Tjukurrpa Ngaatjanya Maru Kamu Tjulkura (Dreaming In Black And White)

ReDot Fine Art Gallery in collaboration with Papunya Tula Artists presents:

Tjukurrpa Ngaatjanya Maru Kamu Tjulkura (Dreaming in Black and White)

Wednesday, 17th October till Saturday, 1st December 2012

For a high resolution, downloadable, PDF version of the this catalogue, with pricing, please send us an email to info@redotgallery.com Thank you.

c o n t e m p o r a r y

f i n e

a b o r i g i n a l

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“Come and see the work of some of Australia’s most celebrated Aboriginal artists and learn more about their ancestral stories.

The roundels, lines and interlocking designs embedded in their paintings tell you of these ancient rituals. Soft natural colours, bold secretive brush movements and traditional iconography all act to preserve the sacred and important stories of Australia’s Western Desert Art movement.”

Giorgio PILLA, 2012

Tjukurrpa Ngaatjanya Maru Kamu Tjulkura (Dreaming in Black and White) “This exhibition boldly honours the traditions of the company’s founding artists and shareholders of the early 1970’s but simultaneously embraces today’s modern contemporary art world.”

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The ReDot Fine Art Gallery is proud to welcome back the beautiful works from Australia’s foremost Aboriginal owned art centre, Papunya Tula Artists Pty Ltd. This exhibition will represent the 9th annual showing in Singapore of the stunning work by the desert masters in what marks the 40th anniversary of the incorporation of this ground breaking community art centre from Central Australia’s Western Desert.

This year’s show, ‘Tjukurrpa Ngaatjanya Maru Kamu Tjulkura’ (Dreaming in Black and White), brings together the finest collection of works, executed in the unusual black and white style, from some of the company’s most senior law-people as well as some of the most important emerging artists. This exhibition boldly honours the traditions of the company’s founding artists and shareholders of the early 1970’s but simultaneously embraces today’s modern contemporary art world.

Senior artists such as Patrick TJUNGURRAYI,Yinarupa NANGALA, Ningura NAPURRULA,Yukultji NAPANGATI and Warlimpirrnga TJAPALTJARRI epitomize the integrity and success of Papunya Tula Artists, and it is befitting in this 40th year that their spellbinding works are accompanied by the future of the company, the emerging artists such as Cedric BENNETT TJUNGURRAYI, Mantua NANGALA, Michael REID TJAPANANGKA to name but a few.

All these artists, together with other Pintupi men and women, are the custodians of important sacred sites relating to the Tingari Song Cycle. The Tingari people were a group of ancestral beings who travelled over vast areas of the Western Desert, performing rituals and creating or “opening up” the country. They were usually accompanied by recently-initiated novices to whom they provided ceremonial instruction relating to the cultural law of the region.

At the many sites that make up these songlines, groups of Tingari people held ceremonies, experienced adversity and had adventures, in the course of which they either created or became the physical features of the sites involved. The oral narratives that describe these adventures stretch to thousands of verses, and provide countless topographical details that would assist nomadic bands to navigate and survive in the arid landscape.

Come and see the work of some of Australia’s most celebrated Aboriginal artists and learn more about their ancestral stories. The roundels, lines and interlocking designs embedded in their paintings tell you of these ancient rituals. Soft natural colours, bold secretive brush movements and traditional iconography all act to preserve the sacred and important stories of Australia’s Western Desert Art movement.

The exhibition opens on Wednesday 17th October and runs till Saturday 1st December 2012 and it is a must see for anyone interested in following the development of Papunya Tula Artists, one of the Aboriginal art movements most important art centers, over the last 40 years. The show will be opened by Mr. Paul Sweeney, General Manager of Papunya Tula Artists Pty Ltd. Giorgio Pilla ReDot Fine Art Gallery October 2012

Š Images courtesy of Papunya Tula Artists Pty Ltd

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Yinarupa NANGALA

Mukula Acrylic on Belgian Linen 183cm x 244cm YN0909111

This painting depicts designs associated with the rockhole site of Mukula, east of Jupiter Well in Western Australia.

During ancestral times a large group of women came from the west and stopped at this site to perform the ceremonies associated with the area. The women, represented in the painting by the ’U’shapes, later continued their travels towards the east, passing through Ngaminya, Kiwirrkura and Wirrulnga on their way to Wilkinkarra (Lake Mackay).

As the women travelled they gathered a variety of bush foods including kampurarrpa berries (desert raisin) from the small shrub Solanum centrale, and pura (bush tomato) from the plant Solanum chippendalei. Kampurarrpa berries can be eaten directly from the plant but are sometimes ground into a paste and cooked on the coals as a type of damper, while pura is roughly the size of an apricot, and after the seeds have been removed, can be stored for long periods by halving the fruit and skewering them onto a stick.

The shapes in the painting represent the features of the country through which they travelled as well as the bush foods they gathered.

