Songlines Travelling to America

R E D OT F I N E A RT G A L L E RY presents

Songlines Travelling to America A Collection of Contemporary Indigenous Art

1 st February - 31 st March 2014

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

i n d i g e n o u s

a r t

“Contemporar y Abor iginal ar t, whether it consists of traditional ocher pigments on bark or wood or br ight acr ylics applied to canvas , is both a vital expression of the world’s oldest continuous cultural tradition and a remarkable modern ar t movement.

As the ar t critic for Time magazine , the expatriate Australian Rober t Hughes , stated, it is “the last great ar t movement of the 20th centur y.” And it shows no signs of abating in the 21st centur y.”

Susan Gough Henly Published: Sunday, November 6 th , 2005 The New York Times

Opposite : Gibson Desert © Papunya Tula Artists

About Aboriginal Art

Australian Aboriginal art is the oldest living art tradition in the world, devoid of ego and construction, but seeped in spiritual knowledge and truth. It is characterised by its regional diversity and by the different historical experiences various groups of Aboriginal people have had. Aboriginal art can be found in rock shelters dating back 20,000 years as well as the most modern galleries in NY, London, Paris and Singapore!

It includes naturalistic paintings of human, plant and animal figures, as well as nonnaturalistic, or “abstract” designs with concentric circles, “u” shapes, and lines.

Most Aboriginal art relates to stories of the Dreamtime. The Dreamtime is the Creation Period in Aboriginal belief, when Ancestral Beings formed the land and created the people, the plants and the animals. The particularities of the Dreamtime vary between different Indigenous groups which inhabit Australia. Often depicted in the art, these Ancestral Beings may take human, animal, plant or combined forms.

They taught the people their laws and ceremonies. The Dreamtime stories depicted in Aboriginal art reveal centuries of history, and demonstrate a respect and passion for their culture, as well as a detailed knowledge of the land which often occupies a very sacred place in the hearts of many Indigenous people.

These canvases give direct access to part of the artist’s conceptual world. Each individual painting tells a story, which represents a particular song, dance, ancestral site, or territory and its land resources. The paintings tell of a harmony between Indigenous people and nature, and the importance on ensuring human survival without destruction. One of the great advantages of Aboriginal art is the diversity within and between regional traditions. It is therefore impossible to see a single direction of its movement, which is what makes it so interesting and unpredictable.

Different groups and individuals have their own geographical boundaries, traditions, and cultural practices which their art draws on.

Aboriginal culture has evolved from cultural knowledge rooted within oral traditions.

Consequently, storytelling through paintings, songs and dances have been important tools used in order to pass Dreamtime stories on from one generation to the next.

This has led to localised styles of art. Today, numerous Aboriginal communities throughout Australia are still sharing their own stories and Dreamings through these mediums, as well as broadening their artistic scope by using other artistic mediums such as ceramics, photography and theatre.

Aboriginal art is not a passing phenomenon. It continues to grow in influence because of the intense engagement of Aboriginal artists in practice, and their desire to communicate the values of their culture and way of life. As an art movement, contemporary Aboriginal art is incredibly diverse and aesthetically varied. In recent

years, the depth of knowledge of in Indigenous art has increased exponentially. In many ways, it has led to a form of cultural reinvigoration as the younger generations of Indigenous people to learn about tradition, and culture is shared between people of different cultural backgrounds both in Australia and abroad. As the awareness about Indigenous culture and art has grown, so too has the interest in their artwork – a sign that Contemporary Aboriginal art movement is a development which is substantial and worthy of note.

Aboriginal art has commanded global attention, and this will hopefully lead to the greater appreciation of these people and their incredible skill, as well as allow further insight into Aboriginal culture. It has paved the way for a greater understanding of the Indigenous Australian way of life, and has created a sustainable means for the social and economic empowerment of these people, which can enable them to share with the world their unique and ancient culture.

ReDot Fine Art Gallery

Ikuntji Artists

Ikuntji (meaning “where creeks cross�) is nestled within the spectacular West MacDonnell Ranges, 230 km west of Alice Springs. To the north of the community is Ulampawarru & Anyali (Mt. Edward & Mt. William), and to the south is the stunning Mereenie Bluff. The mountains change colour with the light of the day, with dramatic highlights that may only last a few seconds.

Cradled between two desert mountain ranges, Haasts Bluff offers painters a constantly changing vista that moves through the colour spectrum during the day. The life cycle of bush tucker varieties, and the routes taken across the country over many generations for harvesting these native foods are frequent stories told by the Ikuntji painters within their works, as are the stories of the spirit world that runs parallel with the physical world of the here and now.

The Ikuntji Artists’ art centre at Haasts Bluff was opened in 1992. Soon the artists began producing acrylic paintings on linen and handmade paper which quickly gained the attention of the art world and earned the centre an impressive international reputation. Artists exhibit around Australia and overseas where their work is held in public galleries and private collections.

Visits to country of great significance to the artists are a source of inspiration for their paintings. The experimentation and innovation for which the paintings from Ikuntji are known has been received enthusiastically by collectors and galleries alike.

The combination of their rich cultural heritage, which they draw upon, and their highly developed sense of artistic freedom has produced work that stands strongly in the context of international contemporary painting.

