, his stockwork was his life and when he retired, began to paint with Jack, Hector Jandany (who raised him), Rover Thomas (his fishing and hunting partner), but soon developed his own style. It is distinctive – his "swirls" reflect the grasslands of his beloved Texas, the stories he tells of the country (it seems he knows every blade of grass on Texas Downs), the musters, the camaraderie with Patrick Mung and Dougie McCale and others, the riding accidents, the hilarious situations that led to the naming of a particular part of that country – "Lolly Spring" when the stock camp had no sugar - are endless and fascinating.

Churchill does not paint for recognition, fame nor fortune – his works are prized world-wide, but the man is modest (though always pleased when we tell him how much a purchaser liked a particular painting) – he is fiercely traditional, looks after his elders and is always there for his children, and as Tommy Carroll told us – his grandchildren follow him around like puppy dogs.

CHURCHILL’S VISION:
TO HAVE OUR YOUNG ONES CARRY ON OUR CULTURE AND THE LOVE OF OUR LAND.

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CONNIE COLLINS-NUNGARAI’S husband JOHN WELTON has been embraced as a member of the Walpiri Tribe, Yeundumu. Connie is a Central Desert Acrylic artist, in contrast to the ochre painters of the Kitja and Mirriuwong people in the East Kimberley area. On speaking with John, we found he has travelled widely and mentioned some interesting observations, he has made with Connie, about Aboriginal Art.

In the caves at the bottom of Ayres Rock (not open to inspection by many) there are ochre paintings all around the interior of the caves and on ledges deep inside – these depict dot art, mainly circles, some with smaller circles inside larger ones – they also include both carvings and ochre paintings of animal feet, human feet, hands – traditional in style and common to many areas of Australia, but he felt they were very old – the ochre still in good condition. Whilst at Cape York Peninsula, he saw drawings, again in ochre, of canoes, people spearing fish, but no dot art – a totally different style. Whilst working on Grute Island, John remembers seeing no Aboriginal Art other than drawings – and very well executed ones – of old sailing vessels, such as the early explorers would have used. One could even see figures standing on the vessels – large drawings and again, some carved and some use of ochre noted. John’s comment was that it was almost like the Aboriginal people there only started to "note down" something of momentous importance to them, whilst not seeing the necessity to do so before.

CONNIE AND JOHN’S VISION:
TO SEE ABORIGINAL PEOPLE PAINT THEIR ART IN THE TRADITIONAL MANNER, NOT TO CHANGE THEIR STYLE FOR ANY REASON.

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SADE CARRINGTON – or as we call her, "The girl from Texas Downs to All Over the World". One could not meet a more Traditional painter of Aboriginal Art, yet she has a variance of style unequalled. She can sketch, carve, paint Kartiya (whiteman) way – however, when asked by a visiting Professor of Anthropology from the United States if she knew the Halls Creek Crater, Sade in our Gallery replied "Yes, very well", but when offered a commissioned painting of the Crater, without considering the earning potential, she immediately replied "Oh, no – that’s not my country".

Sade has been to many countries in the world – she painted for three months in Amsterdam – competed in open company – demonstrated ochre painting in London – all over Europe. Well educated, she loves to take her art to all countries, representing her people. However, this 45 year old grandmother of six who is always being asked for Identification if she attends a function at a hotel with her children (who are NOT asked) respects the Law of her Kitja Culture and projects that to her artistic profession.

As with the other Aboriginal Artists we know – the reasons to paint are closely associated with carrying on Tradition, the Culture, the Dreaming Stories as to why a certain landmark appears as it does, Law for the youngsters, the love of their land. They express all this with their painting, their style, and the story that always is given with their artwork.

SADE CARRINGTON’S VISION:
TO TAKE ABORIGINAL ART TO THE WORLD – AND EXPLAIN IT TO ALL PEOPLES OF ALL NATIONS

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