OUTBACK DREAMING A Private Art Collection
OUTBACK DREAMING “Greatest flowering of art probably anywhere, anytime.” Robert Edwards
Represented by Whitespace 12 Crummer Road, Ponsonby, Auckland, New Zealand T +649 361 3661 E firstname.lastname@example.org www.whitespace.co.nz
INTRODUCTION Art collecting is a labour of love and an intimate relationship between people who have often never met. Collections are begun for many reasons, often with little to do with aesthetics or stories. Collecting indigenous art, however, requires a certain kind of passion, much research, respect, time, and dedication. The degree to which these factors are in play can be observed in the depth and complexity of the collection. ‘Outback Dreaming’ is an historically and aesthetically comprehensive collection of important and poignant modern aboriginal art by some of Australia’s most important contemporary artists.
This remarkable collection was born of a chance visit to an aboriginal art gallery in Port Douglas, Australia. Having previously only collected traditional Western landscapes, portraits, and sculpture, the collectors were struck by the intimate and ancient connection between the artists and their land. The gallery gave the couple some books and encouraged them to ask questions. They learnt that many of these artists had inherited the right to paint their images, which contain ancestral designs handed down from the elders for thousands of years. They purchased two paintings and several more books, and their relationship with aboriginal art began. The collectors, like many of the artists they were now collecting, sought guidance. With the help of gallerist Dick Bett, another chance meeting this time in Hobart, the pair continued their journey, now with a guide. Bett counselled that the collection should be comprised of works that speak to one another – that have relationships between them as well as to each artist’s unique Dreaming. It was this advice coupled with
the collectors’ own tendency toward first generation aboriginal art that resulted in ‘Outback Dreaming’. ‘Outback Dreaming’ was compiled with an eye to the past, but it is striking how contemporary that historical aesthetic seems. The collectors made a conscious decision to collect pieces that drew on traditional aboriginal art, rather than those that engaged with the contemporary and more political themes. The result is a collection that represents the heart of aboriginal histories and is a comprehensive survey of traditional aboriginal aesthetics. Many of the works in this collection act as documents of the artists’ ‘dreaming’. For aboriginal groups, Dreaming relates to the creation stories, law, customs, and environment of each region of Australia. Likewise, aboriginal creation stories are rooted in the Dreamtime. In an art context, different Dreamings result in different patternation, which subsequently generate mesmerising story patterns that express everything from creation legends to traditions of food storage. What appear to the uninitiated simply lush, beautiful patterns in actual fact are truly whole cultural universes in paint. Comprised of work from artists in various stages of their careers, ‘Outback Dreaming’ represents the most powerful aspects of aboriginal culture and its ability to commemorate death and celebrate life. These beautiful works, which are uniquely both narrative and abstract, showcase how skilled and visionary aboriginal artists so adeptly translate traditional patterns and stories onto canvas. 1
ABIE LOY KEMARRE (b. 1972- ) Region: Lyentye (Mosquito Bore) Utopia, Northern Territory Language Group: Eastern Anmatyerre Born in 1972 on Utopia Station, 270km north east of Alice Springs in the Central Desert Region of Australia. Abie Loy began painting in 1994 under the guidance of her grandmother, Kathleen Petyarre. She depicts stories from her grandfather’s country of Artenya, situated on Utopia such as ‘Bush Turkey/Bush Hen’ Dreaming. (She has custodial rights of the Bush Hen Dreaming). Her paintings convey the sensitivity and strength she derives from her dreaming and her country.
BODY PAINT DESIGN Date: 2004 Medium: Acrylic on linen Dimensions: Unframed 118.5h x 149.5w cm (stretcher size) Provenance: Commissioned by Russell Guy, Alice Springs, NT and Bett Gallery, Hobart, TAS Description: Ochre body paint design with white dots on black background
BUSH TURKEY DREAMING
Date: 2005 Medium: Acrylic on linen Dimensions: Unframed 124h x 160w cm (stretcher size) Provenance: Commissioned by Russell Guy, Alice Springs, NT and Bett Gallery, Hobart, TAS Description: The work was painted less than two weeks after the death of her husband, who died in a motor car accident. The work is a celebration – a strange choice of word ( in the sense of marking a significant, if somewhat, sad event) of his passing. It is unique. Her choice of palette, with a predominate blue colour, is also something unusual and special. Abie’s traditional painting design is always painted using an earth pigment type palette. 2
KATHLEEN PETYARRE (b. 1940- ) Region: Utopia, Northern Territory Language Group: Anmatyerre and Alyawarre Kathleen worked as an assistant teacher in the Utopia school, near Atnangker country (where she was born), from 1969 to 1989. During this time she began working with batik in 1978 when the Utopia Batik programme was formally established with the aid of Australian Government funding and eventually started painting with acrylics on canvas in about 1986. Her art directly refers to her country and her Dreamings. Kathleen demonstrates her detailed accurate knowledge and respect for the country through her remarkable paintings, giving her audience an insight into her ancient world of endless beauty. She is recognised as one of Australia’s greatest living artists. She has won several awards and is represented in several Art Galleries throughout Australia and overseas. Reference: Christine Nicholls and Ian North, ‘Kathleen Petyarre: Genius of Place’.
