Clifton Jungurrayi Bieundurry is a Walmajarri artist from the central Kimberley. Clifton uses his distinctive mix of acrylic paint and ochre on handmade paper, linen and canvas to achieve his striking contemporary representations of his ancestral country, as well as telling stories of social justice issues confronting his people.
“...I feel there is a gap in interpreting Aboriginal culture, the contemporary and the ancient, to the outside world. I paint to fill that gap so that translation is clear and understood; not only by non-Indigenous people but also by Indigenous people themselves.
So much melding of cultures and introduction of non-traditional influences has left contemporary Indigenous people with a surface understanding of the ‘true’ Aboriginal culture, I paint to share my knowledge of my Culture’s strength, respect, purity and honour so that it can be admired and inspire Aboriginal and non-Aboriginal people alike.”

BIOGRAPHY
Clifton Jungurrayi Bieundurry belongs to the Walmajarri people of the Central Kimberley. He was born in Gnowangerup in 1973 to his Walmajarri father and Bunuba mother. Clifton’s father was born near Lake Gregory in the Great Sandy Desert and Clifton spent many of his formative years in this area, learning the stories and traditions of his ancestors and the land. His childhood was one of living in makeshift stock camps, where he learned through observation, and with respect, the skills and knowledge demonstrated by his father and extended family. Clifton’s parents were instrumental in the Nookanbah Mining protest in the 1970’s, assisting in establishing the Kimberley Land Council and remaining strong representatives for the rights of Kimberley Aboriginal people. This sense of purpose and determination is a major influence in Clifton’s artistic endeavors. Clifton’s large extended family has many artistically talented people including his sister, Winsome, and brother, Nelson, who are both accomplished visual artists.
Clifton speaks several traditional and contemporary Indigenous languages, including Walmajarri, Kukatja, Jaru and Kriol and is regularly contracted by the Kimberley Interpreting Service. His role is to support Kimberley Aboriginal people in private industry, and the Justice and Health systems. It is this mix of traditional cultural beliefs and his contemporary understanding of Aboriginal social and justice issues that is reflected in Clifton’s works of ochre and acrylic on line