Collectively, Ikuntji Aboriginal art paintings are recognisable through their bold colour and their inclusion of traditional motifs alongside figurative and naturalistic imagery.

Individually these artists have developed their own sophisticated and innovative visual repertoire to record their Tjukurrpa (laws), setting themselves apart by working with a strong sense of self expression.

Narputta NANGALA JUGADAI

Kaarkurutinytja (Lake MacDonald) Acrylic on Linen 122 x 121cm IK06NJMJCM198

This work is a collaboration between Narputta and her two daughters, Molly Jugadai and Cynthia Multa. On the top section of the painting we see the hand of Cynthia Multa, the middle section is that of Narputta Jugadai’s and the bottom section is the hand of Molly Jugadai.

This work depicts Lake MacDonald (Kaarkurutinytja), a large salt lake on the Western Australian border and the home country of Narputta Nangala. Surrounding the lake is the Puli - rocky hills - and Tali - sand hills - stretching away in all directions. A harsh but beautiful landscape which holds many important tjukurrpa stories which Narputta maintains through her work.

Eunice NAPANANGKA JACK

Sandhill Country at Kuruuldu Acrylic on Belgian Linen 100 x 91cm IK05EJ230

This work depicts the mile after mile of sandhills (Tali) in the artist’s mother’s country of Kiwirrkura, far west of Haasts Bluff near Lake MacKay.

Terry MARSHALL

Tali Tali (Big Mob Sandhills) Acrylic on Canvas 121.5 x 83.5cm IK09TM054

It is difficult to conceive that this work is Terry’s first ever attempt at painting. He fastidiously worked on it over a 2 week period and surprised everyone at Haasts Bluff with the outcome, given it is a debut piece.

Terry has elegantly depicted the sandhills of the countryside surrounding Ikuntji. His intention was to begin painting simple stories until his confidence builds at which time he will move to the more ’important’ stories of his forefathers.

Valmay NAMPITJINPA

Kungkas Camp Acrylic on Canvas 91 x 101cm IK04VN32

This work shows the women of the artist’s home country gather together after collecting mungada or bush tucker on the surrounding sandhill country of their home.

Mangkaja Arts Resource Agency

Mangkaja Arts Resource Agency is a vibrant Aboriginal owned art centre located in the township of Fitzroy Crossing, in the Kimberley region of Western Australia.

Mangkaja, meaning wet weather shelter, was established in the late 1980’s by a small group of artists to support cultural, social and economic development in the region.

Mangkaja represents artists across four language groups within the region – Bunuba and Gooniyandi of martuwarra (river country), and Walmajarri and Wangkajunga from the jilji (sand-hill country of the Great Sandy Desert).

Mangkaja artists are renowned for their uninhibited style and lively use of colour, painting images of country that share stories of culture and identity. Mangkaja exhibits nationally and internationally with many artists represented through each of the State Galleries, the National Gallery of Australia and significant private and public collections around the world.

Sonia KURARRA

Martuwarra Atelier Acrylic Paint on 14oz Canvas 180 x 120cm 211/13

Martuwarra is my river country; this painting is all about the Fitzroy River which flows down through Nookanbah where I live. All kinds of fish live in the water, we catch big mob of fish here. I like Parlka (barrumundi). We catch catfish and brim here too. Nganku (shark), Wirritunany (swordfish) and Stingray also live here. These fish live in these waters long after the flood has gone.

Sonia KURARRA

Martuwarra Atelier Acrylic Paint on 14oz Canvas 180 x 120cm 210/13

Martuwarra is my river country; this painting is all about the Fitzroy River which flows down through Nookanbah where I live. All kinds of fish live in the water, we catch big mob of fish here. I like Parlka (barrumundi). We catch catfish and brim here too. Nganku (shark), Wirritunany (swordfish) and Stingray also live here. These fish live in these waters long after the flood has gone.

Sonia KURARRA

Martuwarra Atelier Acrylic Paint on 14oz Canvas 180 x 120cm 114/13

Martuwarra is my river country; this painting is all about the Fitzroy River which flows down through Nookanbah where I live. All kinds of fish live in the water, we catch big mob of fish here. I like Parlka (barrumundi). We catch catfish and brim here too. Nganku (shark), Wirritunany (swordfish) and Stingray also live here. These fish live in these waters long after the flood has gone.

Paji Wajina HONEYCHILD YANKARR

Japinka Atelier Artist Acrylic on 11oz Cotton Duck 120 x 60cm pc321/04

This is an important jila (living spring) in my country.

Paji Wajina HONEYCHILD YANKARR

Wirrkuja Atelier Acrylic, 250gsm Velin Arches Paper 75 x 105cm 436/11

This is a wirrkuja (waterhole in rock which fills up after rain). We would drink water from here in the wet time. In the hot weather time we stayed near the jila (living waterhole). We only stayed in the rocky country for short time after the rain.

Sonia KURARRA

Martuwarra Atelier Acrylic Paint on 14oz Canvas 90 x 90cm 585/12

Martuwarra is my river country; this painting is all about the Fitzroy River which flows down through Nookanbah where I live. All kinds of fish live in the water, we catch big mob of fish here. I like Parlka (barrumundi). We catch catfish and brim here too. Nganku (shark), Wirritunany (swordfish) and Stingray also live here. These fish live in these waters long after the flood has gone.

