Warmun Paintings

A selection of paintings showing the styles from this Aboriginal art region - some paintings may still be available for sale, while some may have been sold.


Bedford Station by Rover Thomas

Rover Thomas  |  Bedford Station

Jap 018050  |  ochre pigments on board  |  180 x 92 cm

Wati Kutjara by Rover Thomas

Rover Thomas  |  Wati Kutjara

Jap 018219  |  ochre pigments and resin binder on board  |  91 x 61 cm

Lingurr by Rover Thomas

Rover Thomas  |  Lingurr

Jap 018051  |  ochre pigments on board  |  120 x 70 cm

Joomaling – Bottle Tree by Queenie McKenzie

Queenie McKenzie  |  Joomaling – Bottle Tree

Jap 006142  |  ochre on Arches paper  |  55 x 38 cm

Gyinnyan by Shirley Purdie

Shirley Purdie   |  Gyinnyan

Jap 017348  |  natural ochre & pigments on canvas  |  90 x 90 cm


Gnarrwalabine – Shining Rock by Shirlie Purdie

Shirlie Purdie  |  Gnarrwalabine – Shining Rock

Jap 018519  |  ochre on canvas  |  80 x 60 cm

Kunawarritji by Rover Thomas

Rover Thomas  |  Kunawarritji

Jap 006145  |  ochre on Arches paper  |  65 x 51 cm

Inverway by Ned Johns

Ned Johns  |  Inverway

Jap 000816  |  ochre on linen  |  118 x 88 cm

Texas Junction by Queenie McKenzie

Queenie McKenzie  |  Texas Junction

Jap 006160  |  limited edition Silkscreen  |  71 x 61 cm


Munjalnariny – Yalatji Country by Jack Britten

Jack Britten  |  Munjalnariny – Yalatji Country

Jap 013704  |  ochre pigments on paper  |  75 x 57 cm

Pending Payment

Garnkiny by Mabel Juli Wiringgoon

Mabel Juli Wiringgoon  |  Garnkiny

Jap 017337  |  natural ochre & pigments on canvas  |  120 x 90 cm


Wandjina by Gudu Mungulu

Gudu Mungulu  |  Wandjina

Jap 006489  |  ochre on canvas  |  28 x 24 cm

Jileeling – Pawpaw Springs by Madigan Thomas

Madigan Thomas  |  Jileeling – Pawpaw Springs

Jap 000674  |  ochre on canvas  |  90 x 60 cm

Bedford Station by Rover Thomas

Rover Thomas  |  Bedford Station

Jap 017276  |  ochre pigments on board  |  120 x 90 cm

Dalyuyn Country by Queenie McKenzie

Queenie McKenzie  |  Dalyuyn Country

Jap 013598  |  ochre on canvas  |  91 x 60.5 cm

Spearhead Dreaming – Jimbirla by Marcia Purdie

Marcia Purdie  |  Spearhead Dreaming – Jimbirla

Jap 011299  |  ochre on canvas  |  61 x 46 cm

Untitled by Hector Jandanay

Hector Jandanay  |  Untitled

Jap 010496  |  ochre on linen  |  135 x 122 cm

Purnululu – Top Way by Nora Nagarra

Nora Nagarra  |  Purnululu – Top Way

Jap 003955  |  ochre an canvas  |  100 x 100 cm

Margoombaray – Robins Soak by Gordon Barney

Gordon Barney  |  Margoombaray – Robins Soak

Jap 013703  |  ochre & acrylic on paper, framed  |  75 x 55 cm

Mt Lapz – Leopold Ranges by Marcia Purdie

Marcia Purdie  |  Mt Lapz – Leopold Ranges

Jap 013597  |  ochre on linen  |  121 x 90 cm

Texas Rockhole by Charlene Carrington

Charlene Carrington  |  Texas Rockhole

Jap 011929  |  ochre on linen  |  160 x 70 cm

Mistake Creek by Nancy Nodea

Nancy Nodea  |  Mistake Creek

Jap 012213  |  ochre on canvas  |  100 x 80 cm

Warmun community at Turkey Creek in the East Kimberley in the far north west of Western Australia, is situated on the site of the old telegraph station and was once a stopover for camel trains moving through the North West carrying provisions to stations and communities. Many Aboriginal people moved to Turkey Creek as the settlement is located on the edge of a number of cattle stations where many of the men and women had worked for most of their lives.

It was at Warmun in 1975 that Rover Thomas and Paddy Jaminji began the artistic collaboration that was to become the model for contemporary Aboriginal art in the east Kimberley. A ceremony was revealed to Rover Thomas through a series of dreams or visions of a spirit’s journey after death. This Dreaming forms the basis of the Kuril Kuril ceremony. The paintings illustrating the Kuril Kuril journey gave form to the modern Indigelnous art style at Turkey Creek – the style is simple and uncluttered, painted with natural ochre, with shapes being defined by rows of white dots.

Warmun is Gija (Kitja) country, and Gija Aboriginal artists have followed the example of Rover Thomas and Paddy Jaminji in depicting topographical maps in broad ochre areas mixed with various forms of fixative, including locally gathered gum from eucalyptus trees called bloodwoods. The work of the Warmun artists draws on the Ngarrangkarni or Creation period, a concept referred to in many areas of Australia as the Dreaming. Aboriginal art from the Warmun region glows in the natural ochre hues, and serves to confirm the vibrancy of this ancient and evolving culture.

Further information is available on exhibiting artists on the following links