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REDOT FINE ART GALLERY in collaboration with Spinifex Artists presents

Making a Mark A Collection of Fine Spinifex Indigenous Art

16 Jun – 16 Aug 2021

Online Exhibition

For a high resolution, downloadable, PDF version of 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

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Various Spinifex Artists (COLLABORATIVE) Kungkarangkalpa Acrylic on Linen 200 x 290cm 19-389

This painting Kungkarangkalpa or better known as Seven Sisters has been painted by seven Spinifex women; Ngalpingka Simms, Kanta Donnegan, Lorraine Davies, Tracey Simms, Dora Parker, Sophia Brown and Katie Brown. this is a womens Tjukurpa which traverses vast tracts of Spinifex country and beyond. In fact this is such a significant story that the womens tracks and creation sites are found all over Australia. The women here have painted country from Patjar in the north of the Ngaanyatjarra Lands of Western Australia following a songline travelling south into southern Spinifex Country. The women ere camped at a site called Tika-tika and Kalumara just south of Patjarr. Many of the rock holes in the surrounding country were made by these ancestral beings and they were digging for food and water. The women are depicted here sitting down by the semi circular motifs and their foot prints lead to the rock holes. Then they headed south of Warburton to the sites near Snake Well called Tjawl-tjawl and Piyul. All the while the women were trying to evade the pursuit of the lustful old man Wati Nyiiru. The man is sitting by his fire inside his windbreak with his spear and spear thrower. He has been sneaky and built several yuu’s (shelters from trees) to give him cover as he spies on the women. He desperately wants the elder sister to be his wife, but she doesn’t want the old man. The women keep moving heading to Uturi, to get away from him but he still follows them. They pass by Pur-purnya country which holds the dangerous men’s story. The two serpent beings a father and son have been out on initiation business. These men are from Pukara. The women continue south into the heartland of Spinifex country making numerous rockholes and performing sacred rituals along the way. At Kuru Ala the man catches one of the women and cause her injury but she escapes to the cave and the care of her sisters who spend time healing her. Then the pass through Tjuntjunya, Kapi Piti Kutjara, Tjalkinya, Kanka, Wangulpinya and Pirapi. Although each women knows this major Tjukurpa, they are bound by cultural protocol and custodial responsibility as to which country they can depict. As the country and Tjukurpa unfolds during the creation of a major work like this, the women ‘sing the place’ into reality. Traditional inma (singing and dancing) is triggered as the depictions of places, that the women may not have physically seen for many years, begin to manifest onto the canvas.


Work in Progress – Kungkarangkalpa (19-389)


Source: © Photos Courtesy of Spinifex Arts Projects





Various Spinifex Artists (COLLABORATIVE) Minyma Tjuta Acrylic on Linen 200 x 290cm 19-323

Seven women: Dora Parker, Ivy Laidlaw, Myrtle Pennington, Ngalpingka Simms, Tracey Simms, Sophia Brown and Kanta Donnegan, have painted this Seven Sisters story, a major Western Desert Tjukurpa that traverses Spinifex Country at numerous sites. The story pertains to the creation of the landscape and details the women’s travels as they sing inma, collect bush foods and pursue a giant python, as they are in turn pursued closely by the lustful wati Nyiru (man). Specific events in this story where the women intersect with Nyiru, form geographic and culturally important sites, many which are for women only. At Tuntunya rockhole which is Kanta Donnegan’s country she tells the story of the sisters painting their nipples getting ready for ceremony. The word for nipple is tuntun in Spinifex language. Sophia Brown painted a site called Kulyuru her grandfather’s place, where the women chase the python who forms a large hole in the rock as he escapes. A tree overlooking the canyon at Kulyuru is Nyiru, never far from the sisters. The python winds its way across the landscape of Kulyuru creating a large creek bed. At Kuru Ala in the north of Spinifex country one of the women is grabbed by Nyiru, she is later healed by her sisters in the cave. The women’s journey and sites travelled are represented by the many rockholes or roundels in this painting. Wati Nyiru is represented by his camp and spear and can be seen in numerous places across this canvas. Ivy Laidlaw has painted the women sitting in their camp, with Wati Nyiru waiting nearby, with his spear and spear thrower. Dora Parker has painted the site of Purpurnya. Ngalpingka and Tracey Simms, mother and daughter, have worked together to paint Wayiyul country close to Karilywara (Patjarr) in the Ngaanyatjarra Lands of Western Australia. It is where Ngalpingka was born and grew up living a traditional nomadic life with her family. She knows this country intimately, in both a physical and spiritual sense. The seven sisters camped at Wayiyul and Nyiru has been stalking them, camping some distance from where they stop and hiding behind his windbreak, poking his head over to take a look. The women are disturbed by his constant pursuing of them and quickly take off to camp away from him. They travel to (roundels are the sites) Karilywara, Miputjara, Tikatika, Wanarn and Yalara. The younger women who worked on this painting continue to learn the details of this extensive story under the guidance of their senior close relatives. These women will be the bearers of this story for the following generations and express the story through painting and other contemporary art forms. The younger artists are; Tracey Simms, Dora Parker, and Sophia Brown.


Work in Progress – Minyma Tjuta (19-323)


Source: © Photos Courtesy of Spinifex Arts Projects


Bark Cutting & Preparation

Various Spinifex Artists (WOMENS COLLABORATIVE) (19-323) in situ Source: © Photo Courtesy of Spinifex Arts Projects




TIMO HOGAN


Timo Hogan Source: © Photo Courtesy of Spinifex Arts Projects




Timo HOGAN Lake Baker Acrylic on Linen 290 x 200cm 20-28

Timo Hogan applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. He surveys the Tjukurpa (Creation Lines) of his birthright and brings them into focus on the two dimensional plane. In this painting Timo has depicted Wati Kutjara Tjukurpa (Two Men Creation Line) which forms a major portion within Lake Baker and is where the two men encounter a powerful Wanampi (water serpent) that resides there. Timo narrates the movement of the two men have been out hunting and have returned to their rightful place within the landscape. And of the Wanampi who watches the Two Men as he becomes part of the lake whilst on his own hunting journey. These characters are the creation beings who shaped the landscape as they moved through it, leaving the indelible physical reminders of their power and presence and who for Timo, very much still exist today.


Work in Progress – Lake Baker (20-28)


Source: © Photos Courtesy of Spinifex Arts Projects



Timo HOGAN Lake Baker Acrylic on Linen 200 x 290cm 20-126

Timo Hogan calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane. It is this narrative within Lake Baker that forms a major portion and is where the two men encounter a powerful Wanampi (water serpent) that resides there. In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake and has the ever present and larger than life Wanampi already having entered his kapi piti ngura (home in the waterhole) after being out in search of food. These characters are the creation beings who shaped the landscape as they moved through it, leaving not only the indelible physical reminders of their power and presence but a moral drama for all to follow, that is also etched within the world.



Timo HOGAN Lake Baker Acrylic on Linen 200 x 230cm 20-124

Timo Hogan calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane. It is this narrative which within Lake Baker forms a major portion and is where the two men encounter a powerful Wanampi (water serpent) that resides there. In this painting Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon a portion of the lake and has wrapped the ever present and larger than life Wanampi around the perimeter of the lake. Timo narrates the movement of the Wanampi as he is returning to his kapi piti ngura (home in the waterhole) after being out in search of food. These characters are the creation beings who shaped the landscape as they moved through it, leaving the indelible physical reminders of their power and presence.



Timo HOGAN Lake Baker Acrylic on Linen 200 x 230cm 20-219

Timo Hogan calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane. It is this narrative that forms a major portion within Lake Baker and is where the two men encounter a powerful Wanampi (water serpent) that resides there. In this composition Timo has depicted the ever present and larger than life Wanampi getting ready to enter his kapi piti ngura (home in the waterhole) after being out in search of food. These characters are the creation beings who shaped the landscape as they moved through it, leaving not only the indelible physical reminders of their power and presence but a moral drama for all to follow, that is also etched within the world.



Timo HOGAN Lake Baker Acrylic on Linen 137 x 200cm 20-217

Timo Hogan calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane. It is this narrative that forms a major portion within Lake Baker and is where the two men encounter a powerful Wanampi (water serpent) that resides there. In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake itself and has the ever present and larger than life Wanampi wrapped around the perimeter as he departs from his kapi piti ngura (home in the waterhole) and is closely watching the Two Men. Timo says the Wanampi goes out hunting each day. These characters are the creation beings who shaped and made the landscape as they moved through it, leaving not only the indelible physical reminders of their power and presence but a moral drama that is alive and etched within the world for all to follow.



LAWRENCE PENNINGTON



Lawrence PENNINGTON Mituna Acrylic on Linen 200 x 290cm 20-218

Lawrence Pennington touches the deepest qualities of the Tjukurpa in the unseen, taking the broad brush to minimal resemblance of the characters that inhabited the first journey. He guides the significant site of Mituna effortlessly onto the canvas, channelling the essence of Wati Kutjara Tjukurpa (Two Men Creation Line) from a time before when Lawrence walked throughout Spinifex Country. A time when he walked with the Song, following the physical manifestation in the landscape left by the creation beings, of the stories that made it so, of the characters that played out the journey. The Two Men are a father and son Wanampi (powerful water serpent) who traverse the vast tracts of Spinifex Country on ceremonial business. The son is forever becoming embroiled in conflict and the father must keep watchful eye and resolves his sons problems. These are creation beings who changed the landscape with their moral actions, as moved through it, leaving indelible physical reminders of their power and presence of transformation.


Work in Progress – Mituna (20-218)


Source: © Photos Courtesy of Spinifex Arts Projects



Lawrence PENNINGTON Pukara Acrylic on Linen 200 x 137cm 20-100

Lawrence Pennington touches the deepest qualities of the Tjukurpa in the unseen, taking the broad brush to minimal resemblance of the characters that inhabited the first journey. He guides the significant site of Pukara effortlessly onto the canvas, channelling the essence of Wati Kutjara Tjukurpa (Two Men Creation Line) from a time before when Lawrence walked throughout Spinifex Country. A time when he walked with the Song, following the physical manifestation in the landscape, left by the creation beings, of the stories that made it so, of the characters that played out the journey.