Also this painting is about barrumundi swimming on the surface of the water, you can also see the Wakiri (pandanus tree) and rocks all around. When the barrumundi get tired they go back into the rock holes. These rock holes hold all the Parlka (barrumundi) that live in the river. Kalputu (water snakes) also live in these rock holes and swim all around the Palma (creeks) and all around the Wakiri that grows in the river.

Paji Wajina HONEYCHILD YANKARR

Jarjupi Atelier Acrylic, 250gsm Velin Arches Paper 52 x 75cm wp044/96

This is my country Jarjupi it is a ngapa jila (living waterhole). Jarjupi is surrounded by huged jiljiwarnti (sandhills), pirnti (claypans) and the jila is always full with water all year round.

Wankurta Peanut FORD

Kurrjalparta Derivan Matisse Acrylic - 280gsm Velin BFK Rives 113 x 76cm wp176/95

This is my where l was born called Kurrjalparta. My mother died here when l was young. This rocky country has lots of dead trees here.

[Deceased December 1994]

Wankurta Peanut FORD

Desert Country Derivan Matisse Acrylic - 280gsm Velin BKF Rives 106 x 75cm 271/12

This is my mother country got trees and grass and jilji (sandhills) way in out the desert. (On reverse [artwork completed] 28/05/1993)

Paji Wajina HONEYCHILD YANKARR

Jupurr Atelier Acrylic, 250gsm Velin Arches Paper 65 x 50cm 451/11

This is my mother and my father’s country called Jupurr. There is a cave here with the jila (living water) inside. There is good yellow ochre here. We used to camp here in the hot weather time. There is always water here in this place.

Yata Gypsy YADDA

Waterholes Derivan Matisse Acrylic - 280gsm Velin BFK Rives 76 x 56cm wp283/99

These are little waterholes from the rain. There are trees in this country called miljirli.

They have bright yellow flowers and sweet sap like honey. It is good to eat.

Yata Gypsy YADDA

Near Tarpu Derivan Matisse Acrylic - 250gsm Velin Arches 75 x 53cm 182/12

This is all about country side, flat country we use go walkabout with our parents showing use how to hunt for food and to live off this land.

(Artwork completed early 90s)

Mornington Island Artists

Mornington and Bentinck are part of the Wellesley Islands, a group of twenty three islands off the cost of north Queensland, Australia, in the Gulf of Carpentaria. The combined population was estimated to be 1007 as of 2001 and the majority of the citizens live in the township of Gununa. Bentinck, in the Southern part of the group, has an extremely flat landscape, very vulnerable to inundation caused by the large volume of water getting into the Gulf during the monsoon season and by tides up to 4 metres high.

The Kaiadilt group lived a very traditional and isolated life until 1947 when a cyclone forced the evacuation of Bentinck Island when the water was contaminated. They were moved to nearby Mornington Island and settled in a religious mission where they kept their traditional practices of fishing and gathering bush foods.

However the stress of leaving their country was so extreme that for many years no Kaiadilt babies were born and their language started to die. These days fewer than 10 people can speak their original language.

The art movement that brought life back to these people started in 2005 when Sally Gabori, then 80 years old, wandered into the Mornington Island Arts and Craft centre and picked up a brush. The Kaiadilt had no tradition of painting but what came from her hands was an overflow of talent in blocks of bright colour, bold combination of pinks and oranges, blues and reds, white and black.

Sally was shortly followed by May Moodoonuthi, Dawn Naranatjil, Paula Paul, Netta Loogatha, Ethel Thomas and Amy Loogatha. All somehow related by blood, language and by the experience of the life in the low lands of the nearby island. They all have distinctive styles but the themes are common: the salt pans, mangroves, mussels, oysters, fish traps, shells and sand from the casuarinas lined beaches and the ceremonial scars made when someone related dies.

The Kaiadilt ladies of the Bentinck Island seized the art world’s attention and have found a new way to reconnect to their long left country.

The powerful works of these wonderful ladies has now been exhibited regularly around Australia since 2005 and are collected by important institutions and collection including The National Gallery of Victoria, Edith Cowan University, Chartwell Collection, The Merenda Collection, The Lagerberg-Swift Collection, The Marshall Collection, Leeuwin Estate, Harding Family and Musee du Quai Branly to name but a few.

Today most of them return to Bentinck during the dry season and about 15 people live permanently on the island. These ladies are respected by the rest of their Kaiadilt people as they hold most of the knowledge of their people and their arts is a vital instrument to spreading this knowledge.

Dibirdibi Country Synthetic Polymer Paint on Linen 151 x 198cm 7110-L-SG-0711

Sally GABORI

This is the big saltpan that covers part of my husband’s country on Bentinck Island.

Sally GABORI

Makarrki Synthetic Polymer Paint on Linen 198 x 101cm 3338-L-SG-0708

This is King Alfred’s Country. He was my big brother and grew me up after my parents died.

Sally GABORI

Dibirdibi Country Synthetic Polymer Paint on Linen 152 x 101cm 3126-L-SG-0408

This painting shows the saltpan that covers part of my husband’s country and the mangroves where we collect crabs and mudshell.