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Warlimpirrnga TJAPALTJARRI

Marawa Acrylic on Belgian Linen 153cm x 183cm WT1204034

This painting depicts designs associated with the swamp site of Marawa, situated slightly west of Wilkinkarra (Lake Mackay). There is also a rockhole and soakage waters at this site. During ancestral times a large group of Tingari men travelled to Marawa from the west, and after arriving at the site, passed beneath the earth’s surface and continued travelling underground. It is also said that a huge ancestral snake sleeps in this swamp.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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George WARD TJUNGURRAYI

Patantjana Acrylic on Belgian Linen 122cm x 153cm GW0305167

This painting depicts designs associated with the rockhole site of Patantjana, situated on the western side of Lake MacDonald. A group of Tingari men gathered at this site after travelling from further south and held ceremonies relating to the creation of rain.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

General, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Ningura NAPURRULA

Wirrulnga Acrylic on Belgian Linen 122cm x 153cm NN0904049

This painting depicts designs associated with Wirrulnga, a rockhole site in a small rocky outcrop east of the Kiwirrkura Community in Western Australia.

In ancestral times a group of women of the Napaltjarri and Napurrula kinship subsections camped at this site, after travelling from the rockhole site of Ngaminya further west.

The women are represented in the painting by the arc shapes.

Wirrulnga is a site which is associated with birth, the lines adjacent to the three roundels, symbolize the extended shape of a pregnant woman of the Napaltjarri kinship subsection who gave birth at the site. While at Wirrulnga the women also made spun hair-string with which to make nyimparra (hair-string skirts), which are worn during ceremonies.

From Wirrulnga the women continued their travels north east to Wilkinkarra (Lake Mackay). As they travelled they gathered large quantities of the bush food known as kampurarrpa or desert raisin from the plant Solanum centrale. These berries can be eaten straight from the bush but are sometimes ground into a paste and cooked in the coals to form a type of damper. The small circles in this painting depict the kampurarrpa.

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Ray JAMES TJANGALA

Karrilwarra Acrylic on Belgian Linen 122cm x 122cm RJ1005088

This painting depicts designs associated with Karrilwarra a rockhole site west of the Kiwirrkura Community in Western Australia. Two ancestral snakes travelled to this site from far in the east. At Karrilwarra the snakes created the rockholes, soakages and sandhills before travelling further west to Jigalong. This site is also one that was visited by travelling Tingari people who later also continued their journey in the same direction as the snakes.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari Men were usually followed by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles.

These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Yukultji NAPANGATI

Yunala Acrylic on Belgian Linen 122cm x 91cm YN1111032

This painting depicts designs associated with Yunala, a rockhole and soakage water site situated among sandhills just to the west of the Kiwirrkura community in Western Australia.

During mythological times a group of ancestral women camped at this site after travelling from further west. While at Yunala the women camped beside the rockhole digging for the edible roots of the bush banana or silky pear vine Marsdenia australis, also known as yunala. The lines in the work represent both the sandhills surrounding the site as well as the yunala tubers underground.

The women later continued their travels towards the east, passing through Marrapinti, Ngaminya and Wirrulnga on their way to Wilkinkarra (Lake Mackay).

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Richard YUKENBARRI TJAKAMARRA

Karliarngu Acrylic on Belgian Linen 122cm x 91cm RY1106072

This painting relates to the rockhole site of Karliarngu, west of the Kiwirrkura Community in Western Australia.

In ancestral times two Tingari men camped at this site collecting ngari (honey ants), before continuing their travels east to Kiwirrkura and then later north-east to Wilkinkarra (Lake Mackay). The design in the painting represents the salt lakes and sandhills at Karliarngu.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles . These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Yinarupa NANGALA

Mukula Acrylic on Belgian Linen 122cm x 91cm YN1010052

This painting depicts designs associated with the rockhole site of Mukula, east of Jupiter Well in Western Australia.

During ancestral times a large group of women came from the west and stopped at this site to perform the ceremonies associated with the area. The women, represented in the painting by the ’U’ shapes, later continued their travels towards the east, passing through Ngaminya, Kiwirrkura and Wirrulnga on their way to Wilkinkarra (Lake Mackay). As the women travelled they gathered a variety of bush foods including kampurarrpa berries (desert raisin) from the small shmb Solanum centrale, and pura (bush tomato) from the plant Solanum chippendalei. Kampurarrpa berries can be eaten directly from the plant but are sometimes ground into a paste and cooked on the coals as a type of damper, while pura is roughly the size of an apricot, and after the seeds have been removed, can be stored for long periods by halving the fruit and skewering them onto a stick.

The shapes in the painting represent the features of the country through which they travelled as well as the bush foods they gathered along the way.

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Mantua NANGALA

Yunala Acrylic on Belgian Linen 153cm x 61cm MN0804155

This painting depicts designs associated with the rockhole site of Yunala, situated slightly west of the Kiwirrkura Community in Western Australia. During ancestral times a group of women visited this site holding ceremonies associated with the area, before continuing their travels further east.

While at Yunala the women gathered the edible roots of the bush banana or silky pear vine Marsdenia australis, also known in Pintupi as yunala, which is plentiful in the region.

The lines in this painting represent both the sandhills surrounding the site as well as the yunala tubers beneath the ground. The women later continued their travels towards the east passing through Marrapinti, Wala Wala, Ngaminya and Wirrulnga on their way to Wilkinkarra (Lake Mackay).