Lawrence PENNINGTON Mituna Acrylic on Linen 110 x 137cm 19-425

Lawrence Pennington touches the deepest qualities of the Tjukurpa in the unseen, taking the broad brush to minimal resemblance of the characters that inhabited the first journey. He guides the significant sites of Mituna and Pukara effortlessly onto the canvas, channelling the essence of Wati Kutjara Tjukurpa (Two Men Creation Line) from a time before when Lawrence walked throughout Spinifex Country. A time when he walked with the Song, following the physical manifestation in the landscape, left by the creation beings, of the stories that made it so and of the characters that played out the journey.



Lawrence PENNINGTON Mituna Acrylic on Linen 137 x 110cm 20-99

Lawrence Pennington touches the deepest qualities of the Tjukurpa in the unseen, taking the broad brush to minimal resemblance of the characters that inhabited the first journey. He guides the significant sites of Mituna and Pukara effortlessly onto the canvas, channelling the essence of Wati Kutjara Tjukurpa (Two Men Creation Line) from a time before when Lawrence walked throughout Spinifex Country. A time when he walked with the Song, following the physical manifestation in the landscape, left by the creation beings, of the stories that made it so and of the characters that played out the journey.



Lawrence PENNINGTON Mituna Acrylic on Linen 90 x 137cm 20-101

Lawrence Pennington touches the deepest qualities of the Tjukurpa in the unseen, taking the broad brush to minimal resemblance of the characters that inhabited the first journey. He guides the significant sites of Mituna and Pukara effortlessly onto the canvas, channelling the essence of Wati Kutjara Tjukurpa (Two Men Creation Line) from a time before when Lawrence walked throughout Spinifex Country. A time when he walked with the Song, following the physical manifestation in the landscape, left by the creation beings, of the stories that made it so and of the characters that played out the journey.



PATJU PRESLEY



Patju PRESLEY Uwanmara Acrylic on Linen 200 x 137cm 20-34

Patju Presley paints with such a spiritual confidence, as someone who knows their place in the Creation. Here he depicts the significant site of Uwanmara. It is here that the Wati Kutjara Tjukurpa (Two Men Creation Line) passes. This is an epic narrative that follows the journey of a water and son Wanampi (Water Serpent) who traverse the Spinifex Lands on ceremonial business. At Uwanmara, the son is being teased and beaten by all the children because he has different eyes. These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. it is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.



Patju PRESLEY Piltjitjara Acrylic on Linen 200 x 137cm 19-346

Patju Presley has depicted country that encompasses the Wati Tjutaku Tjukurpa (Many Men Creation Line). This is situated over a vast landscape surrounding the significant site of Piltjitjara in the northeast of traditional Spinifex Lands. This Tjukurpa pertains to the movement of young boys as they journey into ceremonial life to become men and cannot be elaborated upon because of the nature of its content. These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. it is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience in its presence.



Patju PRESLEY Upalini Acrylic on Linen 200 x 137cm 20-213

Patju Presley paints with such a spiritual confidence, as someone who knows their place in the Creation, often singing the associated songs of particular sites whilst rhythmically placing his myriad of dots. Here he depicts the significant site of Upalini situated to the northeast of traditional Spinifex Lands. This site manifests the Wati Tawalpa Tjukurpa (Cresent nailed-tailed Wallaby Man Creation Line) and Patju tells that he is a very old man and this is a special place where he resides. These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. it is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.


Work in Progress – Upalini (20-213)


Source: © Photos Courtesy of Spinifex Arts Projects



Patju PRESLEY Makan Acrylic on Linen 137 x 140cm 20-214

Patju Presley paints with such a spiritual confidence, as someone who knows their place in the Creation. Here he depicts the significant site of Kulpinya situated in the north of traditional Spinifex Lands. This site manifests the Wati Ngintaka Tjukurpa (Perentie Man Creation Line) and Patju tells of the two kali (boomerang) that are here and were placed in the ground to try to stop Minyma Nyulu (Golden Bandicoot Woman) from entering the area. These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. it is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.



Patju PRESLEY Upa Acrylic on Linen 137 x 110cm 20-203

This is the place, which holds the cave of the moon man, Wati Kinara. It’s called Upa. It’s between here and Irrunytju close to Awinya and Mituna. This is a big story. Tjukurpa mulapa really the truth. The Moon man took shelter inside the cave. Patju Presley paints with such a spiritual confidence, as someone who knows their place in the Creation. Here he depicts the significant site of Upa situated in the north of traditional Spinifex Lands. This site manifests the Wati Kinara Tjukurpa (Moon Man Creation Line) and Patju tells of the Moon Man taking shelter inside the kulpi (cave) that is there. Patju states that this story he tells is the truth. These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. it is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.



Patju PRESLEY Piltjitjara Acrylic on Linen 137 x 90cm 20-103

Patju Presley paints with such a spiritual confidence, as someone who knows their place in the Creation. Here he depicts the significant site of piltjitjara situated to the northeast of traditional Spinifex Lands. This site manifest the Wati Tjutaku Tjukurpa (Many Men Creation Line) and Patju tells of the sacredness of the area with its kapi mankurpa (three rock holes). These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. it is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.



Patju PRESLEY Upatji Acrylic on Linen 75 x 60cm 20-207

Patju Presley paints with such a spiritual confidence, as someone who knows their place in the Creation. Here he depicts the significant site of Upatji situated well to the north of traditional Spinifex Lands. This site manifests the Wati Tjilpiku Tjukurpa (Old Man Creation Line) and Patju describes the country as ’very sacred and where they were grinding the seeds from the ngalta (Kurrajong tree). These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. it is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.



Patju PRESLEY Kuntuwa Acrylic on Linen 60 x 75cm 20-208

Patju Presley paints with such a spiritual confidence, as someone who knows their place in the Creation. Here he depicts the significant site of Kuntuwa situated to the northeast of traditional Spinifex Lands near present day Watarru. This site manifests the Tjitji Tjuta Tjukurpa (Many Children Creation Line) and Patju describes the the site as inma pulka (dancing ground) and where everyone came to see the children dancing. These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. it is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.



Patju PRESLEY Kulpinya Acrylic on Linen 60 x 75cm 20-209

Patju Presley paints with such a spiritual confidence, as someone who knows their place in the Creation. Here he depicts the significant site of Kulpinya situated in the north of traditional Spinifex Lands. This site manifests the Walawuru Tjukurpa (Eagle Creation Line) and Patju tells of the two eagle children who travel a long way to the west and the father tracks them and brings them and returns them to Kulpinya where they are now buried. These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. it is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.



ROY UNDERWOOD



Roy UNDERWOOD Mulyaya Acrylic on Linen 200 x 137cm 18-111

Roy Underwood has depicted the significant site of Mulyaya situated in the heart of traditional Spinifex Country. Mulyaya forms part of the Liru Tjuta Tjukurpa or Snake People Creation Story and is considered to be one of the most dangerous and sacred places in Spinifex Lands. Roy talks of the snake people with immense power who interact with Wati Ngapala (Western Bearded Dragon Man) and this painting shows the characters surrounded by and concealed by sand ridges that define Spinifex Country These are creation beings who shaped the landscape as they moved through it, who were powerful shape shifters who were revered and feared at once.



Roy UNDERWOOD Pukara Acrylic on Canvas 136 x 198cm C1078

Roy has painted a big story from northern Spinifex country called Pukara. Pukara is the story of the Wati Kutjara or “Two men” who are travelling through the country on initiaton business. The snakes represent a father and a son. The Kalaya Tjukurpa (Emu story) are also present at this site and you can see this by the many emu tracks in the painting.



Roy UNDERWOOD Wati Kutjara Acrylic on Linen 193 x 132cm 13299

“Nyangatja Wati Kutjara wanampi Kutjara Pukaralanguru ka mama munu katja ka paluru katja kuru kali kali ka katja pikati Anangu Tjuta ka kalaya Tjukurpa Ilkurlkalawanu Tipillakutu ka tjana Tipil nyinanyi kaTjukurpa kutjara para ananyi.” This is the Two Men or the Water Serpent Men, a father and his son who are travelling from Pukara. The son is dangerous and has strange eyes and is always fighting. Also seen are the emu that are travelling past Ilkurlka to their place of rest at Tipil. There are the two stories running across here on this canvas.



Roy UNDERWOOD Karnkanya Acrylic on Linen 137 x 200cm 15-163

“Nyangatja ngura ini Karnkanya ka Wati Kutjaraku ngura”. This site is named Karnkanya and it is a major site of the Two Men Creation Line. Roy Has painted the significant site of Karnkanya, a site that forms part of the Two Men Creation Line and involves a large group of karnka (crow) women who are devouring all the available food at this site. The Two Men (Black Nosed Monitor Man and Sand Goanna Man) approach and begin throwing their kali (boomerangs) at the women, eventually driving them west towards Coober Pedy.



Roy UNDERWOOD Pukara Acrylic on Linen 137 x 200cm 17-176

Roy Underwood has depicted country associated with the Wati Kutjara Tjukurpa (Two Men Creation Line). This is a far reaching epic that follows two Wanampi (magical water serpents), a father and son, who traverse the Spinifex Lands on ceremonial business. The son is unpredictable. Here at Pukara, the son sneaks away while the father sleeps. These Two Men are Creation beings and as such shaped the landscape with their actions and left the physical and moral reminders of their presence that are still visible today.



Roy UNDERWOOD Miramiratjara Acrylic on Linen 137 x 140cm 18-480

When Roy Underwood paints on canvas he depicts history, an oral history that is still as relevant today as it was when Roy was a boy and maybe 60,000 years before then. He depicts the creation of the the physical world, of the first beings who took their form from the animal kingdom but were mere men all the same, susceptible to the emotional spectrum and inadequacies that western poets and philosophers have written of for centuries. These Creation beings shaped the landscape as they moved through it, leaving indelible monolithic reminders everywhere of their presence and power that is inextricably tied to the moral fabric of the natural world and the people that inhabit it. Roy Underwood is one such person, born in a sacred place that cannot be named, brought into a world dominated by ceremonies celebrating the formation of the physical world, of every animal in it and the life affirming worship of water sources. When Roy Underwood paints, he doesn’t paint a picture, he paints the birth of Country, of his Country and in doing so continually celebrates the formation of all life.