Sally GABORI

Dibirdibi Country Synthetic Polymer Paint on Linen 137 x 121cm 3052-L-SG-0308

My painting shows a group of freshwater hunting grounds on my husband’s country on Bentinck Island.

Sally GABORI

Thundi Synthetic Polymer Paint on Linen 121 x 121cm 6568-L-SG-0211

This is where my father was born on Bentinck Island.

Paula PAUL

Burrkunda Synthetic Polymer Paint on Linen 121 x 91cm 3704-L-PP-1008

Burrkunda are scars us Bentinck ladies have on our bodies. When someone close to us dies we grab a sharp rock or piece of shell and cut ourselves so that we bleed in sorrow for our loss. A scar forms which is called Burrkunda.

Paula PAUL

Flat Reef Synthetic Polymer Paint on Linen 101 x 76cm 6294-L-PP-1110

This is a flat reef at Bentinck Island. At low tide we walk out and hunt and explore on them.

Paula PAUL

Kamarra Synthetic Polymer Paint on Linen 101 x 76cm 6464-L-PP-0111

Kamarra is our word for stone. The Flat reefs that I like to paint are made up of them as are our fishtraps.

Papunya Tula Artists

The Papunya Tula Art Movement began in 1971 when a school teacher, Geoffrey Bardon, encouraged some of the men to paint a blank school wall. The murals sparked off tremendous interest in the community and soon many men started painting. In 1972 the artists successfully established their own company.

The company is entirely owned and directed by traditional Aboriginal people from the Western Desert, predominantly of the Luritja/Pintupi language groups. It has 49 shareholders and now represents around 120 artists. The company derives its name from Papunya, a settlement 240km north-west of Alice Springs.

Papunya settlement was established as an administrative centre by the government for the Aboriginal people who had moved in from the desert. Since then many Pintupi and Luritja people have moved back to their homelands and continue their strong ceremonial tie to the Land.

The company, initially based in the Papunya area, has met the challenges posed by the homelands movement in the last decade, and now extends its operations into Western Australia (covering an area which extends to 700km west of Alice Springs).

The Papunya Tula painting style derives directly from the artists’ knowledge of traditional body and sand painting associated with ceremony. To portray these dreamtime creation stories for the public, has required the removal of sacred symbols and the careful monitoring of ancestral designs.

The work of the Papunya Tula artists is highly regarded. The high standard of the work and its unmistakable and powerful style has resulted in the Papunya Tula artists being represented in most public galleries, major museums, institutions and many large private collections within Australia as well as overseas.

The aim of the company is to promote individual artists, provide economic development for the communities to which they belong, and assist in the maintenance of a rich cultural heritage.

Makinti NAPANANGKA

Lupulnga Acrylic on Canvas 122 x 107cm MN0401077

This painting depicts designs associated with the rockhole site of Lupulnga, south of the Kintore Community. The Peewee (small bird) Dreaming is associated with this site.

A group of women visited the site before continuing their travels north to Kintore.

The roundels in the painting represent the rockhole at the site while the lines are spun hair-string. Hair- string is used in the making of hair-belts which are worn during the ceremonies associated with the area.

Doreen REID NAKAMARRA

Wirrulnga Acrylic on Belgian Linen 122 x 122cm DR0708027

This painting depicts designs associated with the rockhole site of Wirrulnga, just to the east of the Kiwirrkura Community in Western Australia. The lines in the painting represent the tali (sandhills) in the area around Wirrulnga.

A group of ancestral women once gathered at this site to perform the dances and sing the songs associated with the area. Wirrulnga is also known as a traditional birthing site for the women of the area. While at Wirrnlnga the ancestral women 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 Wirrulnga the women continued their travels north~east to Wilkinkarra (Lake Mackay).

Naata NUNGURRAYI

Karrilwarra Acrylic on Belgian Linen 122 x 91cm NN0811093

This painting depicts designs associated with the rockhole and soakage water site of Karrilwarra, west of the Pollock Hills in Western Australia. One of the stories that relates to this site concerns a snake that travelled through Karrilwarra to another site nearby known as Unkunya. After arriving at Unkunya the snake entered the ground, which created the rockhole which still exists at the site.

A large group of ancestral women also visited Unkunya on their travels towards the east. As the women travelled they stopped beside the rockholes and spun hair-string which is used in the making of nyimparra (hair-belts). These are worn by both men and women while dancing during ceremonies.

The women also ground kampurarrpa berries, or desert raisins, from the small shrub Solanum centrale. Once ground into a paste these berries are then cooked on the coals to form a type of damper. The various shapes in the painting represent the soakage waters, sandhills, rocky outcrops and kampurarrpa.

Nyurapayia NAMPITJINPA

Yumarra Acrylic on Canvas 152 x 122cm NN9911134

This painting depicts designs associated with the rockhole site of Yumarra, near Tjukula in Western Australia.

The circles show the camp sites of a group of women who had travelled from Punkilpirri, a large permanent water site, north-west of Docker River in the Walter James Range.

They later continued their travels to the north through Tjukula and Tjalili. The background represents the numerous salt lakes in the area.

