Pauline Sunfly (born 1958, Balgo, Western Australia) is the daughter of famous Balgo painters, Sunfly Tjampitjin and Bai Bai Napangarti, from whom she has inherited many Tjukurrpa (Dreaming) stories. Pauline learnt to paint from years of watching her father. She is an extremely competent painter who boldly recreates many significant stories with technical precision.

Pauline was born at the old Balgo Mission and was educated through the mission school. She recalls working in the kitchen, the laundry and clearing the grounds of the mission. She has spent some time in Fitzroy Crossing and has visited Broome and Alice Springs, but otherwise has remained in Balgo with her ever growing family. Pauline is a dedicated and talented painter who produces graphic and powerful paintings. 

Miriam Baadjo (born 1962, Tjaluwan, Western Australia) began her artistic journey by exploring Tjukurpa (Dreaming) creation stories and lore through the mediums of glass and screen printing. After receiving permission from Elders to paint, she turned to her Uncle Wimmitji Tjapangarti’s (c.1921–2000) Dreaming stories, infusing her works with the profound spirituality that he shared with her as a young girl. 

Baadjo’s paintings reflect her deep commitment to cultural knowledge and her passion for colour mixing and refining her technical skills. Her works have been widely exhibited in group exhibitions both nationally and internationally, with her glass works held in the collection of the Art Gallery of Western Australia. Baadjo has also worked on several collaborative projects, most recently in 2024, working with Bhil artist Gangu Bai, to create a large-scale mural at bustling Sassoon Dock in Mumbai, India. 

Baadjo was a finalist in the National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) in 2008. 

Mary Lou Oliyarli Divilli (born 1987, Derby, Western Australia) is a Nyikina, Nyul Nyul, Yawuru and Ngarinyin artist living in Kupungarri Community on the Gibb River Road. Her practice is deeply tied to culture, Country and identity, drawing strength from her children and the natural environment. Creating art is both a means of cultural learning and a process of healing, helping her navigate grief, trauma, and transformation. 

Divilli’s practice resonates with both personal connection and universal themes, evoking tranquillity while confronting layered realities of remote community life. Her work has been recognised nationally, including as Winner of the Kimberley Art and Photographic Prize (2025); Finalist in the National Photographic Portrait Prize (2025); Semi-finalist in Contemporary Landscapes in Photography at the Perth Centre of Photography (2023); and participation in major group exhibitions such as Collective, Perth Centre of Photography (2024), See My World, QVI, Perth (2024), and The Alternative Archive, touring with Art on the Move (2022–24). 

Leah Rinjeewala Umbagai (born 1974, Derby, Western Australia) is a Woddordda woman. Growing up with D.W (Doris Wunggurr) and Mildred Mungulu, Umbagi’s passion for art comes from the influence of her elders’ teachings. Umbagai’s work reflects her relationships, clan, Country and passion for teaching and sharing. Active in her community, she works with children and youth encouraging them to live on Country and respect their culture, language and heritage.  

In addition, to her art practice, Umbagai is a senior cultural advisor for the Dambimangari Aboriginal Corporation and contributed extensively to the development and content of the Mowanjum Museum at the Art and Cultural Centre. In 2024, her work was included in the landmark international exhibition Country bin pull’em: Looking back together at the Weltkulturen Museum in Frankfurt, Germany. Umbagai’s work has been including in numerous exhibitions across Australia and is held in the collections of the Art Gallery of Western Australia, Perth; City of Kalgoorlie-Boulder; Museum der Weltkulturen, Frankfurt; Parliament House, Perth; and WA Museum Boola Bardip, Perth.  

Jan Baljagil Griffiths (born 1971, Kununurra, Western Australia) is a dedicated and prolific multi-disciplinary artist primarily working across painting, ceramics and poetry. The daughter of renowned Kimberley artists, Peggy and Alan Griffiths, Griffiths’ work explores personal narratives linked to cultural heritage and truth-telling, continuing a family tradition.  

Griffith’s has exhibited extensively both in Australia and internationally, with her work being including in significant exhibitions such as My Country, National Gallery of Victoria, Melbourne (2024); Our Unbroken Line: The Griffiths Family, Kluge-Ruhe Aboriginal Art Collection, University of Virginia, USA (2021); IOTA (Indian Ocean Craft Triennial) and Alternative Archive – Legacy 11, John Curtin Gallery, Perth (2021); Pinpii: First Nations Indigenous Fashion, National Museum of Australia, Canberra and Bendigo Art Gallery (2020); and Desert River Sea: Portraits of the Kimberley at Art Gallery of Western Australia, Perth (2019).  

Ben Galmirr Ward’s (born 1949, Argyle Downs Station, Western Australia) painting practice focuses on his unique perspective of seeing and being with Country. His images depict his cultural knowledge and memories of the Country he explored, while mustering cattle, as a young man. He employs triangular designs of juxtaposed coloured ochre depicting the waterways, mountain ranges and the sacred sites of his Country while also commenting on cultural and environmental concerns that are close to his heart. 