ENJERRIMA (Bush Seed) My Country
Date: 2004 Medium: Acrylic on linen Dimensions: Unframed 205.5h x 117.5w cm (stretcher size) Provenance: Commissioned by Russell Guy, Alice Springs, NT and Bett Gallery, Hobart, TAS Description: orange/yellow, lineal dunes – large painting 3
GLORIA TAMERRE PETYARRE (b. 1945- ) Region: Utopia, Alice Springs, Northern Territory Language Group: Anmatyerre Gloria is a highly respected artist from the Utopia region. Beginning with the batik movement in 1978 and then with painting in 1988. Gloria’s extensive and remarkable career includes a number of awards. Her work is included in a number of Art Collections in Australia and Overseas. Kathleen Petyarre is one of her sisters – there are six sisters altogether. Gloria became the first Australian artist to be invited to design a Hermes scarf – Bush Medicine motif. Went on sale in 2009. Hermes’ hand-rolled silk squares are collectables that cost AUD$530 each – Queen Elizabeth II wears hers knotted under the chin!
LEAFS (Bush Medicine Dreaming) 2004 DIPTYCH
Date: 2004 Medium: Acrylic on canvas Dimensions: Unframed diptych, each panel: 190h x 66w cm (stretcher sizes) Provenance: Commissioned by Russell Guy, Alice Springs, NT and Bett Gallery, Hobart, TAS Description: Four colour on black background, diptych painting
LEAFS (Bush Medicine Dreaming) April 2001
Date: 2001 Medium: Acrylic on canvas Dimensions: Unframed 121h x 83.5w cm (stretcher size) Provenance: Rodney Gooch, Alice Springs, NT & Bett Gallery, Hobart, TAS Description: Multi-coloured, early Leafs painting – suggested ‘museum piece’ 4
MARGARET TURNER PETYARRE (b. 1945-2008) Region: Utopia, Alice Springs, Northern Territory Language Group: Anmatyerre Margaret Turner started her art career working in batik as a member of the famous Utopia art group. Bush Orange Dreaming consists of myriad small dots of white paint which together produce a lace or web-like effect and becomes an entrancing and intricately patterned work. The motif itself refers to a totemic element within the artistâ€™s knowledge and keeping. Like many references to plant life in contemporary indigenous art, the painting refers to practical matters (knowledge of food sources, signs of water), medicinal uses, dreaming (the spiritual qualities and legendary origins of plants) and the need to maintain and pass on traditional knowledge. Margaret Turnerâ€™s delicately linked dots are a reminder of the ways in which local knowledge, community experience and heritage are all connected.
BUSH ORANGE DREAMING 2005
Date: 2005 Medium: Acrylic on linen Dimensions: Unframed 122.5h x 160w cm (stretcher size) Provenance: Commissioned by Russell Guy, Alice Springs, NT and Bett Gallery, Hobart, TAS Description: White lace on black background painting 5
DOROTHY NAPANGARDI (b. 1958-2013) Region: Yuendumu, Alice Springs, Northern Territory Language Group: Warlpiri Dorothy is a Warlpiri woman from the area around, a significant site located near Lake Mackay in the Tanami Desert in the Northern Territory. Her work is visually spectacular yet also grounded in ongoing cultural and ancestral ties to her country. Dorothy’s success as an artist lies in her ability to evoke a strong sense of movement on her canvases, an effect she achieves because of her remarkable spatial sense and compositional ability. In ‘Salt on Mina Mina’ the movement depicts Woman Dreaming Ancestors as they undertake their lengthy, heroic journey – a journey involving walking, dancing, singing and digging, sometimes happening simultaneously. A highly informative catalogue ‘Dancing Up Country: The Art of Dorothy Napangardi’, was published in 2002 in conjunction with a major exhibition of her paintings at the Museum of Contemporary Art, Sydney. Sadly, she was killed in a car accident in Alice springs in June 2013.