Joseph JURRA TJAPALTJARRI

Yunala Acrylic on Belgian Linen 122 x 122cm JJ0910041

This painting depicts designs associated with the soakage water site of Yunala, west of Kiwirrkura in Western Australia. The interlocking pattern represents designs worn on men’s stomachs during ceremonies. In mythological times a large group of Tingari Men camped at this site before continuing their travels further east to Pinari, northwest 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.

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.

Charlie TJAPANGATI

Palipalintjanya Acrylic on Belgian Linen 137 x 122cm CT0401006

This painting depicts designs associated with the swamp and rockhole site of Palipalintjanya, just west of Jupiter Well in Western Australia. In mythological times a large group of Tingari Men camped at this site before traveling south, then turning east passing through Wala Wala, Kiwirrkura and then north- east to Tarkul and 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 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 treachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Yakari NAPALTJARRI

Ngaminya Acrylic on Canvas 153 x 91cm YN0711196

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. The lines in the paintings represent the rows of sandhills which surround Ngaminya. 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 coal to form a type of damper. Upon completion of the ceremonies at Ngaminya the women continued their travels east to Wirrulnga and then onto Wilkinkarra (Lake Mackay).

Walangkura NAPANANGKA (UTAUTA)

Soakage Water Site near Lupul Acrylic on Belgian Linen 122 x 91cm WN0604048

This painting depicts designs associated with a soakage water site near Lupul, South of the Kintore Community. The Peewee (small bird) Dreaming is associated with this site.

In mythological times two ancestral women gathered at this site to perform the dances and sing the songs associated with this site. The women had traveled a long way from a rockhole site west of Tjukurla in the south. While at Lupul the women spun hair-string with which to make nyimparra (hair- string skirts) which are worn during these ceremonies. The various shapes in this work depict the geographical features of this site and its surrounds. Upon completion of the ceremonies the women continued their travels north to a site near Nyirrpi. Along the way the women encountered two kuniya (pythons), that are depicted at the top of this work.

Makinti NAPANANGKA

Lupulnga Acrylic on Belgian Linen 91 x 61cm MN0804057

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, as well as the Kungka Kutjarra or Two Travelling Women Dreaming.

During mythological times a group of ancestral women visited this site holding ceremonies associated with the area, before continuing their travels north to Kaakuratintja (Lake MacDonald), and later the Kintore area. The lines in the painting represent spun hair-string which is used in the making of nyimparra (hair-belts), which are worn by both men and women during ceremonies.

Lorna BROWN NAPANANGKA

Warren Creek Acrylic on Linen 122 x 91cm LB0810153

This painting depicts the site of Warren Creek, just to the west of the Mt. Liebig Community. This is the artist’s grandfather’s country and there are both rockholes and soakage waters at the site. The shapes in the work represent the creek, rockholes, soakage sites and sandhills in the area.

During ancestral times a large group of women camped at Warren Creek gathering the edible berries and fruit growing in the vicinity of the site. These included kampurarrpa (desert raisin), ili (desert fig), ipalu (bush banana) and pura (bush tomato).

The women also dug for ngari (honey ants) and maku (witchetty grubs).

Nyurapayia NAMPITJINPA

Rockhole Site - Yumarra Acrylic on Belgian Linen 122 x 91cm NN0602008

This painting depicts designs associated with the travels of two women to the rockhole site of Yumarra, near Tjukurla in Western Australia. The women had traveled from Punkilpirri, a large permanent water site, North-West of Docker River in the Walter James Range. They later continued their travels to the North through Tjukurla and Tjalili. The roundel in this painting depicts the rockhole at Yumarra. The arc shapes represent the surrounding puli (rocky outcrops) and the lines, the tali (sandhills) the women traveled along on their journey.

As they traveled they gathered large quantities of 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.

Narrabri NAKAMARRA

Payarrnga Acrylic on Canvas 122 x 61cm NN0701029

This painting depicts designs associated with the rockhole site of Payarrnga, south of the Kintore Community. This site is associated with Lungkata or Blue Tongue Lizard Dreaming.

During ancestral times a Blue Tongue Lizard travelled to this site from the south. The lizard was very thirsty and hungry when he arrived at Payarrnga. As he searched food and dug for water he created the geographical features of this site and its surrounds.

The grid-like designs in this painting depict the surrounding tali (sandhills) and puli (rocky outcrops).

A group of ancestral women also travelled to Payarrnga from the south and camped at the site gathering 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.

George TJUNGURRAYI

Maruwanya Acrylic on Belgian Linen 87 x 28cm GT1209002

This painting depicts designs associated with the soakage water site of Maruwanya, a claypan with soakage water, north-west of Lake Mackay. The Two Snake Dreaming travelled through this site. This ancestral story forms part of the Tingari 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.

George TJUNGURRAYI

Unkunya Acrylic on Belgian Linen 87 x 28cm GT1110047

This painting depicts designs associated with the soakage water site of Unkunya, west of the Kiwirrkura community in Western Australia. The Two Snake Dreaming travelled through this site. This ancestral story forms part of the Tingari Cycle.

In ancestral times a large group of Tingari men camped at Unkunya before continuing their travels south-west to Wiluna.

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.