IAN RICTOR



Ian RICTOR Tuwan Acrylic on Linen 200 x 230cm 17-315

Ian has painted the significant site of Tuwan, located in the north of Spinifex Lands and a major site for the Nyii-Nyii Tjuta Tjukurpa (Zebra Finch Creation Line). This epic is a sacred ’Mens’ story that follows a group of zebra finch as they head south to the coast in search Rictor lived and walked by Tuwan for the early part of his life as a traditional hunter gatherer with his immediate family. As a small group, they were the ’Last of the Nomads’ who walked into the settlement prior to the establishment of Tjuntjuntjara Community. Relatives had been tracking the family, who were rumoured to have perished long before, for many months before finally convincing them to join other family in the settlement.



Ian RICTOR Miramiratjara Acrylic on Linen 200 x 137cm 18-17

Ian has depicted the significant site of Miramiratjara situated in the heart of traditional Spinifex Country. This site offered people one of the few permanent water supplies in an arid environment and as such was where large groups would congregate for ceremony. Miramiratjara was also the site chosen for the initial Native Title High Court signing, prior the Spinifex People receiving their Land back. Ian has authority to paint and talk for such sites through either birth or paternal links. Miramiratjara forms part of several Songlines. One is Wati Kutjara Tjukurpa (Two Men Creation Line) where the waterholes are said to be guarded by the two Wanampi (Magical Water Serpents) who still live there. It is also the site of Wati Nyulu (Golden Bandicoot Man) who during Creation burnt part of the immediate country before being caught in the same fire he started and eventually perishing. The naked sandhills that surround are said to be because of this event.



Ian RICTOR Kamanti Acrylic on Linen 200 x 137cm 18-68

Ian has depicted the significant site of Kamanti associated with Wati Kutjara Tjukurpa (Two Men Creation Line). This is an epic that follows two water serpents, a father and his son, as they travel south through Spinifex Country on ceremonial business. The young son is volatile and the father watches him carefully. These are Creation beings who manifest as man and animal. Powerful shape shifters who carve and mould the story and the landscape as they move through it. At Kamanti, the two men leave their story in the form of rockholes that serve as ever present reminders of their power that is still present today.



Ian RICTOR Kapi Mankurpa Acrylic on Linen 200 x 137cm 18-151

Ian has depicted three significant sites. Firstly Kamanti which has two rock holes situated in the heart of traditional Spinifex Lands and a site that forms part of the Wati Kutjara Tjukurpa (Two Men Creation Line). This is a powerful epic that follows a father and son as they traverse Spinifex Country on Cultural Business. These two men take the form of Wanampi, magical water serpents and shape the landscape as they move through it, leaving behind the physical and spiritual reminders of their journey. At Kamanti, two rockholes appear side by side and are where the Two Men made camp on their travels. The other site depicted is Tuwan, a special ’Mens’ site and where the Tjilpu Tjuta Tjukurpa (Many Birds Creation Line) begins. This story deals with a group of Zebra Finch Men as they move south to the coast in search of water. Kapi Mankurpa translates as three rockholes.



Ian RICTOR Wati Kutjara Serpent Men Country Acrylic on Linen 200 x 137cm 18-152

Ian has depicted country or significant sites associated with Wati Kutjara Tjukurpa (Two Men Creation Line). This is an epic that follows two water serpents, a father and his son, as they travel south through Spinifex Country on ceremonial business. The young son is volatile and the father watches him carefully. These are Creation beings who manifest as man and animal. Powerful shape shifters who carve and mould the story and the landscape as they move through it. At Kamanti, the two men leave their presence in the form of rockholes that serve as ever present reminders of the power involved and still present today.



Ian RICTOR Tuwan Acrylic on Linen 137 x 140cm 20-210

Ian Rictor paints with quite confidence that comes from someone who knows their place in the landscape. Here he depicts the significant site of Tuwan situated in the north of traditional Spinifex Lands. This site manifests the Tjulpu TjutaTjukurpa (Many Birds Creation Line) and follows a group of Nyii Nyii (Zebra Finch Men) who travel south to the coast and save the world from rising seas. These characters that Ian depicts are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence.



Ian RICTOR Tuwan Acrylic on Linen 137 x 90cm 17-010

Ian Rictor is a senior Spinifex Man who lived a traditional nomadic life throughout the Spinifex Lands until he and his immediate family ’walked in’ to Tjuntjuntjara Community in 1986 making him one of the ’Last of the Nomads’. Here Ian has depicted the significant site of Tuwan, a place he knows intimately and has custodial responsibility for through birthright and paternal links. As such he is accepted as the authority on the Tjilpu Tjuta Tjukurpa (Many Birds Creation Line) that holds there.



Ian RICTOR Kamanti munu Tuwan Acrylic on Linen 137 x 90cm 20-204

Ian has depicted three significant sites. Firstly Kamanti which has two rock holes situated in the heart of traditional Spinifex Lands and a site that forms part of the Wati Kutjara Tjukurpa (Two Men Creation Line). This is a powerful epic that follows a father and son as they traverse Spinifex Country on cultural business. These two men take the form of Wanampi, magical water serpents and shape the landscape as they move through it, leaving behind the physical and spiritual reminders of their journey. At Kamanti, two rockholes appear side by side and are where the Two Men made camp on their travels. The other site depicted is Tuwan, a special ’Mens’ site and where the Tjilpu Tjuta Tjukurpa (Many Birds Creation Line) begins. This story deals with a group of Zebra Finch Men as they move south to the coast in search of water. Kapi Mankurpa translates as three rockholes.



LENNARD WALKER



Lennard WALKER Tali Acrylic on Linen 230 x 200cm 20-133

This is the country north from Tjuntjuntjara. Tali tjuta (many sand dunes) all along here. As you travel north past Ilkurlka you reach the country I am responsible for around Kuru Ala (located in the Great Victoria Desert of WA). There are small rock holes along the way, which provided much needed water as people traditionally walked this country on foot. Lennard was born several hundred kilometres north of Tjuntjuntjara at Kuru Ala in the heart of the Great Victoria Desert. He is the senior custodian for Kuru Ala an immensely important site in the region. It is a ‘Women’s Site” holding the Kungkarangkalpa Tjukurpa – Seven Sisters story. As a man, there are places he cannot go but he still holds authority and cultural responsibilities for Kuru Ala. Before reaching Kuru Ala there are many sand dunes to pass over. Lennard has great knowledge for this country and lists the following rock holes; Purpurnya, Kapi Wiyatjara, Nyuman, Kamanti, Tuwan and Wayatji.



Lennard WALKER Tali Tjuta Acrylic on Linen 200 x 137cm 20-216

Tali tjuta (sand dunes) all along here. This is country I am responsible for around Kuru Ala (located in the Great Victoria Desert of WA). There are small rock holes along the lines of sand dunes. Lennard has also painted the more permanent rock holes of Wiyatjara, a site belonging to the Wati Kutjara – Serpent Men from Pukara. The men travelled from Wiyatjara to Purpurnya close by to Kuru Ala. Lennard was born at Kuru Ala making him the senior custodian for this place. It is a ‘Women’s Site” holding the Kungkarangkalpa Tjukurpa – Seven Sisters story. As a man there are places he cannot go, but he still holds authority and cultural responsibilities for Kuru Ala. The women travel from Kuru Ala to Tjulkultjara and Nyuman, two rock holes also depicted in the work.



Lennard WALKER Tali Tjuta Iwarangka Acrylic on Linen 110 x 137cm 20-212

This is the country north from Tjuntjuntjara. Tali tjuta (many sand dunes) all along here. As you travel north past Ilkurlka you reach the country I am responsible for around Kuru Ala (located in the Great Victoria Desert of WA). There are small rock holes along the way, which provided much needed water as people traditionally walked this country on foot. Lennard was born several hundred kilometres north of Tjuntjuntjara at Kuru Ala in the heart of the Great Victoria Desert. He is the senior custodian for Kuru Ala an immensely important site in the region. It is a ‘Women’s Site” holding the Kungkarangkalpa Tjukurpa – Seven Sisters story. As a man, there are places he cannot go but he still holds authority and cultural responsibilities for Kuru Ala. Before reaching Kuru Ala there are many sand dunes to pass over. Lennard has great knowledge for this country and lists the following rock holes; Purpurnya, Kapi Wiyatjara, Nyuman, Kamanti, Tuwan and Wayatji.



CV SECTION


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Timo HOGAN Birth Date Place of Birth Language Skin/Clan

22 May 1973 Kalgoorlie Pitjantjatjara Pitjantjatjara

Timo Hogan at Lake Baker I Source: © Photo Courtesy of Brian Hallett - Spinifex Arts Project.

Timo grew up with stories of life in the Spinifex Lands. His mother and family dug themselves into the sand dunes to try to avoid the smoke from the Maralinga atomic bomb. Before he was born she walked to a location close to Tjuntjuntjara and found a pile of tin meat left by the patrol officer. A white man came and picked all the people up in an old Landrover and drove them into Cundeelee Mission. Later his mother was driven from Cundeelee to the old hospital in Kalgoorlie for Timo’s birth in 1973. After his birth his mother succumbed to the lure of alcohol in Kalgoorlie and struggled to look after a new baby properly. Timo’s father came and took him to Mt Margret. He spent his formative years here with his father, Neville McCarthur and his stepmother Alkawari. They lived at Mt Margaret until Timo was about 14 when the family moved to Warburton, closer to his father’s traditional lands. Alkawari did not speak Pitjantjatjara or Ngaanyatjarra as she was from a different Aboriginal tribe but spoke in English to Timo and he is now fluent in all three languages. Once back in country Timo’s father took him to all the culturally significant places. He wanted to introduce him to the country, to the spirit caretakers and teach him the law. “My father took me to Lake Baker, all around, rockhole and all. I know all these places but I can’t show them. Millmillpa (dangerously sacred). I’m taking over this country now, as my father is getting old. I’m the only son and people say we are like twins, my father and me. We look the same. I know how to use spears – he taught me everything.” Timo went through Men’s Business initiation at Warburton. The group travelled down to Tjuntjuntjara on the business run. “My father’s really a Spinifex Man. His brothers are Hogan and Jamieson”. After going through business Timo settled in Tjuntjuntjara and lived with his mother. His father visited regularly before he got too old to make the long journey. For a brief period in the 2000’s Timo lived at Kalka as his mother married a man from there. He did his first canvas, a painting of the Lake Baker with Ninuku Artists in 2004. After a long break of nearly 10 years he has started painting again. Painting his country, the vast salt lake, the place he now has cultural obligations to look after. A place of power and danger. “I’ve rediscovered my love for painting. I do painting all the time now. I’m painting my country Lake Baker”.


