Ku-ring-gai Chase National Park is not the best known, and I’m not sure why. It offers scenic views and a wide network of walking tracks. It’s home to winding creeks and significant Aboriginal sites, eucalypts and mangroves, rocky cliffs and golden sand beaches, and it’s the best place to bump into shy wallabies in the […]
Bilya marlee 2021 National Architecture Awards shortlist Bilya Marlee | Kerry Hill Architects | Photographer: Nicholas Putrasia 2021 National Architecture Awards: INTERIOR Bilya marlee | Kerry Hill Architects Traditional Land […]
Jillian Stockman Nungurrayi is from Mt Wedge in the Central Desert and is part of the Anmatjera. She is the daughter of Billy Stockman Tjapalltjarri, an iconic Papunya artist and is considered one of the first representatives of Aboriginal art. She evokes in her works her representation of the dream associated with the Rainbow Serpent and the vegetation of the Australian bush with the traditional technique of pointillism. The large formats of her works open the work to infinity. This particular piece is called Story Telling-Kangaroo Dreaming. Her father Billy Stockman was involved in the painting of the white roundels. The roundels represent camp sites. The U shapes represent the women with their digging sticks and coolamans. Here the women are passing down dreamtime stories to the young woman. Medium Acrylic on Canvas Size 76cm x 91cm Condition: Good with some stains on back top right and bottom back. It is currently on a stretched canvas, however, will be shipped without frame.
Learn all about Australian landmarks, culture, and food through crafts, activities, and recipes with these fun Australia activities for kids.
One of the most beautiful national parks in Australia is without a doubt the Grampians National Park! here are 11 reasons why you should go.
Ngapa Jukurrpa (Water Dreaming) - Puyurru, is an original artwork by artist -Mickaela Napangardi Lankin, a member of the Warlukurlangu Artists Aboriginal Corporation. Artwork measures - 107 x 76 cm This original artwork is unframed and shipped rolled up to your door! We have very competitive framing options on our site - see tab below to get a free online quote. Additional canvas around the edge of the painting allows for stretching. A stamped certificate of authenticity is supplied by Warlukurlangu Artists Aboriginal Corporation with this artwork. Warlukurlangu Artists is famous for its gloriously colourful acrylic paintings and limited edition prints. The Aboriginal art centre has a national and international profile and its art has been featured in hundreds of exhibitions and publications in Australia and around the world. Warlukurlangu means ‘belonging to fire’ in the local language, Warlpiri, and is named for a fire dreaming site west of Yuendumu. Established in 1985 Warlukurlangu Artists Aboriginal Corporation is a not-for-profit organisation that is 100% Aboriginal-owned by its artists from the remote desert communities of Yuendumu and Nyirripi in Central Australia. Proceeds from the sale of all art go directly back to the artists and their community projects. Warlukurlangu Artists is supported by funding from the Australian Government through the Indigenous Visual Arts Industry Support. Free shipping in Australia
Aboriginal Colouring Pages gifted to Brisbane Kids by local indigenous artists for the free non commercial enjoyment by kids
Highlights includes works by Emily Kame Kngwarreye, Ronnie Tjampitjinpa, and Gordon Bennett
Aboriginal dot painting template for colouring.
Die Symbole in diesem Gemälde stellen einige der bedeutenden Orte des Atnwengerrp-Landes dar, das Land von Bettys Mutter, sowie Landformationen wie Sandhügel, Campingplätze, Flora, Fauna, Awelye (Frauenzeremonie) , spirituelle Figuren und Ahnentanzspuren usw Sie sind noch heute in den Felsen von Anthep eingraviert. Anthep ist ein angestammter Ort und nach wie vor der bedeutendste Ort im Atnwengerrp-Land. Dort werden noch immer Zeremonien und Tänze aufgeführt. Es ist ein Ort, an dem sich alle – Männer, Frauen und Kinder – treffen und campen können. Es ist auch ein Ort, an dem permanent Wasser vorhanden ist. Bettys Mutter war eine bekannte Aborigine-Künstlerin namens Minnie Pwerle , die 1996 verstarb. Ihre Werke waren für diese Markierungen berühmt und Betty erhielt nach ihrem Tod von ihrer Familie die Erlaubnis, weiterhin in diesem Stil zu malen.
The Aboriginal community have been actively involved with TCL during construction by collecting and making artefacts for display and as part of an employment program planting indigenous vegetation within the park.
