Language Group: Anmatyerre
Country: Ahalpere, Utopia Region, North East of Alice Springs
Medium: Acrylic on Canvas and Linen, Batik on Silk
Subjects: My Mother's Story, Ahakeye (Bush Plum), Anwekety (Conkerberry or Bush Plum)
Betty was involved with the Batik work at Utopia and has been painting for a long time. She is represented in the Holmes a Court Collection and her work is represented in the catalogue 'Utopia – A Picture Story'.
Betty paints 'My Mother's Story', awelye (women's ceremonial body paint designs) for the ancestral dreamtime stories of the anemangkerr (bush melon or tomato) which belong to her mother's country, Atnwengerrp, in the Utopia Region. Betty inherited the permission to paint the design by her mother, the late Minnie Pwerle.
Betty travelled to Adelaide with Julia Murray and Jenny Green and has painted for Rodney Gooch, DACOU Gallery Adelaide and Mbantua Gallery. Betty is sister to Barbara Weir.
Mbantua Gallery Permanent Collection, Alice Springs
The Holmes á Court Collection, Perth
|1990||Utopia – a Picture Story exhibition Central Australian Aboriginal Art & Craft Exhibition, Araluen Centre, Alice Springs|
|2002||Mbantua Gallery USA exhibitions: Art and Soul Gallery, Nashville, TN; 'The Cove Gallery' Portland, OR; Urban Wine Works, Portland, OR; Mary's Woods, Portland, OR|
|2003||Mbantua Gallery USA exhibitions: New City Merchants, Knoxville, TN; Art and Soul Gallery, Nashville, TN; 'The Cove Gallery' Portland, OR; Mary's Woods, Portland, OR; Contemporary Aboriginal Art Event, Umpqua Bank, Portland, Oregon; Art from the Dreamtime, Portland Art Museum, Portland OR|
|2004||Mbantua Gallery USA exhibitions: Portland, Nashville and Greenwich|
Artist: Betty Mpetyane Club
Size: 30 x 30cm
Title: My Mothers Story
Medium: Acrylic on Canvas
My Mothers Story
Betty has painted the Awelye (Women's Ceremonial Body Paint Designs) for the ancestral dreamtime stories of the Anemangkerr (bush melon or tomato) which belong to her mother's country, Atnwengerrp, in the Utopia Region. Betty inherited the permission to paint this design by her mother, the late Minnie Pwerle.
The bold linear pattern of stripes and curves throughout Betty's painting illustrates the Awelye. After smearing their bodies with animal fat, the women trace these designs onto their breasts, arms and thighs, singing as each woman takes her turn to be 'painted-up'. Their songs relate to the dreamtime stories of ancestral travel, dance and other totemic plants, animals and natural forces. Awelye demonstrates respect for the land. In performing these ceremonies they ensure well-being and happiness within their communities.
Concentric circles represent waterholes and small circles depict the Anemangkerr.