Collections Art Gallery of New South Wales (AGNSW), Sydney, NSW, Australia. Kaplan & Levi Collection, Seattle, WA, USA. Stephen & Debbie Kelly Collection, Melbourne, VIC, Australia. Collection of Richard Klingler & Jane Slatter, Washington, DC, USA. Awards 2020 2019 2017

Finalist – 37th Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Finalist – 36th Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Finalist - Port Hedland Art Awards, Port Hedlands, WA, Australia.

Selected Solo Exhibitions 2021 Zeitreise - Art Kelch, Freiburg, Germany. 2020 Spinifex Artists – On Our Country - Japingka Gallery, Fremantle, WA, Australia. Art Paris 2020 - Art Kelch at Art Paris 2020, Paris, France. Paris, Paris!,- Art Kelch, Freiburg, Germany. 37th Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Smart Art - Art Kelch, Freiburg, Germany. The Magic of Black and White- Art Kelch at KUNSTWERK, Eberdingen-Nussdorf, Germany. 2019 Journey through Culture, for Tarnanthi Festival in conjunction with ReDot Fine Art Gallery, Singapore in conjunction with nthspace Gallery, Adelaide, SA, Australia. DesertMob 2019 - Araluen Arts Centre, Alice Springs, NT, Australia. 36th Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Explosion - Aboriginal Signature Estrangin Gallery, Bruxelles, Belgium. Art Karlsruhe 2019 – Art Kelch at art Karlsruhe 2019, Karlsruhe, Germany. 2018 Spinifex People Spinifex Land - ReDot Fine Art Gallery, Singapore. In Kürze: Pila Nguruku Kapi Walkatjara - Painted Waters of Spinifex Country - Artkelch, SkulpturenparkWesenberg| Künstler Bei Wu, Wesenberg (near Berlin) Germany. 2017 Wüste - Meer - Schöpfermythen - ArtKelch Gallery presented at The Rautenstrauch-Joest Museum, Cologne, Germany. Spinifex Arts 20th Anniversary - Japingka Gallery, Fremantle. WA, Australia. 2016 Pila Nguratja - In Spinifex Country - Vivien Anderson Gallery, Melbourne, VIC, Australia. Rawa Nyinanyi- Unbroken - Outstation Gallery, Darwin, NT, Australia. Revealed Emerging Aboriginal Artists of WA, Fremantle Arts Centre, Fremantle, WA, Australia. 2013 Kuwaritja – New Works of the Spinifex People - Outstation Gallery, Darwin, NT, Australia.



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Lawrence PENNINGTON Birth Date Language Place of Birth Skin/Clan

circa 1934 Pitjantjatjara Urlu Pitjantjatjara

At the time of Lawrence Pennington’s birth in the early 1930’s, his people, the Spinifex people had no contact with Western civilisation. Lawrence grew up as a young boy living a fully traditional hunter-gatherer life. His initiations as a young man in this country have given Lawrence intimate knowledge in a physical as well as a spiritual sense of the sites and stories of the area he was born and responsible for.

Lawrence Pennington I Source: © Photo Courtesy of Spinifex Arts Project

He was born just outside of the north-eastern boundary of Spinifex at a place called Urlu circa 1934. Running through Lawrence’s stretch of country is the Walawuru (wedge-tailed eagle) Dreaming. Not surprisingly, the dominant topographical feature in Lawrence’s country is a string of craggy-topped breakaways. In parallel alignment off to the south run a series of thinly connected dry salt lakes and naturally underscoring these features reddish sand plains. Depending on the character of the light, Lawrence’s country can at different times appear hauntingly bleak or magnificently beautiful. Like his contemporaries, Lawrence was pulled in to Cundeelee Mission during the sweeps in the late 1950s. He came in a young Wati (initiated man), married late in Cundeelee and had one son. Lawrence painted in the early years, collaboratively and individually before leaving Tjuntjuntjara for about 7 years. He returned on a permanent basis when his son went through Men’s Law at Tjuntjuntjara. Collections Araluen Arts Centre, Alice Springs, NT, Australia. National Gallery of Australia (NGA), Canberra, ACT, Australia. Harriett & Richard England Collection, Sydney, NSW, Australia. Seattle Art Museum, Seattle, Washington, United States of America. Patrick Corrigan Collection, Sydney, NSW, Australia. National Gallery of Victoria (NGV), Melbourne, VIC, Australia. W. & V. McGeoch Collection, Melbourne, VIC, Australia. Wagner and Owen Collection, United States of America Hassall Collection, Sydney, NSW, Australia. The Arthur Roe Collection, Melbourne, VIC, Australia. Arnaud Serval Collection, Crans Montana, Switzerland. Art Gallery of New South Wales (AGNSW), Sydney, NSW, Australia. Art Gallery of South Australia (AGSA), Adelaide, SA, Australia. Musée d’art aborigène australien (La Grange), Môtiers, Switzerland. Kluge-Ruhe Aboriginal Art Collection, Charlottesville, VA, USA. Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Museum Fünf Kontinente, Munich, Germany.


Awards 2019 2018 2016

Finalist – 36th Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Finalist – 35th Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Finalist (Men’s Collaborative) - 33rd Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia.

Selected Solo Exhibitions 2017 Lawrence Pennington - Aboriginal and Pacific Art, Sydney, NSW, Australia. 2016 Wati Wara – Lawrence Pennington Solo - ReDot Fine Art Gallery, Singapore. Selected Group Exhibitions 2020 Spinifex Artists - On Our Country - Japingka Gallery, Fremantle, WA, Australia. Art Paris 2020 – Art Kelch at Art Paris 2020, Paris, France. Paris, Paris!,- Art Kelch, Freiburg, Germany. Smart Art – Art Kelch, Freiburg, Germany. 2019 36th Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Explosion - Aboriginal Signature Estrangin Gallery, Bruxelles, Belgium. Art Paris 2019 – Art Kelch at Art Paris 2019, Paris, France. Art Karlsruhe 2019 – Art Kelch at art Karlsruhe 2019, Karlsruhe, Germany. 2018 35th Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Beyond Dreaming: The Rise of Indigenous Australia in the USA - Kluge-Ruhe Museum of the University of Virginia, Charlottesville, VA, USA. 2017 Wüste - Meer - Schöpfermythen - ArtKelch Gallery presented at The Rautenstrauch-Joest Museum, Cologne, Germany. Spinifex Arts 20th Anniversary - Japingka Gallery, Fremantle. WA, Australia. Gems from the remote Deserts - Aboriginal Signature Estrangin Gallery, Bruxelles, Belgium, at the Parcours des Mondes, Paris, France. DesertMob - Araluen Arts Centre, Alice Springs, NT, Australia. Spinifex Ascendent - Short Street Gallery, Broome, WA, Australia. Spinifex: Aboriginal Paintings from the Robert Kaplan and Margaret Levi Collection - Nevada Museum of Art, Reno, Nevada. USA. 2016 Pila Nguratja – In Spinifex Country - Vivien Anderson Gallery, Melbourne, VIC, Australia. 33rd Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Rawa Nyinanyi – Unbroken - Outstation Gallery, Darwin, NT, Australia. 2016 Exposition Spinifex Arts Project - Aboriginal Signature Estrangin Gallery, Bruxelles, Belgium. Purungu und Narrupa Sammlung - in association with P. & A. Klein and ArtKelch, Kunstwerk, Germany. 2015 Spinifex Arts Project 2015 - Aboriginal & Pacific Arts, Sydney, NSW, Australia.


2015 Tarnanthi – Festival of Comtemporary Aboriginal and Torres Strait Islander Art - Art Gallery of South Australia (AGSA), Adelaide, SA, Australia. Wo das Stachelkopfgras wächst – Art Kelch, Freiburg, Germany. Kulunypa – Selected small works from the Spinifex Arts Project - Outstation Gallery, Darwin, NT, Australia. 2014 Spinifex Artists 2014 - Japingka Gallery, Fremantle, WA, Australia. Spinifex Arts Project 2014 - Vivien Anderson Gallery, Melbourne, VIC, Australia. Tjuntjuntjara – recent works from Spinifex Country - Short Street Gallery, Broome, WA, Australia. Spinifex Tjukurpa - ReDot Fine Art Gallery, Singapore. Pila – Spinifex Land - Outstation Gallery, Darwin, NT, Australia. Spinifex Artists – Desert Mob Exhibition - Araluen Gallery, Alice Springs, NT, Australia. Tjuntjuntjara Nguratja – Tjuntjuntjara is home - Harvey Art Projects, Sun Valley, Idaho, USA. 2013 Spinifex Arts Project - Art Kelch, Freiburg, Munich, Hamburg, Bodensee, Germany (Touring Exhibition). The Wild Ones - Raft Artplace, Alice Springs, NT, Australia. Kuwaritja – New Works of the Spinifex People - Outstation Gallery, Darwin, NT, Australia. Spinifex Artists – Desert Mob Exhibition - Araluen Gallery, Alice Springs, NT, Australia. Salon des Refusés - Outstation Gallery & Paul Johnstone Gallery, Darwin, NT, Australia. 2012 Tupun Nguranguru – People of the Sandhill Country - Vivien Anderson Gallery, Melbourne, VIC, Australia. Spinifex – People of the Sun and Shadow - John Curtin Gallery, Curtin University, Perth, WA, Australia. 2005 Law and Land - Museum of contemporary Aboriginal art (AAMU), Utrecht, Netherlands. 2002 Putitja Nguru – Art of the Spinifex People - Japingka Gallery, Fremantle, WA, Australia. 2001 Broken Hill City Regional Art Gallery, Broken Hill, NSW, Australia. All About Art - Alcaston Gallery, Melbourne, VIC, Australia. Flinders Arts Museum, Adelaide, SA, Australia. 2000 Pila Nguru – Art and Song of the Spinifex People - Western Australian Museum, Perth, WA, Australia (Touring Exhibition).