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Charlie TJAPANGATI

Karrilwarra Acrylic on Belgian Linen 168cm x 46cm CT1105005/ CT1105165

This painting depicts designs associated with Kuniya or Snake Dreaming at the rockhole and soakage site of Karrilwarra. This site is situated in sandhill country west of the Kiwirrkura community in Western Australia. In mythological times the ancestral snakes travelled to this site from far in the east, crossing over the tali (sandhills), which are represented in the painting by the sinuous lines.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Florrie WATSON NAPANGATI

Tanyinki Acrylic on Belgian Linen 107cm x 91cm FW1007022

This painting depicts designs associated with the claypan and soakage water site of Tanyinki, which is slightly north of the Nyirrpi Community.

The lines in this painting represent the surrounding tali (sandhills). A group of ancestral women camped here performing the dances and singing the songs associated with the area. Upon completion of the ceremonies at this site the women continued their travels east.

As the women travelled they gathered a variety of bush foods including kampurarrpa berries, (desert raisin) from the small shrub Solanum centrale, and pura (bush tomato) from the plant Solanum chippendalei. Kampurarrpa berries can be eaten directly from the plant but are sometimes ground into a paste and cooked on the coals as a type of damper.

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Wintjiya NAPALTJARRI

Watanuma Acrylic on Linen 107cm x 91cm WN0909021

This painting depicts designs associated with the soakage site of Watanuma, north-west of the Kintore Community.

The straight lines in the painting represent the tali (sandhills) that surround this site.

A group of ancestral women once gathered at Watanuma to perform the dances and sing the songs associated with the area. The women also spun hair-string for making nyimparra (hair-string skirts), which are worn by both men and women during ceremonies. The nyimparra in this painting are depicted by the comb-like shape. The small circles in the painting depict the burrowed holes and eggs of flying ants, also known as watanuma.

Upon completion of these ceremonies the women continued their travels to the rockhole site of Malparingya and then continued east to Pinari, also north-west of Kintore. As they travelled the women gathered large quantities of the edible fruit known as pura (also known in Pintupi as pintalypa), or bush tomato, from the small shrub Solanum chippendalei. This fruit is the size of a small apricot and, after the seeds have been removed, can be stored for long periods by halving the fruit and skewering them onto a stick.

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Yinarupa NANGALA

Mukula Acrylic on Belgian Linen 122cm x 61cm YN1011071

This painting depicts designs associated with the rockhole site of Mukula, east of Jupiter Well in Western Australia.

During ancestral times a large group of women came from the west and stopped at this site to perform the ceremonies associated with the area. The women, represented in the painting by the ’U’ shapes, later continued their travels towards the east, passing through Ngaminya, Kiwirrkura and Wirrulnga on their way to Wilkinkarra (Lake Mackay).

As the women travelled they gathered a variety of bush foods including kampurarrpa berries (desert raisin) from the small shrub Solanum centrale, and pura (bush tomato) from the plant Solanum chippendalei. Kampurarrpa berries can be eaten directly from the plant but are sometimes ground into a paste and cooked on the coals as a type of damper, while pura is roughly the size of an apricot, and after the seeds have been removed, can be stored for long periods by halving the fruit and skewering them onto a stick. The shapes in the painting represent the features of the country through which they travelled as well as the bush foods they gathered along the way.

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Bobby WEST TJUPURRULA

Pinari Acrylic on Belgian Linen 122cm x 61cm BW1203116

This painting relates to the spring water found at the lake site of Pinari, north-west of the Kintore community.

The jagged lines depict spring water emerging from its underground flow. In ancestral times a large group of Tingari Men travelled east through Palipalintja,Yarruyarru and Tarkul to this site.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Wintjiya NAPALTJARRI

Watanuma Acrylic on Linen 122cm x 61cm WN0902076

This painting depicts designs associated with the soakage site of Watanuma, north-west of the Kintore Community.

A group of ancestral women gathered at Watanuma to perform the dances and sing the songs associated with the area. The women also spun hair-string for making nyimparra (hair-string belts), which are worn by both men and women during ceremonies. The small circles in the painting depict the burrowed holes of flying ants, also known as watanuma.

Upon completion of these ceremonies the women continued their travels to the rockhole site of Malparingya and then continued east to Pinari, also north-west of Kintore. As they travelled they gathered large quantities of the edible fruit known as pura (also known in Pintupi as pintalypa), or bush tomato, from the small shrub Solanum chippendalei. This fruit is the size of a small apricot and, after the seeds have been removed, can be stored for long periods by halving the fruit and skewering them onto a stick.

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Patrick TJUNGURRAYI

Wirrilpinya Acrylic on Belgian Linen 91cm x 91cm PT1201012

This painting depicts designs associated with the rockhole site of Wirrilpinya, south-west of Jupiter Well in Western Australia. This is the artist’s father’s country. In ancestral times a group of Tingari men camped at this site before travelling east to the rockhole site of Ngarru. The lines running through the painting are the tracks of the men as they passed between the sandhills, while also representing body paint worn by men during ceremonies. This ancestral story forms part of the Tingari song cycle.

