Artist
Barbara Weir (1940–2023) was a distinguished Aboriginal artist from Atnwengerrp in Central Australia, born to acclaimed artist Minnie Pwerle and raised by her Aunty, the legendary Emily Kame Kngwarreye. As a child, Barbara was forcibly removed from her family under the government’s assimilation policy, becoming part of the Stolen Generations — a traumatic experience that profoundly shaped her life and later artistic expression. Reconnecting with her roots in the late 1960s, she became a strong advocate for her community, serving as the first female president of the Urapunta Council and playing a key role in the Utopia Homelands movement.
Barbara began painting in the 1990s, encouraged by her son Fred Torres and quickly developed a distinct and emotive abstract style. Her most recognised series, Grass Seed and My Mother’s Country, are celebrated for their layered symbolism and deep connection to the land and Dreaming stories. Exhibiting across Europe, Asia and the United States, Barbara’s work is held in major collections including the National Gallery of Victoria and the Art Gallery of South Australia. Until her passing in 2023, she remained a cultural matriarch, leaving a lasting legacy of strength, storytelling, and artistic innovation through both her family and her art.
Learn more about Barbara Weir here.
Artwork Information
Painted in 2000, this work measures 84cm x 128cm. It is currently stretched and ready to hang, with the artist’s signature featured on the canvas.
Dreaming
My Mother’s Country is Barbara Weir’s deeply personal and cultural tribute to Atnwengerrp — the land of her mother, Minnie Pwerle. Through intricate dotwork and layered symbolism, Barbara maps the physical and spiritual landscape of the Utopia region. Flowing rivers, abandoned campsites, bush tucker, coolamans, and ceremonial sites appear within the shimmering surface, revealing a rich narrative of life, survival, and connection. The Sandover River often winds through her canvases, linking sacred places such as natural clay basins, white quartz hills, and areas marked by seasonal flooding and regrowth.
Each work titled My Mother’s Country is unique, reflecting different aspects of this ancestral terrain. Barbara’s paintings honour the women’s awelye ceremonies, with motifs of body paint, spirit forms, and the adornments carried by women as they dance, chant, and pass down knowledge. The presence of bush foods — especially Grass Seed, once ground and baked into damper — reinforces the sustenance provided by the land and the central role of women in maintaining its cycles. Subtle yet powerful, these paintings are visual songs of reverence — to country, culture, and the enduring bond between mother and daughter.
Learn more about this dreaming here.
Medium
Each artwork is meticulously created using the highest quality materials to ensure longevity, vibrancy, and integrity over time. Artists work with premium linen canvas, selected for its durability and fine texture, paired with professional-grade acrylics and hand-picked brushes. This combination allows for both bold expression and intricate detail, preserving the richness of the stories embedded in every piece. All materials are archival and museum-quality.
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