Ronnie TJAMPITJINPA

Walungurru Acrylic on Belgian Linen 87 x 28cm RT1304046

This painting depicts designs associated with the site of Walungurru or Kintore. In ancestral times a ngintaka (perentie) came to this site from the west. Two women tracked the ngintaka to Kintore and eventually found it. One held the ngintaka while the other killed it. When the ngintaka died, it turned to stone and became the mountain, a very prominent landmark next to the Kintore community.

This site is associated with 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.

Ronnie TJAMPITJINPA

Walungurru Acrylic on Belgian Linen 87 x 28cm RT1203083

This painting depicts designs associated with the site of Walungurru or Kintore. In ancestral times a ngintaka (perentie) came to this site from the west. Two women tracked the ngintaka to Kintore and eventually found it. One held the ngintaka while the other killed it. When the ngintaka died, it turned to stone and became the mountain, a very prominent landmark next to the Kintore community.

This site is associated with 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.

George TJUNGURRAYI

Kirrimalunya Acrylic on Belgian Linen 46 x 38cm GT1303071

The design in this painting depicts the claypan site of Kirrimalunya, north of Wilkinkarra (Lake Mackay). In ancestral times two Ngangkaris (Aboriginal healers) were camped at this site. The two were only young boys but often this healing power is given to Ngangkaris by the time they are young teenagers.

This ancestral story forms part of the Tingari 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.

George TJUNGURRAYI

Unkunya Acrylic on Belgian Linen 46 x 38cm GT1211048

This painting depicts designs associated with the soakage water site of Unkunya, west of the Kiwirrkura community in Western Australia. The Two Snake Dreaming travelled through this site. This ancestral story forms part of the Tingari Cycle.

In ancestral times a large group of Tingari men camped at Unkunya before continuing their travels south-west to Wiluna. 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.

Spinifex Artists

The Spinifex Arts Project has been operating for14 years directed primarily by a strong core group of senior Traditional Owners and artists from Spinifex Country.

Situated in the southern part of the Great Victoria Desert the Spinifex people have long been an autonomous group who fought for Native Title rights which were granted in 2000. A number of striking paintings were produced to support this claim, paintings with a strong Spinifex identity and weighted with cultural authority.

Spinifex Artists are well known for maintaining cultural integrity in their artwork.

Bold designs by individual artists and strikingly colourful collaborative works are underpinned by important Tjukurpa (creation stories) such as Minyma Tjuta (Seven Sisters story), Wati Kutjara (Two men), Pukara, Mulaya and many others all of which are sacred and ancient.

Artists from Spinifex Country are transferring knowledge of Tjukurpa and country to the next generation so that they may continue to paint and communicate culture to a wide audience. The artists are widely travelled and have visited many parts of Australia for exhibitions and overseas locations such as USA, Austria, Germany, The Netherlands and UK.

Yarangka Elaine THOMAS

Ngalkuritjara Acrylic on Belgian Linen 164 x 133cm C1071

Ngalkuritjara is a large, flat claypan below the height of surrounding country, where reliable water can always be found by digging down into the clay.

Ngalkuritja is aso the site of the Wati Kipara (Bush Turkey Man) Tjukurpa a secret and sacred story that travels from the north in Spinifex country all the way down to Eucla on the Southern coast.

Tjaruwa (Angelina) WOODS

Kamanti Acrylic on Linen 111 x 82.5cm 12042

Tjaruwa has painted the country around Kamanti, Purr-purr, Tarantjara, Baki and Palka-Palka Creek to the north of where she was born. This painting depicts country and tjukurpa (ancestral stories) that can only be discussed in very general detail publicly as they are stories belonging to Spinifex men. Very generally the painting shows elements of the initiation process whereby a young boy has a hole made in his nose with the help of sacred birds and Marlu, the red kangaroo.

Tjungu Palya Artists

Since its incorporation in 2006, Tjungu Palya has grown to be a dynamic and innovative community art centre. Located about 100kms south of Uluru, Nyapari is set at the base of the majestic Mann Ranges in the heart of country traditionally owned by the Pitjantjatjara people. These ranges known to Anangu as Murputja, likening the mountain to the bony ridge of a person’s spine, are the source of many water holes and traditional camping places. The homelands of Kanpi, Nyapari, Angatja, Umpukulu and Tjankanu have grown from these seasonal camping places into permanent settlements. Over fifty artists from Murputja joined together with family members living in traditional country 180 kms to the south at Watarru and created Tjungu Palya (Good Together).

Tjungu Palya is an Aboriginal owned and governed art enterprise. The art centre plays a vital economic role in the future sustainability of these small communities providing key employment, enterprise and significant social welfare outcomes. Its financial strength enables the artists to support community development through projects such as the aged care and lunch program, governance training and cultural maintenance. The motivation for building up the business of the art centre is to increase the capacity for artists and their communities to take control of their own circumstances, develop career opportunities for their young people, and create vibrant and self-sustaining communities.

The senior artists paint continuously and believe that the transfer of traditional knowledge to the young people is of utmost importance. It is not uncommon for four generations of one family to be gathered at the art centre, painting, singing and retelling the Tjukurpa. The Tjukurpa, culture and ceremonial Law are integrated into the lives, religion and everyday business for Anangu living in the Pitjantjatjara Lands.