SALT ON MINA MINA
Date: 2003 Medium: Acrylic on linen Dimensions: Unframed 153.5h x 212w cm (stretcher size) Provenance: Mbantua Fine Arts Gallery, Alice Springs, NT and Bett Gallery, Hobart, TAS Signed on verso by artist ‘Dorothy’ Description: White dots on a black background 6
PEGGY NAPANGARDI JONES (b. 1950- ) Region: Julalikari, Tennant Creek, Northern Territory Language group: Warumungu/Warlpiri Born on Phillip Creek Station in the Northern Territory, Peggy Jones grew up in the bush and remembers it as a happy time. The stories recounted to her by her mother (a Warlpiri speaker), grandmother and father (a Warumungu speaker), gave Peggy her inherited dreamtime stories and their laws. They are her ceremonial designs and her inspiration to paint. One of the best known painters from Julakari Arts her paintings are widely exhibited and acclaimed for her bold and colourful depiction of bush foods, animals and birds. Her best paintings were completed around 2000 and before her health started to deteriorate and the start of dialysis treatment (away from her Tennant Creek Community) at Alice Springs in 2004. This particular work painted at the height of Peggyâ€™s prowess, is of larger than average scale and includes a comprehensive presentation of her subject matter â€“ Goanna, Cockatoo, Sacred Waterhole and her Country. There is an inherent strength and authority within her high quality work, which manifests itself the longer you live with it. Peggy Napangardi Jones has exhibited widely throughout Australia. She is represented in major public and corporate collections including the Australia National Gallery, Canberra, National Gallery of Victoria, Melbourne, Art Gallery of New South Whales, Sydney among others.
TWO BIRDS & GOANNA 2002
Date: 2002 Medium: Acrylic on linen Dimensions: Unframed, 119.5h x 117w cm (stretcher size) Provenance: Julalikari Arts Centre, Tennant Creek, NT and Bett Gallery, Hobart, TAS Description: Predominately yellow and green 7
MITJILI NAPURRULA (b. 1945- ) Region: Ikuntji (Haasts Bluff), Northern Territory Language group: Pintupi Mitjili Napurrula was born at Haasts Bluff in 1945 and started painting for the Ikuntji Women’s Centre in 1993. She is the daughter of Tjunkiya Napaltjarri (mother), a painter at Kintore. Her brother Turkey Tolson Tjupurrula, is Chairman of Papunya Tula Artists, and she is married to Long Tom Tjapanangka, a very well-known artist from Haasts Bluff. She has exhibited throughout Australia since 1994 and has held several solo exhibitions. Her work is represented in major Australian collections including the National Gallery of Australia, Art Gallery of New South Wales and the Flinders University Art Museum, South Australia. A predominant theme in Mitjili’s work, is Watiya Tjuta (trees) which relates to men’s wooden objects. The ‘Tjukurrpa’ or Dreaming of these works concern making spears, an important aspect of men’s business; and the straightening of these spears is a theme frequently painted by her brother Turkey Tolson Tjupurrula. Mitjili is known for the strength of patterning in the formal arrangements of her work, as in this representation of the woman’s side of this ‘Tjukurrpa’ (Dreaming), the trees that provide the wood for spear shafts and other objects. The country where the trees are found is Uwalki, Mitjili’s father’s country. Mitjili was taught her father’s ‘Tjukurrpa’ by her mother, who drew images in the sand of Uwalki.
ULWALKI (Trees and Country)
Date: 2004 Medium: Acrylic on linen Dimensions: Unframed 152h x 182w cm (stretcher size) Provenance: Mbantua Fine Arts Gallery, Alice Springs, NT and Bett Gallery Hobart, TAS 8
ANGELINA PWERLE (b. 1947- ) Region: Lyentye (Mosquito Bore) & Alice Springs, Northern Territory Language Group: Alyawerre & Anmatyerre Angelina Pwerle has come into international prominence with her interpretation of her Dreaming – the Bush Plum – Amwekety in her grandfather’s country, Ariparra. The subtle changes in the depth and intensity of her dot-work produced a multi-dimensional textured surface. Her canvasses characteristically feature an intense concentration of dots, which gives her works a 3-dimensional aspect, which in turn produce the effect of movement or shadows, across the surface. Placed on dark backgrounds, the dots take on a pure, ephemeral quality. Her work has been collected by many significant public and private galleries and institutions. She was a finalist in the 23rd Telstra National Aboriginal and Torres Strait Islander Awards, 2006.
