
Pedro Wonaeamirri grew up in Pirlangimpi (Pularumpi) on Melville Island. After his education in Darwin, he returned to the Tiwi Islands in 1989, moving to Milikapiti in the same year that Jilamara Arts and Crafts was established. Since then, Pedro has been a prominent figure in the art world, with his work featured in numerous national and international collections. As a senior cultural leader on the Tiwi Islands, he possesses deep knowledge of the Tiwi language, songs, and dances. Pedro serves as the Vice President of the Jilamara Arts and Crafts Association and as a Director for Arnhem, Northern, and Kimberley Artists (ANKA). In addition to his acclaimed visual art career, he has published essays on Tiwi art, culture, and ceremony. His homeland, Paluwiyanga/Andranganoo (Goose Creek), lies on the eastern side of Melville Island—"the land where I come from is from my father’s father, my grandfather."
Wonaeamirri's contemporary art practice is rooted in Jilamara designs, which originate from ceremonial body painting and the intricate decorations applied to tutini poles, tunga (bark baskets), and other ritual objects for the Pukumani (mourning) ceremony and Tiwi Yoi (dance). He meticulously uses ochres sourced from Milikapiti, applying these traditional colors with great precision and the traditional Kayimwagakimi wooden comb. “The designs are already in my head, and I use the Kayimwagakimi, our traditional comb made from ironwood, and natural ochres from the island to paint.”
Wonaeamirri's work was presented in Alexie Glass-Kantor’s 2025 edition of Encounters at Art Basel Hong Kong. His work is held in institutional collections, including Artbank; Museum of Contemporary Art, Sydney; Art Gallery of New South Wales, Sydney; National Gallery of Australia, Canberra; Art Gallery of South Australia, Adelaide; Art Gallery of Western Australia, Perth; and the Queensland Art Gallery, Brisbane. Internationally, his work features in the collections of Kluge-Ruhe Art Museum, US; the British Museum and Commonwealth Institute, UK.

Section from Clark's Myriorama
2008
installation view
Art Basel Hong Kong 2026
Photo: Felix Wong

My Country Road + NGV First Nations Commissons
2024
My Country, Ian Potter Centre, National Gallery of Victoria
installation view
Photo: Tom Ross

Pwoja (toothed ironwood comb)
2026
locally sourced ochre on plywood
89.5 × 60.5 cm
Photo: Jilamara Arts

kurrujupuni, arrikininga, yarringa, tunuwuni kapi katukuni (white, yellow, red, black on iron-wood)
2025
Art Basel Hong Kong
installation view
Photo: Kitmin Lee

Tutini (Pukumani Pole)
2025
locally sourced ochre on ironwood
211.0 × 25.0 cm (tutini), 50.0 cm (metal base)
Photo: Courtesy of Jilamara Arts and Crafts Association

Pwoja Pukumani – Body Paint Design
2025
Parlingarri Amintiya Ningani Awungarra: Old and New at Jilamara Arts, UNSW Galleries
installation view
Photo: Jacquie Manning

Pwoja Pukumani – Body Paint Design
2025
Parlingarri Amintiya Ningani Awungarra: Old and New at Jilamara Arts, UNSW Galleries
installation view
Photo: Jacquie Manning

kurrujupuni, arrikininga, yarringa, tunuwuni kapi katukuni (white, yellow, red, black on iron-wood)
2020
NIRIN: 22nd Sydney Biennale, Museum of Contemporary Art, Sydney
installation view
Photo: Courtesy of the Museum of Contemporary Art, Sydney

Pwoja (toothed ironwood comb)
2026
locally sourced ochre and earth pigments on stringybark
105.0 × 43.0 cm
Photo: Jilamara Arts

kurrujupuni, arrikininga, yarringa, tunuwuni kapi katukuni (white, yellow, red, black on iron-wood)
2025
Art Basel Hong Kong
installation view
Photo: Kitmin Lee

YOYI (dance) video from Milikapiti, Tiwi Islands
2022
YOYI (dance), Fiona and Sidney Myer Gallery, University of Melbourne
installation view
Photo: Courtesy of the artist

kurrujupuni, arrikininga, yarringa, tunuwuni kapi katukuni (white, yellow, red, black on iron-wood)
2020
NIRIN: 22nd Sydney Biennale, Museum of Contemporary Art, Sydney
installation view
Photo: Courtesy of the Museum of Contemporary Art, Sydney