It explains the creation of life and provides a guideline for living life well. There is a strong relationship between this deeply spiritual existence and the creation of works of art, which have integrity, beauty and resonating spiritual power. The younger artists at Tjungu Palya are encouraged to tap into this resource, a wealth of knowledge handed down through the generations and manifested in country through the Tjukurpa.

Tjungu Palya has also a focus of developing the careers of younger and emerging artists. This contributes to inter-generational learning, reinforces the Tjukurpa learning continuum and is essential to the long term sustainability of Tjungu Palya. Young and emerging artists are important for the art centre’s community development and capacity building and provide contemporary relevance in maintaining Australia’s unique cultural heritage.

Eileen Yaritja STEVENS

Wati Kutjara Acrylic on Canvas 122 x 98cm 07457

Two brothers live here at Piltati. They were drawing sacred designs on the cave walls and having Inma (ceremonial singing). There wives travelled everyday in search of food. The women dug for kuka mitika (betong) and collected bush foods. Mai kutjupa kutjupa (many different varieties of wild plant foods).

Tiger PALPATJA

Piltatinga Acrylic on Canvas 110 x 90cm 10403

Piltati Tjukurpa (the creation story for Piltati). Wati wanampi kutjara (the two serpent brothers) live here in the rock hole. Ngayulu law (I’m the law man for this place).

Kungka kutjarangku kuka langka munu kuniya, kuka kutjupa-kutjupa tjawara (the two sisters were digging for edible snakes and lizards). Tjukurpa mulapa (this is a true story). Minyma mulapa. Wati mulapa. Piltatila.

Tiger PALPATJA

Tjilpu Acrylic on Canvas 114 x 86cm 10482

This is my country, Piltati. There is one bird here. The two women from Piltati have been digging all the holes.

Maringka BAKER

Walu Acrylic on Canvas 92 x 80cm 08451

Minyma kutju nyinanyi, minyma (one woman is sitting by herself she is an echidna woman from the creation time). Kapi tjukula tjuta munu warku kapi (there are many deep rockholes and one shallow depression in the rock where the water collects).

Minyma mapitja wilurara (She got up and travelled west) to Kata Ala. Mamutjara and Kampurarpapiti are just off the canvas.

Warlayirti Artists (Balgo)

Established in 1987, Warlayirti Artists located at Wirrimanu (Balgo) in the southeastern Kimberley is renowned for its dynamic vibrant paintings. The art centre incorporates a large studio space adjoining a gallery and represents approximately 200 artists from three communities in the Kutjungka region-Kururrungku (Billiluna), Mulan and Balgo. The artists are from diverse language groups such as Kukatja, Walmajarri, Jaru, Ngarti, Warlpiri and Pintupi. The diversity of cultural practice and bold use of colours clearly marks Warlayirti Artist’s individual and unique style.

Lucy YUKENBARRI

Mappa Rockhole Acrylic on Canvas 120 x 80cm 177/95

This is a depiction of a waterhole known as Mappa in the artits’s country. It is a scene of collecting bush tucker and burning off of country in order to catch game.

Lucy is one of the senior law women for the Tjukulpa (Dreamtime) law and stories associated with this place.

Lucy lived in this part desert as a young girl with her family and has an intimate knowledge of the land features and the plentiful supply of water and bush foods found here.

Kathleen PADDOON

Nakarra Nakarra Acrylic on Canvas 120 x 80cm 203/03

Kathleen has painted some important country for her family, which is south of Balgo in the Great Sandy Desert. The country depicted here is Nakarra Nakarra, one of the sites of the Seven Sisters Dreaming, a story about seven sisters who travel the ancestral landscape running from an old man who wants to marry the youngest. At Nakarra Nakarra a group of hills embody the seven sisters, among which is found a fjuronu, or soakwater, shown in the centre orthe painting. The hills and more distant tali, or sand dunes are shown surrounding Nakarra Nakarra.

Nora WOMPI

Kunawarritji Acrylic on Linen 150 x 100cm 57/10

Nora’s work depicts her traditional country near Kunawarritji Community (Well 33), far to the south west of Balgo along the middle stretches of the Canning Stock Route. The lines in the painting represent the tali (sand hills) that dominate this country. This is good country for collecting bushfoods including pura (bush tomato) and kantjilyi (bush raisin). The circular shapes represent rockholes, as sources of water dotted throughout the desert.

Theresa NOWEE

Tjurnu Acrylic on Linen 150 x 100cm 198/10

Theresa has painted her mother’s country which is located near the Balgo Community. The painting depicts Tjurnu a sacred rock hole surrounded by the different features of the country spinifex and desert trees as well as pura bush tomatoes and kantijilyi (raisins).Theresa is the third daughter born to Brandy Tjungurrayi and Nowee Nangala.

Sarah DANIELS

Minna Minna Acrylic on Linen 120 x 80cm 794/07

In this painting Sarah has painted her country Minna Minna. The different colours in the paintings represent the tali (sandhills) that surround this country. Sarah says that there is good putja (bush leaves) which she cooks under hot coals. The white flowers of the putja are used in ceremony, rubbed onto the young men’s chest to make them strong ones.