Patju PRESLEY Birth Date Place of Birth Language Skin/Clan

circa 1945 Pitjantjatjara Itaratjara Pitjantjatjara

Patju Presley was born in the 1940s at Itaratjara, an important site between to the community settlement of Watarruand Kalayapiti in the Great Victoria Desert. He is a senior Pitjantjatjara Law man with great knowledge of the geography of the Western Desert and the associated Tjukurpa. His intimate knowledge of the country is directly related to survival in this beautiful but sometimes harsh environment learned from the generations of his ancestors.

Patju Presley I Source: © Photo Courtesy of Spinifex Arts Project

Connections between the Land, the provider of food, water and shelter and the Tjukurpa a spiritual understanding of the world are finely interwoven in his paintings, creating works of an elegant abstraction. Each work is related to a specific site and ancestral beings and is strongly based on his experience and perception of the Law and the Land. When he was a young child he lived a traditional lifestyle walking along Tjukurpa tracks that linked sacred sites and water sources. From the tjilpis (old men) he learnt the ways of life in the desert and Anangu social order, law, culture, Tjukurpa and ceremony. Patju first learnt about Christianity from Mr Wade, the missionary who came to the desert on camel preaching the Bible and giving out tea and damper. When the mission was established Patju spent some time there learning English to read and write hymns and Bible stories. Patju trained to be a preacher at the mission at Ernabella. He is also a strong cultural man who practices traditional cultural business and inma (ceremonial singing and dancing), carves punu (ceremonial and utilitarian objects) and hunts malu (kangaroo), kalaya (emu), kipara (bush turkey) and rabbit. Patju resides at Tjuntjuntjara Communitiy with his wife Ivy Laidlaw. In his paintings Patju refers to many of the Tjukurpa of the country of the Great Victoria Desert including the Wati Kipara (Bush Turkey), Wati Kutjara (Two Water-Snake Men), Kalaya (Emu), Wati Pira (Moon Man) and Minyma Kutjara (Two Sisters). His images are visual representations of the epic journeys and creation stories of the country. References to important landforms, rockholes and Tjukurpa tracks implicitly evoke the tjukuritja beings (of the dreaming), their interactions and activities. References to features in the country by desert artists are heavily loaded with complex symbolic meanings and interconnected layers of cultural references. Collections Art Gallery of Western Australia (AGWA), Perth, WA, Australia. National Gallery of Australia (NGA), Canberra, ACT Australia. National Gallery of Victoria (NGV), Melbourne, VIC, Australia. Art Gallery of New South Wales (AGNSW), Sydney, NSW, Australia. The Corrigan Collection, Sydney, NSW, Australia. Kaplan & Levi Collection, Seattle, WA, USA University of Queensland Art Museum, Brisbane, QLD, Australia. Art Gallery of South Australia (AGSA), Adelaide, SA, Australia. (Men’s Collaborative) Queensland Art Gallery | Gallery of Modern Art (QAGOMA), Brisbane, QLD, Australia. Murdoch University Art Collection, Perth, WA, Australia.


Awards 2021 King & Wood Mallesons Contemporary First Nations Art Award. - fortyfivedownstairs Gallery, Melbourne, VIC, Australia. 2017 Finalist - Port Hedland Art Awards, Port Hedlands, WA, Australia.

Selected Solo Exhibitions 2018 PATJU - Vivien Anderson Gallery, Melbourne, VIC, Australia. 2007 Patju Stanley Presley New Work - Flinders Lane Gallery, Melbourne, VIC, Australia. Selected Group Exhibitions 2019 2018 2017 2016 2015 2014

Explosion - Aboriginal Signature Estrangin Gallery, Bruxelles, Belgium. Pila nguruku kapi walkatjara – Painted Waters of Spinifex Country – Art Kelch at Skulpturenpark Wesenberg, Wesenberg, Germany. Spinifex Arts 20th Anniversary - Japingka Gallery, Fremantle. WA, Australia. Tarnanthi - Festival of Comtemporary Aboriginal and Torres Strait Islander Art - Art Gallery of South Australia (AGSA), Adelaide. SA, Australia. Spinifex Ascendent- -Short Street Gallery, Broome, WA, Australia. Shut Up and Paint - National Gallery of Victoria (NGV), Melbourne, VIC, Australia. Spinifex: Aboriginal Paintings from the Robert Kaplan and Margaret Levi Collection, Nevada Museum of Art, Reno, Nevada, USA. Wüste – Meer – Schöpfermythen - Art Kelch at Rautenstrauch-Joest-Museum, Köln, Germany. Pila Nguratja – In Spinifex Country - Vivien Anderson Gallery, Melbourne, VIC, Australia. Rawa Nyinanyi – Unbroken. - Outstation Gallery, Darwin, NT, Australia. Exposition Spinifex Arts Project - Aboriginal Signature Estrangin Gallery, Bruxelles, Belgium LORE The visual language of cultural Identity- Raft Artspace, Hobart, TAS, Australia. Tjungutja – Art of the Spinifex Collaborative - ReDot Fine Art Gallery, Singapore. Spinifex Arts Project 2015. Aboriginal and Pacific Art Gallery, Sydney, NSW, Australia. Tarnanthi - Festival of Comtemporary Aboriginal and Torres Strait Islander Art - Art Gallery of South Australia (AGSA), Adelaide. SA, Australia. Irruntju Wati – Men of Irruntju - Aboriginal and Pacific Art Gallery, Sydney, NSW, Australia. Spinifex Tjukurpa - ReDot Fine Art Gallery, Singapore. Pila – Spinifex Land - Outstation Gallery, Darwin. NT, Australia.




Roy UNDERWOOD Birth Date Language Place of Birth Skin/Clan

circa 1937 Pitjantjatjara Tjutajara Pitjantjatjara

Roy Underwood was born in the north - western Spinifex area around 1937. Roy’s actual place of birth cannot be recorded, as it is near such a highly sacred place that its name and Tjukurpa cannot be mentioned in hearing of women and children. As a reference Roy will say he was born near Tjutajara with Anpiri and Kunultu as important places within his personal range or area of interest.

Roy Underwood I Source: © Photo Courtesy of Louise Allerton and Spinifex Arts Project

Roy also has hereditary interests in his mother’s country around Ilkurlka, Kalaya – emu tjukurpa and father’s country from Wartala to the south-east, Waluwaru – eagle-hawk Tjukurpa. Roy has not visited his father’s country since contact, as it is remote and inaccessible. He tends to paint his own and his mother’s country. Roy was brought in from the Great Victoria Desert to Cundeelee mission in the late 1950s on one of several expeditions mounted by the missionaries. At the time he was a late teenager or nyiingka, in seclusion from Aboriginal society prior to initiation into manhood. He was taken by train to Ooldea in S.A. and walked about 120 km south to a shed tank about 30km north of Yalata. Here people from Yalata, Cundeelee and many from the northern Pitjantjatjara area had gathered for Tjilkatja – men’s initiation ceremonies. Some time after initiation Roy walked back into the desert and lived there for a while with family yet to move into Cundeelee. He eventually returned to Cundeelee and resided there until the move back into Spinifex in the early 1980s. Roy married and raised his wife’s brother’s two sons. With Kumanara Anderson and other older men and women, Roy has been a major driving force in returning the Spinifex people to their country and representing and negotiating the unbroken connection to country which was the key element in the Federal Court decision to grant the Spinifex people exclusive Native Title over 55,000 sq. km. in 2000. Roy continued to be a venerated Elder and was routinely elected to the boards of the Spinifex Land Council and Tjuntjuntjara Community Council. His unique painting style is somewhat reminiscent of Kiwirkurra mens’ designs from Pintupi country hundreds of kilometres to the northwest and has influenced other artists with his bold and sometimes geometric designs. He was strong force within the Spinifex Arts Project and a much sought after painter. Roy passed away quietly in the night on 23rd June 2018.


Collections Art Gallery of South Australia (AGSA), Adelaide, SA, Australia. National Gallery of Australia (NGA), Canberra, ACT, Australia. (Men’s Collaborative) National Gallery of Victoria (NGV), Melbourne, VIC, Australia. Seattle Art Museum, Seattle, WA, USA. (Men’s Collaborative) Sue and Ian Bernadt Collection, Perth, WA, Australia. British Museum, London, UK. (Men’s Collaborative) The Lepley Collection, Perth, WA, Australia. Artbank Collection, Sydney, NSW, Australia. W. & V. McGeoch Collection, Melbourne, VIC, Australia. (Men’s Collaborative) Art Gallery of New South Wales (AGNSW), Sydney, NSW, Australia. (Men’s Collaborative) Museum Fünf Kontinente, Munich, Germany. Alison and Peter W. Klein Collection, Ludwigsburg, Baden-Württemberg, Germany. Sammlung Peter Döhle Schiffahrts-Kg, Hamburg, Germany. Awards 2016 2013

Finalist (Men’s Collaborative) – 33rd Telstra National Aboriginal & Torres Strait Island Art Award - Museum & Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. Finalist (Men’s Collaborative) – 30th Telstra National Aboriginal & Torres Strait Island Art Award - Museum & Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia.

Selected Solo Exhibitions 2016 Wati Pilanguru - The Man from Spinifex - Raft Artspace, Alice Springs. NT, Australia. Selected Group Exhibitions 2021 Zeitreise - ArtKelch, Freiburg, Germany. 2020 Paris, Paris! - ArtKelch, Freiburg, Germany. Art Paris 2020 - ArtKelch at Art Paris 2020, Paris, France. Smart Art - ArtKelch, Freiburg, Germany. 2019 Explosion - Aboriginal Signature Estrangin Gallery, Bruxelles, Belgium. Art Karlsruhe 2019 - ArtKelch at art Karlsruhe 2019, Karlsruhe, Germany. Art Paris 2019 - ArtKelch at Art Paris 2019, Paris, France. 2018 Waterhouse Natural History Art Prize - South Australian Museum (SAM), Adelaide, SA, Australia. In Kürze: Pila Nguruku Kapi Walkatjara - Painted Waters of Spinifex Country - ArtKelch, Skulpturenpark Wesenberg| Künstler Bei Wu, Wesenberg (near Berlin), Germany. Convoking the Genesis - Eurantica - Aboriginal Signature Estrangin Gallery, Bruxelles, Belgium. Ngua Ninti – Knowing Country - ArtKelch, Freiburg, Germany. 2017 Spinifex Arts 20th Anniversary - Japingka Gallery, Fremantle, WA, Australia. Gems from the remote Deserts - Aboriginal Signature Estrangin Gallery, at the Parcours des Mondes, Paris, France.