Since events associated with the Tingari cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Nyilyari TJAPANGATI

Wilkinkarra (Lake Mackay) Acrylic on Belgian Linen 91cm x 91cm NT1203034

This painting depicts designs associated with the salt lake site of Wilkinkarra (Lake Mackay). In ancestral times a large group of Tingari Men visited this site on their travels towards the east. The men had previously visited the rockhole site of Winparku (Mt. Webb) further south. The concentric squares in this painting depict the soakage waters near Winparku.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Michael REID TJAPANANGKA

Tarkul Acrylic on Belgian Linen 91cm x 91cm MR1001014

This painting depicts designs associated with the rockhole and soakage water site of Tarkul, north of Mt Webb in Western Australia. In ancestral times a large group of Tingari men camped at this site before travelling further east to Pinari.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Ray JAMES TJANGALA

Yunala Acrylic on Belgian Linen 91cm x 91cm RJ1204040

This painting relates to the soakage water site of Yunala, west of the Kiwirrkura community in Western Australia.

In ancestral times a large group of Tingari Men camped at this site before continuing their travels further east to Pinari, north-west of the Kintore Community. While at Yunala the men gathered the edible roots of the bush banana or silky pear vine Marsdenia australis, also known as yunala, which is plentiful in the region.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Pinta Pinta TJAPANANGKA

Malparingya Acrylic on Belgian Linen 91cm x 91cm PP980608

This painting depicts the site of Malparingya which is north-west of Kintore. The site, which has many rockholes, was visited in ancient times by a large group of Tingari Men who had travelled from Lake Mackay, camping at various places along the way. After stopping at the rockholes the men continued their travelling towards the south-east to Pinari, north of the Kintore Community.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed

by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Yakari NAPALTJARRI

Marrapinti Acrylic on Belgian Linen 91cm x 61cm YN1112106

This painting depicts designs associated with the rockhole and soakage water site of Marrapinti, slightly west of the Kiwirrkura Community in Western Australia.

During ancestral times a group of women camped at this site and made the nose bones, also known as marrapinti, which are worn through a hole made in the nose web.

These nose bones were originally used by both men and women but are now only inserted by the older generation on ceremonial occasions.

While in the area the women also gathered the edible berries known as kampurarrpa or desert raisin from the small shrub Solanum centrale. These berries can be eaten straight from the bush but are sometimes ground into a paste and cooked in the coals to form a type of damper.

The women later continued their travels further east, passing through the nearby rockhole site of Wirrulnga before travelling north to Wilkinkarra (Lake Mackay).

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Wintjiya NAPALTJARRI

Watanuma Acrylic on Linen 91cm x 61cm WN0904050

This painting depicts designs associated with the soakage site of Watanuma, north-west of the Kintore Community.

A group of ancestral women gathered at Watanuma to perform the dances and sing the songs associated with the area. The women also spun hair-string for making nyimparra (hair-string skirts), which are worn by both men and women during ceremonies. The comb-like shapes depict the nyimparra and the small circles in the painting depict the burrowed holes of flying ants, also known as watanuma.

Upon completion of these ceremonies the women continued their travels to the rockhole site of Malparingya and then continued east to Pinari, also north-west of Kintore. As they travelled they gathered large quantities of the edible fruit known as pura (also known in Pintupi as pintalypa), or bush tomato, from the small shrub Solanum chippendalei. This fruit is the size of a small apricot and, after the seeds have been removed, can be stored for long periods by halving the fruit and skewering them onto a stick.

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Wintjiya NAPALTJARRI

Pinari Acrylic on Belgian Linen 91cm x 46cm WN1111045

This painting depicts designs associated with the rock hole site of Pinari, north of the Kintore Community.

A group of ancestral women once gathered at Pinari to perform the dances and sing the songs associated with the area. The shapes in the painting represent two women making nyimparra (hair-string skirts), which are worn by both men and women during ceremonies.

Upon completion of these ceremonies the women continued their travels east. As they travelled the women gathered large quantities of the edible fruit known as pura (also known in Pintupi as pintalypa), or bush tomato, from the small shrub Solanum chippendalei. This fruit is the size of a small apricot and, after the seeds have been removed, can be stored for long periods by halving the fruit and skewering them onto a stick.

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Johnny YUNGUT TJUPURRULA

Wilkinkarra (Lake Mackay) Acrylic on Belgian Linen 91cm x 46cm JY1106038

This painting depicts designs associated with Tingari ceremonies at Wilkinkarra (Lake Mackay). In ancestral times a large group of Tingari men came to this site carrying the Fire Dreaming. Once the fire was lit at Wilkinkarra it quickly became out of control and chased the men west towards Kiwirrkura.

Wilkinkarra is also associated with Larularunya, a species of snake who had travelled from Mt Wedge to the lake, where it escaped the fire by travelling underground to Nyinmi. This snake was assisted in his escape by clouds of water which dampened the full force of the fire.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country , performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles . These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Johnny YUNGUT TJUPURRULA

Wilkinkarra (Lake Mackay) Acrylic on Belgian Linen 91cm x 46cm JY1111044

This painting depicts designs associated with Tingari ceremonies at Wilkinkarra (Lake Mackay). In ancestral times a large group of Tingari men came to this site carrying the Fire Dreaming. Once the fire was lit at Wilkinkarra it quickly became out of control and chased the men west towards Kiwirrkura.