BUSH PLUM DREAMING
Date: 2004 Medium: Acrylic on linen Dimensions: Unframed 123.5h x 172w cm (stretcher size) Provenance: Commissioned by Russell Guy, Alice Springs, NT and Bett Gallery, Hobart, TAS Description: Various colour dots on black background
BUSH PLUM DREAMING 2005
Date: 2005 Medium: Acrylic on linen Dimensions: Unframed 84h x 112w (stretcher size) Provenance: Bett Gallery, Hobart, TAS
MINNIE PWERLE (b. 1915-2006) Region: Utopia, Northern Territory Language Group: Anmatyerre and Alyawarre Minnie Pwerle’s main Dreamings include ‘Awelye-Atnwengerr’, Bush-Melon and Bush Seed, all of which convey this artist’s love and respect of the land. Her paintings depict the designs used in women’s ceremonies. She paints very spontaneously, and her work is very bold and colourful with predominately free-flowing lines. Minnie’s paintings are in collections of the National Gallery of Victoria, Queensland Art Gallery, Art Gallery of NSW and many more including international collections. Her daughter, Barbara Weir, is also an artist. She passed away in 2006.
BUSH MELON (body paint design) 2005 (see inside back cover for image) Date: 2005 Medium: Acrylic on canvas Dimensions: Unframed 87h x 146w cm (stretcher size) Provenance: Commissioned by Russell Guy, Alice Springs, NT and Bett Gallery, Hobart, TAS Description: Black background, purple, blue, red and yellow stripes. Depicted by a series of lines painted in different widths, patterns and colours. The stripes relate to bush melon ceremony at a particular sacred site. The site includes an ancient stone artefact set up in a hollow in the desert where ‘women only’ conduct this ceremony. Part of this ceremony includes a sacred cave. Up the walls and across the ceiling of the cave are painted stripes in sets of three.
BUSH MELON (body paint design) 2005
Date: 2005 Medium: Acrylic on canvas Dimensions: Unframed 90h x 150w (stretcher size) Provenance: Jungara Gallery, Port Douglas, QLD Description: Black background, white, yellow and pink. Minnie first began to paint this Dreaming using only vertical lines but as her painting progressed she added circles, swirls, and breast designs. This pattern represents the design painted on the top half of the women’s bodies during ceremonies in their country of Atnwengerrp. ‘Bush Melon’ is depicted using a linear design of curves, circles and breast designs in different colours creating a very loose and bold design. Picture of artist and painting available. These Dreamings tell the story of this lovely sweet food that comes from a very small bush and is only found in Atnwengerrp. Once very abundant, this Bush Melon is now very hard to find. 10
TIMOTHY WULANJBIRR (b. 1969- ) Region: Maningrida, Arnhem Land, Northern Territory Language Group: Kuninjku Son of Lena Kuriniya and Crusoe Kuningbal. Influenced by John Mawurndjul and his use of rarrk. In his works, Wulanjbirr employs rarrk in precise geometric designs that are repeated in strong graphic forms, typically against a black background. Wulanjbirr has exhibited at Gallery Gabriella Pizzi in 2012, Museum of Contemporary Art, Sydney and the Muse Gallery, Paris. He was the winner of the Telstra Award in 2004.
YIPPA (Frog) 2007
Date: 2007 Medium: Natural ochre on Maningrida bark with traditional bracing Dimensions: 192h x 76w cm (overall size) Provenance: Exhibited Bark Paintings from Maningrida, Arnhemland Bett Gallery, Hobart, TAS 11
WALALA TJAPALTJARRI (b. 1960- ) Region: Kiwirrkurra, Gibson Desert, Western Australia Language Group: Pintupi Walala and his family created international headlines when they arrived out of the wilderness of the Gibson Desert in 1984. Till this time the group had been following their traditional lifestyle in the country of Lake Mackay. Walala was introduced to the art by his brother Warlimpirrnga, also an acclaimed artist and began painting his own works in 1987 while still in his early twenties. Walala has exhibited his works in numerous solo and group exhibitions both in Australia and overseas. His works feature in a vast number of public and private collections.