2017 Retrospective Mode Muntu at the Cité Miroir in Liège (Belgium) with loan from Aboriginal Signature Estrangin Gallery, Bruxelles, Belgium. Wüste – Meer – Schöpfermythen - ArtKelch at Rautenstrauch-Joest-Museum, Köln, Germany. Spinifex: Aboriginal Paintings from the Robert Kaplan and Margaret Levi Collection, Nevada Museum of Art, Reno, NV, USA. 2016 33rd Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. (Men’s Collaborative) Rawa Nyinanyi – Unbroken - Outstation Gallery, Darwin, NT, Australia. Exposition Spinifex Arts Project - Aboriginal Signature Estrangin Gallery, Bruxelles, Belgium. Tjungutja – Art of the Spinifex Collaborative, ReDot Fine Art Gallery, Singapore. Geisterstunde bei ArtKelch - ArtKelch, Freiburg, Germany. Purungu und Narrupa Sammlung, in association with P. & A. Klein and ArtKelch, Kunstwerk, Germany. 2015 Spinifex Arts Project 2015 - Aboriginal and Pacific Arts, Sydney, NSW, Australia. Tarnanthi - Festival of Contemporary Aboriginal and Torres Strait Islander Art, Art Gallery of South Australia (AGSA), Adelaide. SA, Australia. Wo das Stachelkopfgras wächst - ArtKelch, Freiberg, Germany Kulunypa – selected small works from the Spinifex Arts Project - Outstation Gallery, Darwin, NT, Australia. Indigenous Australia enduring civilisation, British Museum, London, UK. art Karlsruhe 2015 - ArtKelch at art Karlsruhe 2015, Karlsruhe, Germany. Mein Freund der Baum - ArtKelch Collectors Lounge at kptec, Schorndorf, Germany. Ausblick – Einblick - ArtKelch, Freiburg, Germany. 2014 Spinifex Artists - Japingka Gallery, Fremantle, WA, Australia. Pila – Spinifex Land - Outstation Gallery, Darwin, NT, Australia. Spinifex Tjukurpa - ReDot Fine Art Gallery, Singapore. Tjuntjuntjara – recent works from Spinifex Country - Short Street Gallery, Broome, WA, Australia. DesertMob 2014 - Araluen Arts Centre, Alice Springs, NT, Australia. Tjuntjuntjara Nguratja – Tjuntjuntjara is home - Harvey Art Projects, Sun Valley, ID, USA. Australian Contemporary Indigenous Art - 111 Chiaroscuro Contemporary Art in association with Vivien Anderson Gallery, Santa Fe, NM, USA. Salon des Refusés - Outstation and Paul Johnstone Galleries. Stokes Hill Wharf, Darwin, NT, Australia. 2013 Spinifex Arts Project - ArtKelch at art Karlsruhe 2013, Karlsruhe, Germany. Spinifex Country - Flinders University Art Museum, Flinders University City Gallery and the South Australian Museum’s Australian Aboriginal Cultures Gallery, Adelaide, SA, Australia. Spinifex Arts Project - ArtKelch, Freiburg, Munich, Hamburg, Bodensee, Germany. 30th Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. (Men’s Collaborative) Salon des Refusés, Outstation and Paul Johnstone Galleries in the Old bank building, Smith and Bennet Street, Darwin, NT, Australia. (Men’s Collaborative) New Iconic - Vivien Anderson Gallery, Melbourne, VIC, Australia. The Wild Ones - Raft Artspace, Alice Springs, NT, Australia. Kuwaritja - New Works of the Spinifex People Outstation Gallery, Darwin, NT, Australia. 2012 Tupun Nguranguru – People of the Sandhill Country - fortyfivedownstairs Downstairs Gallery, Vivien Anderson, Melbourne, VIC, Australia. Spinifex – People of the Sun and Shadow - John Curtin Gallery, Curtin University, Perth, WA, Australia


2011 Living Water: Western Desert Works - National Gallery of Victoria (NGV), Melbourne. VIC, Australia. Uwankara – Whole lot of Everything: Paintings from the APY/NPY Lands and Spinifex Country 2002-2011 - Vivien Anderson Gallery, Melbourne, VIC, Australia. DesertMob 2011 - Araluen Arts Centre, Alice Springs, NT, Australia. 2010 Spinifex Artists Survey Show - Short Street Gallery, Broome WA, Australia. Spinifex Artists - Japingka Gallery, Fremantle, WA, Australia. Spinifex Arts Project 2010 - Vivien Anderson Gallery, Melbourne, VIC, Australia. DesertMob 2010 - Araluen Arts Centre, Alice Springs, NT, Australia. Desert Country - Art Gallery of South Australia (AGSA), Adelaide, SA, Australia, with a National tour. Australian Contemporary Indigenous Art - 111 Chiaroscuro Contemporary Art in association with Vivien Anderson Gallery, Santa Fe, NM, USA. 2009 The Breakfast Show - Randall Lane Gallery,Perth,WA, Australia. Spinifex Artists - Ab-Original Gallery, Linz, Austria. Tracking the Wati Kutjara – Spinifex 2009, COOEE Art Gallery, Bondi Beach, NSW, Australia. DesertMob 2009 - Araluen Arts Centre, Alice Springs, NT, Australia. 2008 Kapi Ninti – Knowing Water Knowing Country - Vivien Anderson Gallery, Melbourne; VIC, Australia. DesertMob 2008 - Araluen Arts Centre, Alice Springs, NT, Australia. Spinifex Mob - Short Street Gallery, Broome, WA, Australia. Western Australian Indigenous Art Awards, Art Gallery of Western Australia (AGWA), Perth, WA, Australia. (Men’s Collaborative) 2007 Spinifex Artists - Seattle Art Museum, Seattle, WA, USA. Ten Years On - Japingka Gallery, Fremantle WA, Australia. New Spinifex Works - Short Street Gallery, Broome, WA, Australia. DesertMob 2007 - Araluen Arts Centre, Alice Springs, NT, Australia. Best of the Best - Framed Gallery, Darwin, NT, Australia. 2006 Flinders Lane Gallery, Melbourne, VIC, Australia. DesertMob 2006 - Araluen Arts Centre, Alice Springs, NT, Australia. Marshall Arts, Adelaide, SA, Australia. 2005 Spinifex Artists - Seattle Art Museum, Seattle, WA, USA. Spinifex Mob - COOEE Art Gallery, Bondi Beach, NSW, Australia. Law and Land - Museum of Contemporary Aboriginal Art (AAMU), Utrecht, Netherlands. Spinifex Artists, Rebecca Hossack Gallery, London, UK. 2004 Spinifex Artists - Zurich House, Zurich, Switzerland. Spinifex Art 03 - Span Galleries, Melbourne, VIC, Australia. Spinifex Paintings - Raintree Gallery, Darwin, NT, Australia. 2002 Putitja Nguru – Art of the Spinifex People - Japingka Gallery, Fremantle, WA, Australia. Pititja – New Paintings from the Spinifex Homelands - Mary Place Gallery, Sydney, NSW, Australia. 2001 All About Art - Alcaston Gallery, Melbourne, VIC, Australia. 2000 Pila Nguru – Art and Song of the Spinifex People - Perth Museum, Perth WA, Australia. Flinders Arts Museum, Adelaide, SA, Australia. Broken Hill City Regional Art Gallery - Broken Hill, NSW, Australia. Spiral Arm Gallery, Canberra, ACT, Australia.




Ian RICTOR Birth Date Language Place of Birth Skin/Clan

circa 1960 Pitjantjatjara Artulin / Tuwan Pitjantjatjara

Ian Rictor was born at Artulin/Tuwan c1955 and is a custodian and traditional owner of Tuwan. Ian emerged from the bush with his small family group in only 1986 and they are the last of the known Aboriginal people to have remained living traditionally in the Western Desert. In 1997 when the Spinifex Arts Project first began Ian was keen to join the group of painters. He took to the medium of paint on canvas with fluency and has been painting his birthplace and surrounding country since then. He has had increased success exhibiting with the Spinifex Artists in London, Utrecht and many galleries in Australia. Ian is an impressive and skilled hunter, bush mechanic and craftsman.

Ian Rictor I Source: © Photo Courtesy of Louise Allerton and Spinifex Arts Project

Ian lives in Tjuntjuntjara with his wife Kathleen Donnegan, also an artist and their extended family. Collections Collection Prince Stefan of Liechtenstein, Embassy of Liechtenstein, Germany. (Men’s Collaborative) National Gallery of Australia (NGA), Canberra, ACT, Australia. (Men’s Collaborative) Seattle Art Museum, Seattle, WA, USA. (Men’s Collaborative) Museum of Contemporary Aboriginal Art (AAMU), Utrecht, Netherlands. British Museum, London, UK. (Men’s Collaborative) The Corrigan Collection, Sydney, NSW, Australia. (Men’s Collaborative) Wagner and Owen Collection, USA. W. & V. McGeoch Collection, Melbourne, VIC, Australia. (Men’s Collaborative) Art Gallery of South Australia (AGSA), Adelaide, SA, Australia. (Men’s Collaborative) Museum Fünf Kontinente, Munich, Germany. Alison and Peter W. Klein Collection, Ludwigsburg, Baden-Württemberg, Germany. Sammlung Peter Döhle Schiffahrts-Kg, Hamburg, Germany. Awards 2016 Finalist (Men’s Collaborative) – 33rd Telstra National Aboriginal & Torres Strait Island Art Award - Museum & Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia.