Strongly involved in land rights and community issues, Ward was the critical supplicant in the landmark claim Ben Ward versus the State of Western Australia, which successfully granted native title to Miriwoong and Gajerrabeng peoples. His works are held in several prestigious collections, including the Art Gallery of New South Wales, Sydney; Artbank; and the Kerry Stokes Collection, Perth. In 2015, he was the first Indigenous artist to win the prestigious John Fries Award for emerging artists. 

Angelina Guluwulla Karadada Boona (born 1967, Kalumburu, Western Australia) is a Wunambal Gaambera/Worrora woman. Her mother is the renowned artist Lily Karadada and her father is Jack Karadada, a medicine man and artefacts maker, best known for making didgeridoo and spears for hunting. Boona Karadada’s practice reflects her deep connection to her cultural heritage and her commitment to preserving and sharing the stories of her people through art. Employing traditional techniques, using natural ochres mixed with white gum sap resin to create her works, her paintings often depict the Wandjina, ancestral rainmakers, reflecting the stories and spirituality of her Country. 

Boona Karadada was a finalist in the Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) (2025), and a recipient of the John Stringer Prize (2023) and the Kathy Donnelly Encouragement Award in the Jury Art Prize, Courthouse Gallery, Port Hedland (2020). Her work is held in several major collections including that of the National Museum of Australia, Canberra; Art Gallery of Western Australia, Perth; St John of God Hospital, Murdoch; Art Gallery of South Australia, Adelaide; and Parliament House Collection, Perth. 

The art of Gija artist Evelyn Malgil (born 1965, Derby, Western Australia) has been shaped by an unbreakable connection to her land and culture, within her works being both a form of expression and profound act of cultural preservation. She is known for her vibrant, minimalist landscapes that depict her traditional Country, particularly the sacred Winuba (Winniper) Springs, near Warmun.  

Through her numerous exhibitions, Malgil has illuminated the unique voice of the Gija people, elevating their stories and traditions through her work. Her work has been celebrated with solo exhibitions including Winuba, Martin Browne Contemporary, Sydney (2024) and Winniper: Works by Evelyn Malgil, Galerie pompom, Sydney (2020). Malgil’s work has been curated into the group exhibitions Connection to Country, FORM, Perth (2019); GIJA Exhibition, Woolloongabba Art Gallery, Queensland (2018); and Connections: Microscopy Exhibition, Powerhouse Museum, Sydney (2018). 

John Prince Siddon (born 1964, Great Sandy Desert, Western Australia) is a Walmajarri man who lives in the remote township of Fitzroy Crossing in the West Kimberley. Siddon’s psychedelic surrealist paintings bring some of the most urgent themes of our time into piercing view. His ironic combination of Australian narratives, current affairs and ancestral creation stories articulate some of the complexities of the present-day Australian experience.  
   
Siddon has been a finalist in the Sulman Prize at the Art Gallery of New South Wales, Sydney (2023), Fisher’s Ghost Art Award (2022) and the Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) at the Museum and Art Gallery Northern Territory, Darwin (2021, 2020, 2019, 2018). He was also a featured artist at the Tarnanthi 2021 festival at the Art Gallery of South Australia, Adelaide and at Melbourne Art Fair in 2024. His solo exhibition All Mixed Up at the Fremantle Arts Centre, presented in conjunction with the Perth Festival 2020, was heralded as the ‘stand-out exhibition’ of the festival by John McDonald of the Sydney Morning Herald. His work has been acquired by institutions including the Art Gallery of New South Wales, Sydney; The National Gallery of Victoria, Melbourne; Artbank; Art Gallery of Western Australia, Perth; and Art Gallery of South Australia, Adelaide. 

Mervyn Street (born 1950, Louisa Downs Station, Western Australia) is a Gooniyandi man. Gooniyandi is one of the two river groups from the Country around Fitzroy Crossing. As a child, Street began drawing on a large water tank using charcoal and pencil, inspired by Hollywood western films. His artworks often depict the lives of Aboriginal stockmen, including his own experiences and those of his family. 

Street speaks fluent Gooniyandi as well as English. He is an important person for art and culture in Yiyili and Pull Out Springs communities, where he also teaches his traditional language, and is a former Chairman of Mangkaja Arts. Street’s work was the subject of a significant solo exhibition Stolen Wages, presented at the Fremantle Arts Centre as part of the 2025 Perth Festival.  

Zali Morgan is a Noongar woman with ancestral connections to Whadjuk, Balladong, and Wilman Boodjar, born and raised near Wooditchup on Wardandi Boodjar, now based near Boorloo. As an artist, curator, and cultural worker, Zali has a deep passion for working with Aboriginal and Torres Strait Islander artists, particularly uplifting Noongar artistic practices.

With a keen interest in modes of decolonising, she has worked closely with private and institutional collections, including the Art Gallery of Western Australia, Wesfarmers Arts and the Berndt Museum of Anthropology.

Zali has curated several exhibitions at various institutions in Western Australia, including Perth Institute of Contemporary Art, Walyalup|Fremantle Arts Centre, John Curtin Gallery, Edith Cowan University Gallery, and Bunbury Regional Art Gallery, as well as at the National Art School in Sydney, NSW and internationally at the Australian Embassy in Washington, D.C.

Zali currently works as the Curator of the Carrolup Collection at John Curtin Gallery.