Wilkinkarra is also associated with Larularunya, a species of snake who had travelled from Mt Wedge to the lake, where it escaped the fire by travelling underground to Nyinmi. This snake was assisted in his escape by clouds of water which dampened the full force of the fire.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Ray JAMES TJANGALA

Yunala Acrylic on Belgian Linen 91cm x 46cm RJ0903130

This painting relates to the soakage water site of Yunala, west of the Kiwirrkura community in Western Australia.

A large group of ancestral Tingari men camped at this site before continuing their travels further east to Pinari, north-west of the Kintore Community. While at Yunala they gathered the edible roots of the bush banana or silky pear vine Marsdenia australis, also known as yunala, which is plentiful in the region. The designs in the painting represent body paint worn by the men during ceremonies relating to Yunala.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles.

These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Cedric BENNETT TJUNGURRAYI

Tarkulnga Acrylic on Belgian Linen 61cm x 55cm CB1111034

This painting depicts designs associated with the rockhole site of Tarkulnga, to the north-east of Mt Webb in Western Australia. In ancestral times a large group of Tingari Men gathered at this site before continuing their travels north to Lake Mackay.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Winnie NAKAMARRA

Lupulnga Acrylic on Belgian Linen 61cm x 55cm WN1205104

This painting depicts designs associated with the site of Lupulnga, a rockhole situated south of the Kintore Community. The Peewee (small bird) Dreaming is associated with this site and the arrow like shapes depict the tracks of the Peewee.

During ancestral times a group of women visited this site holding ceremonies associated with the area, before continuing their travels north to Kaakuratintja (Lake MacDonald), and later the Kintore area.

As they travelled they gathered large quantities of the edible fruit known as pura (also known in Pintupi as pintalypa) or bush tomato from the small shrub Solanum chippendalei depicted in the work by the smaller circles.

This fruit is the size of a small apricot and, after the seeds have been removed, can be stored for long periods by halving the fruit and skewering them onto a stick.

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Ningura NAPURRULA

Ngaminya Acrylic on Belgian Linen 61cm x 55cm NN1112085

This painting depicts designs associated with women’s ceremonies at the rockhole and soakage water site of Ngaminya, just to the south-west of the Kiwirrkura Community in Western Australia.

During ancestral times a large group of women gathered at the site to perform the dances and sing the songs associated with the area. While in the area the women also gathered the edible berries known as kampurarrpa or desert raisin from the small shrub Solanum centrale.

These berries can be eaten straight from the bush but are sometimes ground into a paste and cooked in the coals to form a type of damper.

Upon completion of the ceremonies at Ngaminya the women continued their travels east to Wirrulnga and then on to Wilkinkarra (Lake Mackay). The rocky outcrop at Ngaminya is said to have been formed from mounds of these berries.

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Johnny YUNGUT TJUPURRULA

Tjangimanta Acrylic on Belgian Linen 107cm x 28cm JY1010151

This painting depicts designs associated with the soakage water site of Tjangimanta, north-east of the Kiwirrkura Community. In ancestral times a large group of Tingari Men visited this site during their travels east to the rockhole site of Tarkul slightly north ofWinparku (Mt Webb). The men later continued their travels north to Wilkinkarra (Lake Mackay).

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Patrick TJUNGURRAYI

Ngarru Acrylic on Belgian Linen 107cm x 28cm PT1011057

This painting depicts designs associated with the site of Ngarru, west of Jupiter Well in Western Australia.

In ancestral times a large group of Tingari men camped at this site on their journey east to Wilkinkarra (Lake Mackay).

A Wayuta (Possum) ancestor and Kuningka (Western Quoll) also passed through this site. The zig zag motifs represent their tracks, as well as the water designs that were painted onto the men’s bodies for ceremonial purposes. The concentric squares depict the rockholes at the site. Upon completion of the ceremonies they performed at Ngarru, the men continued their travels north-east toward Kiwirrkura, eventually travelling to Wilkinkarra (Lake Mackay).

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles.

These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

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Mantua NANGALA

Karrilwarra Acrylic on Belgian Linen 87cm x 28cm MN1107069

This painting depicts designs relating to the rockhole site of Karrilwarra, which is west of the Kiwirrkura Community in Western Australia. This site has a dreaming that relates to the journey of two kuniya (python) ancestors who travelled to Karrilwarra from far in the east. The lines in the painting represent the tracks left in the sand left by the snakes as well as the surrounding tali (sandhills) in the area.

During ancestral times a large group of women camped in the same area before continuing their travels further east to the site of Marrapinti, and later north-east to Wilkinkarra (Lake Mackay). While at Karrilwarra the women dug for the edible tubers known as yunala from the bush banana vine Marsdenia australis.