Selected Group Exhibitions 2021 Zeitreise - ArtKelch, Freiburg, Germany. Spinifex Artists - On Our Country - Japingka Gallery Fremantle, WA, Australia. 2020 Paris, Paris! - ArtKelch, Freiburg, Germany. Art Paris 2020 - ArtKelch at Art Paris 2020, Paris, France. Smart Art - ArtKelch, Freiburg, Germany. 2019 Explosion - Aboriginal Signature Estrangin Gallery, Bruxelles, Belgium. Art Karlsruhe 2019 - ArtKelch at art Karlsruhe 2019, Karlsruhe, Germany. 2018 Spinifex People Spinifex Land - ReDot Fine Art Gallery, Singapore. In Kürze: Pila Nguruku Kapi Walkatjara – Painted Waters of Spinifex Country - ArtKelch, Skulpturenpark Wesenberg| Künstler Bei Wu, Wesenberg (near Berlin), Germany. Ngua Ninti – Knowing Country - ArtKelch, Freiburg, Germany. 2017 Wüste - Meer – Schpfermythen - ArtKelch presented at The Rautenstrauch-Joest Museum Cologne, Germany. Spinifex Arts 20th Anniversary - Japingka Gallery, Fremantle, WA, Australia. Salon des Refusés, NATSIAA 2017 - Outstation and Paul Johnstone Galleries, Charles Darwin University, Darwin, NT, Australia. Spinifex Ascendent - Short Street Gallery, Broome, WA, Australia. Farben der Wüste - ArtKelch at Teppichhaus Jordan, Waldshut-Tiengen, Germany. 2016 Pila Nguratja – In Spinifex Country - Vivien Anderson Gallery, Melbourne, VIC, Australia. 33rd Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, NT, Australia. (Men’s Collaborative) Rawa Nyinanyi – Unbroken - Outstation Gallery, Darwin, NT, Australia. Exposition Spinifex Arts Project - Aboriginal Signature Estrangin Gallery, Bruxelles, Belgium. Purungu und Narrupa, ArtKelch at KUNSTWERK, Eberdingen-Nussdorf, Germany. Tjungutja – Art of the Spinifex Collaborative, ReDot Fine Art Gallery, Singapore. Geisterstunde bei ArtKelch - ArtKelch, Freiburg, Germany. 2015 Spinifex Arts Project 2015 - Aboriginal and Pacific Arts, Sydney, NSW, Australia. Tarnanthi - Festival of Contemporary Aboriginal and Torres Strait Islander Art, Art Gallery of South Australia (AGSA), Adelaide. SA, Australia. Indigenous Australia enduring civilisation, British Museum, London, UK. Wo das Stachelkopfgras wächst - ArtKelch, Freiberg, Germany. 2014 Spinifex Artists - Japingka Gallery, Fremantle, WA, Australia. Spinifex Tjukurpa - ReDot Fine Art Gallery, Singapore. Spinifex Arts Project 2014 - Vivien Anderson Gallery, Melbourne, VIC, Australia. Australian Contemporary Indigenous Art - 111 Chiaroscuro Contemporary Art in association with Vivien Anderson Gallery, Santa Fe, NM, USA. Pila – Spinifex Land - Outstation Gallery, Darwin, NT, Australia. Tjuntjuntjara – recent works from Spinifex Country - Short Street Gallery, Broome, WA, Australia. 2013 The Wild Ones - Raft Artspace, Alice Springs, NT, Australia. Spinifex Arts Project - ArtKelch, Freiburg, Munich, Hamburg, Bodensee, Germany. Salon des Refusés, Outstation and Paul Johnstone Galleries in the Old bank building, Smith and Bennet Street, Darwin, NT, Australia. (Men’s Collaborative) DesertMob 2013 - Araluen Arts Centre, Alice Springs, NT, Australia. Kuwaritja - New Works of the Spinifex People Outstation Gallery, Darwin, NT, Australia. 2012 Tupun Nguranguru – People of the Sandhill Country - fortyfivedownstairs Downstairs Gallery, Vivien Anderson, Melbourne, VIC, Australia.


2012 Spinifex - People of the Sun and Shadow - John Curtin Gallery, Curtin University, Perth, WA, Australia. 2011 Living Water: Western Desert Works - National Gallery of Victoria (NGV), Melbourne. VIC, Australia. Spinifex Artist - Japingka Gallery, Fremantle, WA, Australia. The Women’s Show, Vivien Anderson Gallery, Melbourne, VIC, Australia. 2010 Desert Country - Art Gallery of South Australia (AGSA), Adelaide, SA, Australia, with a National tour. Australian Contemporary Indigenous Art - 111 Chiaroscuro Contemporary Art in association with Vivien Anderson Gallery, Santa Fe, NM, USA. DesertMob 2010 - Araluen Arts Centre, Alice Springs, NT, Australia. Spinifex Artists - Japingka Gallery, Fremantle, WA, Australia. Spinifex Arts Project 2010 - Vivien Anderson Gallery, Melbourne, VIC, Australia. 2009 DesertMob 2009 - Araluen Arts Centre, Alice Springs, NT, Australia. Generation Next - Randall Lane Gallery,Perth,WA, Australia. Spinifex Artists - Ab-Original Gallery, Linz, Austria. Tracking the Wati Kutjara – Spinifex 2009, COOEE Art Gallery, Bondi Beach, NSW, Australia. Spinifex Artists 2009 - Japingka Gallery, Fremantle, WA, Australia. 2008 DesertMob 2008 - Araluen Arts Centre, Alice Springs, NT, Australia. Kapi Ninti – Knowing Water Knowing Country - Vivien Anderson Gallery, Melbourne; VIC, Australia. Spinifex Artists Recent Work - Short Street Gallery, Broome, WA, Australia. Western Australian Indigenous Art Awards, Art Gallery of Western Australia (AGWA), Perth, WA, Australia. (Men’s Collaborative) 2007 DesertMob 2007 - Araluen Arts Centre, Alice Springs, NT, Australia. Spinifex Artists - Seattle Art Museum, Seattle, WA, USA. Best of the Best - Framed Gallery, Darwin, NT, Australia. Ten Years On - Japingka Gallery, Fremantle WA, Australia. New Spinifex Works - Short Street Gallery, Broome, WA, Australia. 2006 Spinifex - New Works - Marshall Arts, Adelaide, SA, Australia. Art of the Spinifex People - Japingka Gallery, Perth, WA, Australia. Flinders Lane Gallery, Melbourne, VIC, Australia. 2005 DesertMob 2005 - Araluen Arts Centre, Alice Springs, NT, Australia. Law and Land - Museum of Contemporary Aboriginal Art (AAMU), Utrecht, Netherlands. Spinifex Artists, Rebecca Hossack Gallery, London, UK. 2004 Colour Power - Aboriginal Art post 1984 - National Gallery of Victoria, Melbourne, VIC, Australia. Spinifex Arts Project - Harbour House Gallery, Zurich, Switzerland. 2003 Spinifex Paintings - Raintree Gallery, Darwin, NT, Australia. Spinifex Art 03 - Span Galleries, Melbourne, VIC, Australia. 2002 Putitja Nguru - Art of the Spinifex People - Japingka Gallery, Fremantle, WA, Australia. Native Title Business – Contemporary Indigenous Art, Australian national tour. 2001 Spiral Arm Gallery, Canberra, ACT, Australia. Supreme Court of the Northern Territory, Darwin, NT, Australia. Broken Hill City Regional Art Gallery - Broken Hill, NSW, Australia. Flinders Arts Museum, Adelaide, SA, Australia. All About Art - Alcaston Gallery, Melbourne, VIC, Australia. 2000 Pila Nguru – Art and Song of the Spinifex People - Perth Museum, Perth WA, Australia. national tour.



Lennard WALKER Birth Date Language Place of Birth Skin/Clan

circa 1946 Pitjantjatjara Tjukaltjara / Kuru Ala Pitjantjatjara

Lennard was born at Tjukaltjara on the central northern border of Spinifex circa 1946. Tjukaltjara is an extension of a massive Seven Sisters site centred at Kuru Ala (eyes open) which could describe the state of alertness required by the sisters being relentlessly stalked across great tracts of central Australia by the obsessively amorous Nyiiru. Lennard’s country lies at the crossover of the endless dunes of Spinifex and the ironstone ranges to the north punctuated by a series of spectacular breakaways and mesas. Women from the Ngaanyatjarra, Pitjantjatjara and Spinifex Lands regularly convene together at Kuru Ala to practice Women’s ceremonies. In keeping with strict protocol, the women first must ask Mr. Walker for permission to enter his country. Diplomatically, Mr. Walker never refuses.

Lennard Walker I Source: © Photo Courtesy of Spinifex Arts Project

Unlike most born in country, Lennard moved out of Spinifex with his extended family to the Warburton Mission, established in 1934. Lennard spent time at the Mission school and picked up a good deal of conversational English. This was to serve him well later during the new political era that ensued after the transfer from mission authority to Aboriginal “self-management”. Lennard’s family were comparative strangers in Warburton and took the first opportunity to move to Cundeelee Mission to join the other Spinifex families there. In the early years of Tjuntjuntjara Lennard married a Warburton woman, Ngalpinkga Simms, who settled in Tjuntjuntjara with Lennard. Lennard painted on the inaugural men’s native title painting, most other men’s collaboratives, joint works with other male painters and wife, Ngalpingka. In style and form Lennard continues from where he began, a ruggedly strong and resolute painter the image of his country. Collections Artbank Collection, Sydney, NSW, Australia. Collection Prince Stefan of Liechtenstein, Embassy of Liechtenstein in Germany. (Men’s Collaborative) Alison and Peter W. Klein Collection, Ludwigsburg, Baden-Württemberg, Germany. National Gallery of Australia (NGA), Canberra, ACT, Australia. (Men’s Collaborative) Seattle Art Museum, Seattle, Washington, USA. (Men’s Collaborative) British Museum, London, UK. (Men’s Collaborative) The Corrigan Collection, Sydney, NSW, Australia. (Men’s Collaborative) Kaplan & Levi Collection, Seattle, WA, USA. W. & V. McGeoch Collection, Melbourne, VIC, Australia. Wagner and Owen Collection, USA. Queensland Art Gallery | Gallery of Modern Art (QAGOMA), Brisbane, QLD, Australia. Art Gallery of New South Wales (AGNSW), Sydney, NSW, Australia. (Men’s Collaborative) Art Gallery of South Australia (AGSA), Adelaide, SA, Australia. (Men’s Collaborative)


