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• Play Every Day. Restricted with Steven Jangala Hargraves
• Hip-Hop Gospel and Tanami. Restricted with Athena Nangala Granites
• It’s a Good Feed and It’s Medicine. Restricted with Otto Jungarrayi Sims and Ormay Nangala Gallagher
• Go to West Camp. Restricted with Sarah Napurrurla Leo, Selma Napanangka Tasman and Sabrina Nangala Robertson
• A Good Place. Restricted with Angelina Nampijinpa Tasman
• Gone to the Dogs. Walked over by dogs at Warlukurlangu Art Centre
• Whisky Is My Dog. Restricted with Ruth Nungarrayi Spencer
• Let’s Go to Mining. Restricted with Dorothy Napurrurla Dickson, Sabrina Nangala Robertson and Julie Nangala Robertson
• This Way Up. Restricted with Melinda Napurrurla Wilson, Polly Anne Napangardi Dixon, Kirsten Nangala Egan and Delena Napaljarri Turner
• Look. Restricted with Ruth Nungarrayi Spencer
• You Can’t See the Aliens. Restricted with Selma Napanangka Tasman
• Long Long Way. Restricted in workshop at Warlukurlangu Art Centre
• What’s the Light Light Dark Dark Point Point? Restricted in workshop at Warlukurlangu Art Centre
• Enough Picture. Restricted with Dorothy Napurrurla Dickson
• Strong Way. Restricted with Walter Jangala Brown
• Try This One. Restricted with Ruth Nungarrayi Spencer
• Sweet One. Restricted with Sabrina Nangala Robertson
• He Went That Way. Restricted with Melinda Napurrurla Wilson
• Want a Henry One. Restricted with Athena Nangala Granites

The publication in 1899 of The Native Tribes of Central Australia caused a sensation in Europe. The book’s authors, telegraph-station master Francis J. Gillen and ethnologist W. Baldwin Spencer, had written in depth about the customs and traditions of the Aboriginal groups living near Alice Springs and also illustrated their texts with 119 photographs, many of which captured rituals and ceremonies. While the subject, quality and quantity of the images set a new standard for anthropological photography, the authors were largely oblivious to the impact they would have on the lives of the Aboriginals. The pictures revealed the gap in knowledge between the authors, whose goal was showing the exotic natives “in their natural state”, and the subjects, who were completely unaware of the new medium and how it could invade their privacy or reveal their secrets to a wider audience. Unwittingly or not, the authors also infringed upon Aboriginal cultural protocols by showing sacred sites and the dead. Attitudes have changed since Gillen and Baldwin Spencer first ventured in the Central Desert with a camera and institutions have taken extensive measures to ensure that cultural sensitivity is respected. Today, photography within Aboriginal communities is limited and historical images are often “restricted”. Over the past four years, I have taken photographs in the Yeundumu and Nyirrpi Aboriginal communities, and in the surrounding Warlpiri country. After making prints, I returned to Central Australia to work with artists and other members of those same communities at the Warlukurlangu Art Centre, so they could restrict and amend my photographs through the process of painting.