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Yinarupa NANGALA

Mukula Acrylic on Belgian Linen 87cm x 28cm YN1112104

During ancestral times a large group of women came from the west and stopped at this site to perform the ceremonies associated with the area. The women, represented in the painting by the ’U’ shapes, later continued their travels towards the east, passing through Ngaminya, Kiwirrkura and Wirrulnga on their way to Wilkinkarra (Lake Mackay). As the women travelled they gathered a variety of bush foods including kampurarrpa berries (desert raisin) from the small shrub Solanum centrale, and pura (bush tomato) from the plant Solanum chippendalei. Kampurarrpa berries can be eaten directly from the plant but are sometimes ground into a paste and cooked on the coals as a type of damper, while pura is roughly the size of an apricot, and after the seeds have been removed, can be stored for long periods by halving the fruit and skewering them onto a stick.

The shapes in the painting represent the features of the country through which they travelled as well as the bush foods they gathered along the way.

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Wintjiya NAPALTJARRI

Pinari Acrylic on Belgian Linen 87cm x 28cm WN1112010

This painting depicts designs associated with the rock hole site of Pinari, north of the Kintore Community.

A group of ancestral women once gathered at Pinari to perform the dances and sing the songs associated with the area. The shapes in the painting represent two women making nyimparra (hair-string skirts), which are worn by both men and women during ceremonies.

Upon completion of these ceremonies the women continued their travels east. As they travelled the women gathered large quantities of the edible fruit known as pura (also known in Pintupi as pintalypa), or bush tomato, from the small shrub Solanum chippendalei. This fruit is the size of a small apricot and, after the seeds have been removed, can be stored for long periods by halving the fruit and skewering them onto a stick.

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Nanyuma NAPANGATI

Marrapinti Acrylic on Belgian Linen 87cm x 28cm NN1109007

The lines in this painting represent the sandhills at the site of Marrapinti, west of the Pollock Hills in Western Australia.

A large group of ancestral women camped at this rockhole before continuing their travels further east, passing through Wala Wala, Kiwirrkura and Ngaminya.

While at the site the women made the nose bones, also known as marrapinti, which are worn through a hole made in the nose web. These nose bones were originally used by both men and women but are now only inserted by the older generation on ceremonial occasions. As the women continued their travels towards the east they gathered the edible berries known as kampurarrpa or desert raisin from the small shrub Solanum centrale. These berries can be eaten directly from the plant but are sometimes ground into a paste and cooked on the coals as a type of damper.

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Papunya Tula Artists

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Richard YUKENBARRI TJAKAMARRA Richard Yukenbarri Tjakamarra was born in the bush near Lake Gregory west of Balgo in approximately 1960, and is the son of the well known Balgo artist Lucy Yukenbarri.

He was introduced to the Balgo mission as a young boy where he attended school.

As a single man Richard travelled south to the small Western Desert community of Kiwirrkura, where he worked as a builders labourer on community projects which included the Kiwirrkura store. He later married Takariya Napaltjarri, who also paints for Papunya Tula Artists and is a sister of Warlimpirrnga Tjapaltjarri. He spends most of his time in Kiwirrkura but often returns to Balgo to visit relatives and attend cultural events.

Richard began working regularly for the Papunya Tula Artists in 2002 and his paintings refer to his father’s country, which extends from the area around Jupiter Well, west of Kiwirrkura, north to Balgo.

Collections Artbank Ray JAMES TJANGALA Ray is the son of Anatjari Tjampitjinpa, one of the early painters of the Papunya Tula movement. He was born in the desert, circa 1958. Jeremy Long, a Government Patrol Officer, encountered him and his family at the Wudungunya Rockhole, north-east of Jupiter Well, on one of his patrols in 1963. The family are mentioned in Douglas Lockwood’s book The Lizard Eaters. His family later moved to the Papunya Community.

Collections Flinders University Art Museum Art Gallery of New South Wales National Gallery of Victoria Aboriginal Art Museum, The Netherlands Warlimpirrnga TJAPALTJARRI Warlimpirrnga Tjapaltjarri came to Kiwirrkura in 1984. Prior to this he had been living in country to the west of Lake Mackay. It was estimated that at this time he was 25 years old.

Collections National Gallery of Victoria Art Gallery of New South Wales Musee National Des Arts Africains et Oceaniens, Paris, France The Kelton Foundation Collection Macquarie Bank Collection Artbank Griffith University Art Collection

Pinta Pinta TJAPANANGKA Pinta Pinta was born at Yumari circa 1930. He started painting in the early 1970s and continued painting until just prior to his death in July 1999. His country lies to the north of Mt. Webb in Western Australia, and the sites and mythologies he painted extended from this area to north of Kintore in the Northern Territory.

Collections Australian Museum Sydney National Gallery of Victoria Robert Holmes a Court Collection Museums & Art Galleries of the Northern Territory National Museum of Ethnography, Sweden The University of Newcastle Artbank Charlie TJAPANGATI Charlie Tjapangati was born at the site of Tjulurrunya, west of Kiwirrkura in approximately 1949. He is the younger brother of Nanyuma Napangati, who also paints for Papunya Tula Artists. During the early 1960s Charlie travelled in to Papunya by truck with one of Jeremy Long’s government patrols. He was a young teenager at the time and was initiated in Papunya after arriving. Charlie commenced painting for Papunya Tula Artists in 1978, and in 1999 he contributed to the Kintore men’s painting as part of the Western Desert Dialysis Appeal.