Awards 2008 Finalist - WA Indigenous Art Awards, Perth, WA, Australia. Selected Group Exhibitions 2020 Spinifex Artists - On Our Country - Japingka Gallery, Fremantle WA, Australia. 2019 Kungakarungkalpa - Short Street Gallery, Broome, WA, Australia. Explosion - Aboriginal Signature Estrangin Gallery, Bruxelles, Belgium. 2018 Melbourne Art Fair, with Vivien Anderson Gallery, Melbourne, VIC, Australia. In Kürze: Pila Nguruku Kapi Walkatjara – Painted Waters of Spinifex Country - ArtKelch, Skulpturenpark Wesenberg| Künstler Bei Wu, Wesenberg (near Berlin), Germany. 2017 Wüste - Meer - Schpfermythen ArtKelch presented at The Rautenstrauch-Joest Museum Cologne, Germany. Spinifex Arts 20th Anniversary - Japingka Gallery, Fremantle. WA, Australia. Spinifex Ascendent - Short Street Gallery, Broome, WA, Australia. Spinifex: Aboriginal Paintings from the Robert Kaplan and Margaret Levi Collection - Nevada Museum of Art, Reno, NV, USA. 2016 Pila Nguratja - In Spinifex Country - Vivien Anderson Gallery, Melbourne, VIC, Australia. Rawa Nyinanyi – Unbroken - Outstation Gallery, Darwin, NT, Australia. Purungu und Narrupa Sammlung, in association with P. & A. Klein and ArtKelch, Kunstwerk, Germany. 2015 Spinifex Arts Project 2015 - Aboriginal and Pacific Arts, Sydney, NSW, Australia. Tarnanthi - Festival of Contemporary Aboriginal and Torres Strait Islander Art, Art Gallery of South Australia (AGSA), Adelaide. SA, Australia. Wo das Stachelkopfgras wächst - ArtKelch, Freiberg, Germany. Indigenous Australia enduring civilisation, British Museum, London, UK. 2014 Spinifex Arts Project 2014 - Vivien Anderson Gallery, Melbourne, VIC, Australia. Pila – Spinifex Land - Outstation Gallery, Darwin, NT, Australia. Spinifex Tjukurpa - ReDot Fine Art Gallery, Singapore. 2013 Kuwaritja – New Works of the Spinifex People - Outstation Gallery, Darwin, NT, Australia. Spinifex Arts Project - ArtKelch, Freiburg, Munich, Hamburg, Bodensee, Lake Constance, Germany. The Wild Ones - Raft Artspace, Alice Springs, NT, Australia. (Men’s Collaborative) 2012 Tupun Nguranguru – People of the Sandhill Country 45 Downstairs Gallery inconjunction with Vivien Anderson Gallery, Melbourne, VIC, Australia. Spinifex - People of the Sun and Shadow - John Curtin Gallery, Curtin University, Perth, WA, Australia. 2011 Spinifex Works - Japingka Gallery, Fremantle, WA, Australia. 2010 New Spinifex Work - Short Street Gallery, Broome, WA, Australia. DesertMob 2010 - Araluen Arts Centre, Alice Springs, NT, Australia. 2009 Spinifex: Aboriginal Fine Art, Linz, Austria in conjunction with Japingka Gallery, Fremantle, WA, Australia. 2008 Kapi Ninti – Knowing Water Knowing Country - Vivien Anderson Gallery, Melbourne, VIC, Australia. Spinifex Artists Recent Works - Short Street Gallery, Broome, WA, Australia. 2007 Seattle Arts Museum, Seattle, WA, USA.


2007 Ten Years On - Japingka Gallery, Fremantle, WA, Australia. New Spinifex Works - Short St Gallery, Broome, WA, Australia. DesertMob 2007 - Araluen Arts Centre, Alice Springs, NT, Australia. 2006 DesertMob 2006 - Araluen Arts Centre, Alice Springs, NT, Australia. Art of the Spinifex People - Japingka Gallery, Fremantle WA, Australia. 2005 Tarlitja Nguru - Cooee Gallery Sydney, NSW, Australia. Songlines XXX1V - Rebecca Hossack Gallery, London, UK. Law and Land - Museum of Contemporary Aboriginal Art (AAMU), Utrecht, Netherlands. From the Heart - Flinders Lane Gallery, Melbourne, VIC, Australia. 2004 Native Title Business: National touring exhibition; Spinifex Artists, Zurich House, Zurich, Switzerland. 2003 Putitja Nguru – Japingka Gallery, Fremantle, WA, Australia. Spinifex Arts Project 03 - Neil Murphy Indigenous Art, Sydney, NSW, Australia. 2002 Putitja Nguru – Art of the Spinifex People - Japingka Gallery, Fremantle, WA, Australia. 2001 Flinders Arts Museum, Adelaide, SA, Australia. Broken Hill City Regional Art Gallery, Broken Hill, NSW, Australia. All About Art Alcaston Gallery, Melbourne, VIC, Australia. 2000 Putitja Nguru – Art and Song of the Spinifex People - Western Australian Museum, Perth, WA, ustralia with National tour.


Katie BROWN Birth Date Language Place of Birth Skin/Clan

08/03/1976 Pitjantjatjara Irrunytju Tjuntjuntjara

Sophia (Lala) BROWN Birth Date Language Place of Birth Skin/Clan

16/12/1986 Pitjantjatjara Kalgoorlie Tjuntjuntjara

Lala Brown was born in Kalgoorlie. Her mother, whose country Pilki is just to the west of Tjuntjuntjara Community was living in Coonana at the time of lala’s birth. This is before the Spinifex People made the long journey back to their traditional Lands in the Great Victoria Desert after being displaced during the late 1950’s due to the atomic testing by the British and Australian Governments. She has paternal connection to the ‘Seven Sisters’ significant site of Kulyuru, situated to the north of traditional Spinifex Lands. Today Lala lives in Tjuntjuntjara where as well as painting she is a leading creative with the Milpa project, a dedicated new media space managed by SAP.


Lorraine DAVIES Birth Date Language Place of Birth Skin/Clan

07/03/1951 Ngaanyatjarra Warburton Ranges Tjuntjuntjara

“My name is Lorraine Davies and I was born in Warburton Ranges in the Ngaanyatjarra Lands in 1951. I lived with my parents, brothers and sisters. They have all passed and it’s only me now. Last one. I grew up in Warburton but as a little girl was taken and placed in Kurrawang Mission just outside of Kalgoorlie. From there I moved to Cundalee Mission with many of the Spinifex people. After the mission days, we went to Coonana, a place no one lives anymore, and finally ended up settling in Tjuntjuntjara in the early 1990’s. In the late 1990’s I spent many good years working at the first school in community helping teach the students to read, write and learn culture.”

Kathleen (Kanta) DONNEGAN Birth Date Language Place of Birth Skin/Clan

circa 1944 Pitjantjatjara Kapi Piti Kutjara Pitjantjatjara

Kathleen (Kanta) Donnegan is married to Ian Rictor her kuri pikitja, often translated as “promised one”. As if forged by the early years in her country, Kathleen is a gentle soul and has assiduously painted with the Spinifex Art Project since representing her country in the Women’s Native Title Painting in 1997. Kathleen has painted on most of the women’s collaboratives produced by the Spinifex women. Her works are succinct and economic but also fulsome without being over busy. In effect, they are patently honest portrayals of her country - an epitome of the artist herself.


Ivy LAIDLAW Birth Date Language Place of Birth Skin/Clan

1945 Ngaanyatjarra Walpapulka Ngaanyatjara

Ivy Laidlaw, a Ngaanyatjarra artist, was born around 1945 at a rockhole called Walpapulka (Mt. Aloysius) near Irrunytju. Ivy was a founding member of Irrunytju Arts and is a highly regarded sculpture, weaver and storyteller. Ivy is currently living in Tjuntjuntjara Community with her husband Patju Presley who is family to the Spinifex mob.

Dora PARKER Birth Date Language Place of Birth Skin/Clan

06 Jul 1962 Pitjantjatjara Fregon Pitjantjatjara

Dora was born in the clinic at Fregon Community when people were still born ‘on country’. Her family were living in Fregon due to the available work and close proximity to Ernabella Mission. Dora’s family had travelled over 300 kilometres from the east, country close to Irrunytju, in Western Australia. She has a paternal connection to the significant site of Pukara a major Wati Kutjara Tjukurpa through her father. Dora paints the ‘seven sisters’ site of Pur-Pur in the north of traditional Spinifex Lands. Today, she is a part -time employee and board member of the Spinifex Arts Project.


Myrtle PENNINGTON Birth Date Language Place of Birth Skin/Clan

circa 1939 Pitjantjatjara Kanpa Pitjantjatjara

Myrtle Pennington’s journey to Cundeelee Mission in the late 1950’s was particularly tragic - a son and her husband had perished during the trip. Myrtle, with another son and daughter, were eventually located by Australian servicemen and taken to the Cundeelee Mission. Even though Myrtle did not work on the Women’s Native Title Painting in 1997, she gradually came into the Spinifex Arts Project through the women’s collaborative works. She was mostly an occasional painter until the past decade when almost overnight she developed a most striking, minimal style with bold symbols that leap out against a vividly plain background.

Ngalpingka SIMMS Birth Date Language Place of Birth Skin/Clan

circa 1945 Ngaanyatjarra Wayiyul Ngaanyatjarra

Ngalpingka Simms spent her early days living a traditional lifestyle with her small family group and later moved into the Warburton Mission where many Ngaanyatjarra people settled. She spent many years at Warburton living a semi-nomadic lifestyle and participating in traditional ceremony. Now living at Tjuntjuntjara and married to Spinifex elder Lennard Walker, Ngalpingka paints with the Spinifex Arts Project. She has participated with the Spinifex Artists since 1998 and is a valuable and knowledgeable member of the group who paints her homeland area associated with the Minyma Tjuta (Seven Sisters) as well as collaborative paintings.


Tracey SIMMS Birth Date Language Place of Birth Skin/Clan

13/07/1965 Pitjantjatjara Leonora Tjuntjuntjara

Tracey Simms mother, Ngalpingka Simms, was living at Warburton Mission with her husband, who was working on the copper mine on the outskirts of the mission, when she made the long trek to Leonora Hospital, north of Kalgoorlie, to give birth to Tracey. After high school Tracey married young and had one child, a son, who now has children of his own. Tracey’s husband died in a road accident early into her marriage, she also lost her father around this time. Tracey later remarried and resided in Irruntytju Community before losing her second husband, this culturally prompted her to make the move to Tjuntjuntjara. Tracey is now employed with Spinifex Arts Project as a translator among other duties and is also an artist in her own right.



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