Date: c.2002 Medium: Acrylic on linen Dimensions: Unframed 120h x 150w cm (stretcher size) Provenance: Jungara Gallery. (Progress pictures available) The subject of his paintings is the Tingari Cycle, a series of sacred and secret mythological songs about the ancestors of Pintupi. The rectangles of Walalaâ€™s paintings map both the physical and spiritual dimensions of his sacred country, and his mastery of structure and composition put him as an artist at the forefront of contemporary painting. 12
IMANTS TILLERS (b. 1950- ) Sydney, Australia Currently lives and works in Cooma, NSW Imants Tillers is an Australian visual artist, curator and writer. In 1973 he graduated from the University of Sydney with a Bachelor of Science in Architecture (Hons) and the University Medal. Tillers has exhibited widely since the late 1960s and has represented Australia at important international exhibitions such as Sao Paulo Biennale in 1975, Documenta 7 in 1982 and the 42nd Venice Biennale in 1986. He has been the recipient of numerous awards and commissions. As one of Australia’s most significant artists, Tillers has been at the forefront of contemporary art for over three decades. Since 1981 Tillers has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of 1980s, to the effects of migration, displacement and diaspora. Most recently his paintings have been concerned with place, locality and evocations of the landscape. The National Art Gallery of Australia published, on the occasion of the exhibition, in 2006 IMANTS TILLERS One World many Visions. This is a superb publication Editor – Dr. Deborah Hart, Senior Curator of Australian Painting and Sculpture at the National Gallery of Australia. October 2013 Imants Tiller exhibiting at Royal Academy, Piccadilly, London. England.
MELANCHOLY LANDSCAPE II – OUTBACK
Date: 2008 Medium: Acrylic and gouache on 54 canvas panels Dimensions: 228.6 x 213.36cm – overall assembled size (detail pictured) Provenance: Exhibited, Clouds on a Distant Horizon Bett Gallery, Hobart, TAS This is a painting titled ‘OUTBACK’ and is about a journey across Australia visiting many of the Aboriginal communities. The text in the painting references places – ‘Kunnunrra’, ‘Bungle Bungles’, ‘Tiwi’, ‘Yirrkala’, ‘Halls Creek’, ‘Warlpiri’ and ‘Uluru’ among others. Tillers has perhaps appropriated some of the style of Fred William in his use of red-earth colours and for its use of broken figuration or tree-like forms. “It is a significant painting, beautiful and accessible in its appearance and will complement existing Aboriginal collection to perfection.” Dick Bett, Bett Gallery 13
DOREEN REID NAKAMARRA (b. 1955-2009) Region: Warburton Ranges, Western Australia Language group: Pintupi/Ngaatjatjarra Doreen was born in the Warbuton Ranges in 1955. She has exhibited in numerous exhibitions and the Sydney Biennale. Her works feature in a vast number of public and private collections.
THE ROCKHOLE SITE OF LUPULNGA
Date: 2009 Medium: Acrylic on Belgian linen Dimensions: 122 x 152cm Provenance: Art of the Western Desert, Papunya Tula Artists Pty Ltd. Painted at Kiwirrkura, certified and signed Ben Currs for T. Dilworth and Gallery Gabrielle Pizzi, Melbourne Description: 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 (sand hills) and puli (rocky hills) in the surrounding area. 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. 14
Date: 2006 Medium: Acrylic on Belgian linen Dimensions: 122 x 122cm Provenance: Art of the Western Desert, Papunya Tula Artists Pty Ltd. Painted at Kiwirrkura, certified and signed Paul Seeney for T. Crawley and Gallery Gabrielle Pizza, Melbourne Description: These two paintings depict designs associated with the rockhole site of Marrapinti, west of the Pollock Hills in Western Australia. The lines in the painting depict the creek at the site and the sand hills that surround it.