Collections Artbank Robert Holmes a Court Collection Victorian Arts Centre The Kelton Foundation Collection National Gallery of Australia Museums & Art Galleries of the Northern Territory University of Virginia, U.S.A. Flinders University Art Museum Macquarie Bank Collection Aboriginal Art Museum, The Netherlands

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Nyilyari TJAPANGATI Nyilyari is the second son of the well known artist Pinta Pinta Tjapanangka and the younger brother of Matthew Tjapangati. He was born in approximately 1965. Nyilyari completed his first paintings for Papunya Tula Artists as early as 1999 but didn’t begin painting regularly for the company until 2004. His paintings relate to sites around Kaakuratintja (Lake MacDonald) and west to Mt Webb and Wilkinkarra (Lake Mackay).

These are all sites that were also commonly referred to in his father’s paintings.

Collections Araluen Art Centre, Alice Springs, Northern Territory, Australia National Gallery of Australia Patrick TJUNGURRAYI Patrick was born in the desert near Jupiter Well c. 1940. He is a Pintupi speaker who divides his time between Balgo and the Pintupi homeland community of Kiwirrkura to the south. Patrick is the younger brother of Brandy Tjungurrayi, who also lives in Kiwirrkura.

In 1999 Patrick contributed to the Kiwirrkura men’s painting as part of the Western Desert Dialysis Appeal. Patrick Tjungurrayi was named among the Top 50 of Australia’s Most Collectable Artists in Australian Art Collector issue 31, January - March 2005.

Awards 2008 Western Australian Indigenous Art Awards Collections Art Gallery of New South Wales National Gallery of Victoria Artbank Aboriginal Art Museum, The Netherlands Griffith University Art Collection

Bobby WEST TJUPURRULA Bobby is the son of Freddy West Tjakamarra, one of the original shareholders of Papunya Tula Artists. He was born at the rockhole site of Tjamu Tjamu, which is east of Kiwirrkura, around 1958. Bobby’s family was met by Jeremy Long’s welfare patrol in 1963. At the time his family was camping at Willi rockhole, slightly east of Kintore. Bobby appears with his family in the book ‘The Lizard Eaters’ by Douglas Lockwood, which documents the 1963 patrol. He commenced painting for Papunya Tula Artists in the late 1980s. In 1999 Bobby contributed to the Kiwirrkura men’s painting as part of the Western Desert Dialysis Appeal.

Awards 2011 General Painting Award, 28th Telstra National Aboriginal & Torres Strait Islander Art Award Collections National Gallery of Victoria Charles Darwin University Cornell University New York Griffith University Art Collection Johnny YUNGUT TJUPURRULA Johnny was born in the vicinity of Tjangimanta, north-east of the Kiwirrkura Community, circa 1930. His family tended to travel between Lake Mackay and where the Kiwirrkura Community now stands. During the 1950s, Johnny, his wife Walangkura, and members of the extended family heard about the Balgo Community from other Pintupi travellers and made the long trip northwards. Some of the family remained at Balgo, including his brother Donkeyman Lee, who later became a well known artist for the Warlayirti Art Group in Balgo. Johnny returned to the Lake Mackay region and in 1956 met up with the Evans Patrol and travelled to Mount Doreen and Yuendumu with them. He then returned to Lake Mackay and when visiting Lappi Lappi rockhole north of Lake Mackay in 1957 met up with Donald Thompson and as a result features in the book Bindibu Country.

This meeting led to the party leaving the desert and travelling to Haasts Bluff. He moved to live at the Papunya Community when it was established in late 1959. In 1999 Johnny contributed to the Kiwirrkura men’s painting as part of the Western Desert Dialysis Appeal.

Collections National Gallery of Victoria Griffith University Art Collection Aboriginal Art Museum, The Netherlands

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George WARD TJUNGURRAYI George was born near the site of Lararra, east of Tjukurla in Western Australia c. 1945.

His first contact with Europeans was made through one of the welfare patrols led by Jeremy Long and Nosepeg Tjupurrula at a rockhole south of Kiwirrkura. After travelling in to Papunya he worked both as a fencer and as a butcher in the Papunya kitchen. George’s father was also the father of Yala Yala Gibbs Tjungurrayi and Willy Tjungurrayi and although they had different mothers he considers them very close brothers.

Awards 2004 Wynne Landscape Prize Collections National Gallery of Australia Art Gallery of New South Wales Charles Darwin University Mantua NANGALA Mantua was born at Tjilurru circa 1959. She is the daughter of Anatjari Tjampitjinpa and the sister of Ray James Tjangala and George Yapa Tjangala, all of whom have painted for Papunya Tula Artists.