Sarah recalls walking all over this country as a child knowing it intimately and says that there are many pukarrpi (rock holes) in the area.

Lady GORDON

Balgo Acrylic on Linen 120 x 80cm 1097/08

Lady has painted country belonging to her father named Minna Minna. Minna Minna is located south of Balgo near Lappi Lappi.

This is a large salt lake that is an important meeting place for people in the whole surrounding region.

Miscellaneous Artists

Joshua BONSON

Skin Synthetic Polymer Paint on Canvas 122 x 122cm JB0541

Skin alludes to my people and my totem, the crocodile; it tells of the saltwater people and the saltwater crocodile, the key to my totem. Skin works on different levels: it can be read as a close up of a reptile’s skin, as a landscape both seen from a distance and close-up details of rocks and sand.

The armoured skin of the reptile is shown by the built up serrations of the paint applied by hand or directly from the tube. Layer upon layer of paint is reapplied over many weeks building and creating the textured 3D result. I want the viewer to feel the presence of the reptile, run their hands across its skin, know its strength and also see the country from where it came, where I come from.

Contemporary in appearance; the dot-painting technique is imaginative given more weight and more paint, the thick slab floats on an apparently watery surface. Skin is both a contemporary abstract work and a painting that embodies indigenous traditions and meanings that stretch back over time. Culture is an important part of my life and plays an equally important part in my art. The Bonson family’s culture has been lost over the years, and together through our artwork my sister and I are both trying to regain it to trace it back and find it again. We know the basics and we’re just trying to find our place in it all. Painting is a way for me to share my personal view of the world and my place in it.

My great grandmother was from Badu in the Torres Strait Islands and her eldest son is my grandfather, Donald Bonson, senior. He is the inspiration for my work. He says everything is connected, the land, the water and us. Like the crocodile we are saltwater people with an ancient lineage.

Joshua BONSON

Skin Synthetic Polymer Paint on Canvas 75 x 60cm JB0521

Skin alludes to my people and my totem, the crocodile; it tells of the saltwater people and the saltwater crocodile, the key to my totem. Skin works on different levels: it can be read as a close up of a reptile’s skin, as a landscape both seen from a distance and close-up details of rocks and sand.

The armoured skin of the reptile is shown by the built up serrations of the paint applied by hand or directly from the tube. Layer upon layer of paint is reapplied over many weeks building and creating the textured 3D result. I want the viewer to feel the presence of the reptile, run their hands across its skin, know its strength and also see the country from where it came, where I come from.

Contemporary in appearance; the dot-painting technique is imaginative given more weight and more paint, the thick slab floats on an apparently watery surface. Skin is both a contemporary abstract work and a painting that embodies indigenous traditions and meanings that stretch back over time. Culture is an important part of my life and plays an equally important part in my art. The Bonson family’s culture has been lost over the years, and together through our artwork my sister and I are both trying to regain it to trace it back and find it again. We know the basics and we’re just trying to find our place in it all. Painting is a way for me to share my personal view of the world and my place in it.

My great grandmother was from Badu in the Torres Strait Islands and her eldest son is my grandfather, Donald Bonson, senior. He is the inspiration for my work. He says everything is connected, the land, the water and us. Like the crocodile we are saltwater people with an ancient lineage.

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ALEMBIC 627 National Ave Mountain View California 94043

For viewing appointments: +1 6502181655

ReDot Fine Art Gallery was established by Giorgio Pilla who developed a passion for Aboriginal art and culture in his frequent visits to Australia over the last 20 years and who has been collecting Fine Aboriginal Art ever since.

ReDot Fine Art Gallery is the first and only dedicated Aboriginal Art Gallery in Singapore, and indeed, the only throughout Asia-Pacific. It has been in operation since 2004, and is located in the heart of Singapore’s dock precinct. ReDot features a superb range of Aboriginal Art at both affordable prices for art lovers as well as more important collectors’ pieces for investment purposes. The gallery represents artists from areas across the Northern and Western Deserts of Australia - where the majority of the Aboriginal Art Centres are located.

ReDot Fine Art Gallery holds the work of some of Australia’s most significant indigenous artists, and their works are sourced from the most important Art Centres in Australia.

ReDot Fine Art Gallery is committed to promoting the work of Indigenous artists, and creating opportunities for a wider understanding and appreciation of Aboriginal art and culture. Furthermore, it is one of the aims of the gallery to explore the cultural diversity which exists in Aboriginal art, and to actively promote a range of work that displays a rich variety of cultural expression.

ReDot Fine Art Gallery purchases the majority of its work in the primary art market - i.e. the first point of sale (the art centres and co-operatives established to nurture and develop the artistic expression of the varied Aboriginal communities). ALL of the works are ethically sourced, with guaranteed provenance from the leading art centres. The work is selected directly by the gallery principal in his frequent visits to the communities in Australia.

ReDot Fine Art Gallery works directly with Aboriginal communities in order to source the best quality of work from an aesthetical, stylistic and spiritual viewpoint.

ReDot Fine Art Gallery offers a comprehensive service, including fully documented submissions of works in stock and complete management of packing, freight and export arrangements, if necessary.

Every work is accompanied by a Certificate of Authenticity issued by the Art Centre representing the artist.

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