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The question of gender representation in Bradshaw art was illuminated recently by the discovery that figures are depicted as if they are facing into the rock face.

While more common in some areas, such as the sandstone regions of the west and central Kimberley, isolated examples have also been found in several scattered locations in the east, such as the Napier Ranges, and at the far eastern border of the Kimberley.The most notable has been the work undertaken by amateur archaeologist Grahame Walsh, who began work there in 1977 and returned to record and locate new sites up until his death in 2007.The results of this work produced a database of 1.5 million rock art images and recordings of 1,500 new rock art sites.Based on stylistic characteristics, Walsh categorised two individual styles of ‘Bradshaw paintings’, which he named ‘Tassel’ and ‘Sash’ for dominant clothing features.He also identified two variants, which he named ‘Elegant Action figures’ and ‘Clothes Peg figures’.He expanded his records by studying superimposition and style sequences of the paintings to establish a chronology that demonstrated that Bradshaw art is found early in the Kimberley rock art sequence.He proposed that the art dated to a period prior to the Pleistocene.Furthermore, the figures are ornamented with a diversity of objects such as belts, headdresses, bags and tassels, while other material culture is sometimes depicted, such as boomerangs and wands.While Bradshaw initially described the colour of the art as having shades of pale blue and yellow, most figures have a deep purple-red hue, mulberry colour or a red to yellow-brown colour.Many of the ancient rock paintings maintain vivid colours because they have been colonised by bacteria and fungi, such as the black fungus, Chaetothyriales.The pigments originally applied may have initiated an ongoing, symbiotic relationship between black fungi and red bacteria.

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