Yinarupa NANGALA Yinarupa is the daughterof the artist Anatjari Tjampitjinpa, a former shareholder of Papunya Tula Artists who is now deceased. She was born circa 1955 in the vicinity of Mukula west of Kiwirrkura in Western Australia and appears as a small child in the book ‘The Lizard Eaters’. Her sister Mantua Nangala and brother Ray James Tjangala are also in the book. She was married to Yala Yala Gibbs Tjungurrayi, who was also an artist and shareholder who passed away in December 1995. In 1999 Yinarupa contributed to the Kiwirrkura women’s painting as part of the Western Desert Dialysis Appeal.

Awards 2009 General Painting Award 26th National Aboriginal & Torres Strait Islander Art Award 2010 Honorable Mention 36th Alice Prize, Araluen Art Centre, Alice Springs, Northern Territory, Australia Collections Art Gallery of New South Wales National Gallery of Victoria

Yakari NAPALTJARRI Yakari is the widow of Simon Tjakamarra, who painted for Papunya Tula Artists from the late 1970s until his death in 1990. She lives and paints in the Kiwirrkura Community, although she often travels to Kintore as well as communities further west such as Punmu and Jigalong in Western Australia.Yakari completed her first paintings for Papunya Tula Artists in 1996 after starting as a group with the other Kiwirrkura women.

Collections Artbank Wintjiya NAPALTJARRI Wintjiya was born at Malparingya, north-west of the Kintore Community, circa 1930, and she is the second wife of Turkey Tolson’s father. She later moved to Haasts Bluff with her husband and then to the Papunya Community when it was established. She participated in the Kintore/ Haasts Bluff joint project, which was the beginning of her career, but now paints for Papunya Tula. In 1999 Wintjiya contributed to the Kintore women’s painting as part of the Western Desert Dialysis Appeal.

Collections Museums & Art Gallery of the Northern Territory, Australia National Gallery of Victoria, Australia National Gallery of Australia Art Gallery of New South Wales, Australia Araluen Art Centre, Alice Springs, Northern Territory, Australia Campbelltown City Art Gallery, New South Wales, Australia Artbank Aboriginal Art Museum, The Netherlands Griffith University Art Collection Nanyuma NAPANGATI Nanyuma was born in approximately 1944 and is the sister of Charlie Tjapangati. Their father had three wives and was the older brother of the well known Papunya Tula Artist Pinta Pinta Tjapanangka. She is also closely related to the late Kanya Tjapangati, who passed away in 2006, through the same father but different mothers. In 1999 Nanyuma contributed to the Kiwirrkura women’s painting as part of the Western Desert Dialysis Appeal.

Collections Art Gallery of New South Wales Artbank

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Yukultji NAPANGATI Yukultji Napangati came to Kiwirrkura in 1984. Prior to this she had been living with eight others of her immediate family in an area of country to the west of Lake Mackay.

It was estimated that at the time her family came in to Kiwirrkura she was 14 years old.

In 1999 Yukultji contributed to the Kiwirrkura women’s painting as part of the Western Desert Dialysis Appeal, and in 2005 she was selected as one of nine artists to exhibit at the prestigious Primavera show at the Museum of Contemporary Art in Sydney. This is an invitational non-selling exhibition for young Australian artists under the age of thirty-five years.

Awards 2011 Highly Commended, Wynne Prize 2012 The Alice Prize Collections National Gallery of Australia Art Gallery of New South Wales, Australia Artbank Griffith University Art Collection Florrie WATSON NAPANGATI Florrie Watson Napangati was born in the area around Mt Doreen, north west of the Yuendumu community circa 1950. Shortly after she was born her father passed away and her family walked into Mt Doreen Station. Later she moved to Yuendumu where she lived until her first husband passed away. She later remarried Jimmy Brown Tjampitjinpa and now resides in Kiwirrkura. Florrie began painting for Papunya Tula Artists in 2007.

Ningura NAPURRULA Ningura Napurrula was born at Watulka, south of the Kiwirrkura Community, circa 1938.

She married Yala Yala Gibbs Tjungurrayi and together with their young son Morris they went in to the Papunya Community after meeting up with Jeremy Long during one of his Welfare Patrols. Ningura completed her first paintings for Papunya Tula Artists in 1996 and was exhibited that same year. In 1999 Ningura contributed to the Kintore women’s painting as part of the Western Desert Dialysis Appeal. Later in 2003 she was chosen along with four other Papunya Tula Artists to have one of her paintings represented on an Australia Post international stamp. In 2004 Ningura was one of eight Aboriginal artists selected to have an example of their work incorporated into the architecture of the Musee du Quai 8ranly in Paris. This museum opened in June 2006, and houses the French collection of art from Africa, Asia, Oceania and the Americas.

Collections Art Gallery of New South Wales Australian Institute for Aboriginal and Torres Strait Islander Studies Museum and Art Gallery of the Northern Territory National Gallery of Australia National Gallery of Victoria Musee du Quai Branly, France Artbank Griffith Univeristy Art Collection Charles Darwin University

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From humble beginnings...

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Original Papunya Tula Showroom, Alice Springs

...dreams can grow.

Kiwirrkura Studio

Kintore Studio

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Š Images courtesy of Papunya Tula Artists Pty Ltd

In conjunction with

With the collaboration and support of

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