Date: 2006 Medium: Acrylic on Belgian linen Dimensions: 91 x 91cm (stretcher size) Provenance: Art of the Western Desert, Papunya Tula Artists Pty Ltd Painted at Kiwirrkura, certified and signed ST for V. Patterson and Gallery Gabrielle Pizzi, Melbourne
FLORRIE WATSON NAPANGATI (b. 1950- ) Region: Mt Doreen, North West Yuendumu, Northern Territory Language group: Pintupi
THE ROCKHOLE SITE OF TJITURRULPA
Date: 2007 Medium: Acrylic on Belgian linen Dimensions: 91 x 91cm Provenance: Art of the Western Desert, Papunya Tula Artists Pty Ltd. Painted at Kiwirrkura, certified and signed ST for B. Nicholson and Gallery Gabrielle Pizzi, Melbourne Description: This painting depicts designs associated with the claypan and soakage water site of Tanyinki, which is slightly north of the Nyirrpi Community. A group of ancestral women camped here performing the dances and singing the songs associated with the area. Upon completion of the ceremonies at this site the woman continued their travels east. The lines in this painting depict the tali (sand hills) surrounding this site. 16
WARLIMPIRRNGA TJAPALTJARRI (b. 1958- ) Region: Kiwirrkurran, Western Australia Language group: Pintupi Warlimpirrnga Tjapaltjarri was one of the last of the Pintupi to lead a nomadic life. He came in from the desert with his family group of nine in 1984. Prior to this he had been living in country to the west of Lake Mackay. At this time it was estimated that he was 25 years old and had no contact with Europeans. After three years in Papunya Warlimpirrnga began painting with Papunya Tula Artists. In 1988 he had his first solo show at Gallery Gabrielle Pizzi. The entire exhibition was bought and donated to the National Gallery of Victoria. In 2000, with four other men from Kiwirrkurra, he made a ground painting at the Art Gallery of NSW. His life was the subject of an episode of ‘Beyond the Fatal Shore’, a BBC documentary. He is married to Yalti Napangati.
‘THE CLAYPAN SITE OF KIRRIWIRRI’
Date: 2008 Medium: Acrylic on Belgian Linen Dimensions: 122 x 91cm Provenance: Art of the Western Desert, Papunya Tula Artists Pty Ltd. Painted at Kiwirrkura, certified and signed by Ben Currs and Gallery Gabrielle Pizzi, Melbourne Description: This painting depicts designs associated with the claypan site of Kirriwirri, situated slightly west of Wiulkinkarra (Lake Mackay). During ancestral times a large group of tingari men travelled to Kirriwirri from the west, and after arriving at the site, passed beneath the earth’s surface and continued travelling underground. It is also said that a huge ancestral snake sleeps in this area. 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. 17
YUKULTJI NAPANGATI (b. 1970- ) Region: Lake Mackay, South Australia Language Group: Pintupi Born ‘in the bush’ c.1970, Yukultji is married to well-known Aboriginal artist, Charlie Ward. She is one of the group who walked out of Gibson Desert with Warlimpirrnga in 1984 to make first contact with white people.
Date: 2006 Medium: Acrylic on Belgian linen Dimensions: 91 x 61cm Provenance: Art of the Western Desert, Papunya Tulu Artist Pty Ltd. Painted at Kiwirrkura, certified and signed ST for P. Cobourn and Gallery Gabrielle Pizzi, Melbourne Description: This painting depicts designs associated with rockhole site of Wirrulnga, Just east of Kiwirrkura Community. The lines in this painting depict the sand hills surrounding this site. In mythological times a group of ancestral women camped here before continuing their travels north east to Wilkinkarra (Lake Mackay). Wirrulnga is a site which is associated with birth. 18
Date: 2009 Medium: Acrylic on Belgian linen Provenance: Art of the Western Desert, Papunya Tulu Artist Pty Ltd. Signed Joanna Baldwin. Tropical Pulse, Kuranda, QLD Description: This painting depicts designs associated with the rockhole and soakage water surrounded by sand hills, west of the Kiwirrkura Community. 19
JOSEPHINE NAPURRULA Region: Kiwirrkurra, Tjukula. Western Australia Language group: Pintupi
Date: 2006 Medium: Acrylic on linen Dimensions: 91 x 91cm Provenance: Art of the Western Desert, Papunya Tula Artists Pty Ltd Gallery Gabrielle Pizzi, Melbourne Description: This painting depicts designs associated with the site of Tjukurla, near where the Community now stands. In mythological times a group of women gathered at Tjukurla to perform the dances and sing the songs associated with the area. While at Tjukurla the women also made spun hair which is used to make nyimparra (hair-string skirts) which are worn during ceremonies. The sinuous lines in this painting depict the nyimparra. The Centralian and Western Desert Aboriginals are unique in their representation of mythological Dreamtime beings and events in ground painting and body designs. This painting is an example of this ancient yet living tradition depicted in modern media. 20
MINNIE PWERLE BUSH MELON (body paint design) 2005 (see page 10 for description) Date: 2005 Medium: Acrylic on canvas Dimensions: Unframed 90h x 150w (stretcher size)
OUTBACK DREAMING A Private Art Collection