Details Artwork Artist Authenticity Framing Details Aboriginal Artist - Julie Nangala Robertson Community - Yuendumu Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 2828/23 Materials - Acrylic on linen Size(cm) - H203 W107 D2 Postage variants - Artwork is posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork Mina Mina is an extremely important ceremonial site for Napangardi and Napanangka women that is located approximately 600kms west of Yuendumu, just east of Lake Mackay and the WA border. Mina Mina has a ‘marluri’ (salt lake or claypan) that is usually dry, without water. There are also a number of ‘mulju’ (soakages), sandhills, and a large stand of ‘kurrkara’ (desert oaks [Allocasuarina decaisneana]). The Mina Mina Jukurrpa is an important source of Warlpiri ritual knowledge and social organization, particularly relating to the different roles performed by men and women. The ‘kirda’ (owners) of this country are Napangardi/Napanangka women and Japangardi/Japanangka men, who can depict portions of the Mina Mina Jukurrpa in their paintings. The artists mother, Dorothy Napangardi (c.1956–2013) painted Mina Mina and has passed down her Jukurrpa stories to her children and asked them to continue to paint for her. There are a number of different components of the Mina Mina Jukurrpa; artists usually choose to depict one particular aspect. These can include ‘karnta’ (women), ‘karlangu’ (digging sticks), ‘majardi’ (hairstring skirts/tassels), ‘ngalyipi’ (snakevine [Tinospora smilacina]), ‘jintiparnta’ (desert truffle [Elderia arenivaga]), and ‘kurrkara’ (desert oak [Allocasuarina decaisneana]). In ancestral times a group of ‘karnta’ (women) traveled from Mina Mina on an epic journey to the east. These ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out of the ground. They collected these digging sticks and started travelling to the east. They carried their digging sticks over their shoulders and they were adorned with ‘majardi’ (hairstring belts), white feathers, and necklaces made from ‘yinirnti’ (bean tree [Erythrina vespertilio]) seeds. They travelled east from Mina Mina, dancing, digging for bush tucker, and creating many places as they went. As they went east, they passed through Kimayi (a stand of ‘kurrkara’ (desert oak)). They passed through sandhill country where the ‘yarla’ (bush potato or ‘big yam’ [Ipomea costata]) ancestors from Yumurrpa and the ‘ngarlajiyi’ (pencil yam or ‘small yam’ [Vigna lanceolata]) ancestors from Yumurrpa were engaged in a huge battle over women. This battle is also a very important Warlpiri Jukurrpa narrative. The women went on to Janyinki and stopped at Wakakurrku (Mala Bore), where they stuck their digging sticks in the ground. These digging sticks turned into mulga trees, which still grow at Wakakurrku today. The women then went on to Lungkardajarra (Rich Bore), where they looked back towards their country in the west and started to feel homesick for what they’d left behind. The women split up at Lungkardajarra. Some of them travelled eastwards to Yarungkanyi (Mount Doreen), and kept going east. They passed through Coniston in Anmatyerre country, and then went on to Alcoota and Aileron and beyond. The other group of women travelled travelled northwards from Lungkardajarra to Karntakurlangu. These women stopped at Karntakurlangu to dig for ‘wardapi’ (sand monitor/goanna [Varanus gouldii]) and ‘jintiparnta’ (desert truffle) before going further north. Both groups eventually got so homesick for their desert oak country in the west that they went all the way back to Mina Mina, where they stayed for good. The dots in this painting represent the women as they walked and danced across the country. Artist Julie Nangala Robertson is one of five daughters born in Yuendumu in 1973 to well-known Telstra Award winning artist, Dorothy Napangardi (Dec 2013). Since the late 1990's, while often in the company of her talented mother, Julie has pursued and developed a creative visual language of her own, one which consists of a fascinating blend of stylised experimentation and ancient narrative. Usually an aerial perspective along with a more recently and established distinctive monochromatic pallette, Julie's current paintings (which depict the topographical features of her traditional country at the site of Pirlinyanu) have become works of extraordinary optical brilliance as she alternates the size of dots throughout her work as well as building up specific shapes or reference points often repeated with overdotting. Julie has been painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu, since 2007. She paints her mother’s Jukurrpa stories, stories that have been passed down to her by her mother and all the mothers before them for millennia. Her work has been included in numerous collections and exhibitions of Aboriginal Art in both Australia and overseas. Authenticity All paintings come with a certificate of authenticity provided by the community-run Aboriginal Art Centre, not us, which is the gold standard for ethical purchasing and documentation. We take great pride in offering high-quality, authentic Aboriginal Art pieces to you and in addition to our 120-day returns(they don't come back), we are pleased to offer a lifetime money-back authenticity guarantee to all customers who purchase Aboriginal Art from us, both past and present. This guarantee covers any disrepute or wrongdoing in association with the authenticity of any Aboriginal artwork ever sold by ART ARK®. We understand that purchasing authentic Aboriginal Art is important to you, and we want to provide you with peace of mind in knowing that you are getting what you expect. We take the authenticity of Aboriginal Art seriously and are committed to providing you with high-quality and genuine works of art. If at any time you have any concerns whatsoever about the authenticity of any art piece, please do not hesitate to contact us and we will investigate further. If we find any wrongdoing or disrepute in regards to the provenance or authenticity of any artwork sold by us we will promptly provide a full refund to you at any time in the future, be it in one year, or in ten! Please find more information on authenticity here: https://artark.com.au/pages/aboriginal-art-authenticity Framing All of our Desert Paintings, with the exception of the Stretched Desert Paintings Collection, are sent rolled. Sending paintings rolled is the best option for their safe arrival and allows us to include free shipping, provide timely service, and maintain consistent and transparent pricing relating to the prices set by each Aboriginal Art centre. The size of the painting listed relates to the painted surface. There is also a painted edge(2cm) and additional canvas for stretching. A local framer will easily stretch the work for you at a nominal cost. Framers are everywhere and there is likely one just up the road. We recommend choosing one with good reviews and if you call ahead you will generally get a better-quoted price than if you turn up, painting in hand. Please find further details and examples relating to framing here: Framing Aboriginal Art
Lukarrara Jukurrpa (Desert Fringe-rush Seed Dreaming), is an original artwork by artist - Gregory Jupurrurla Gill, a member of the Warlukurlangu Artists Aboriginal Corporation. Additional canvas around the edge of the painting allows for stretching. Artwork measures - 76 x 46 cm This original artwork is unframed and shipped rolled up to your door! We have very competitive framing options on our site - see tab below to get a free online quote. A stamped certificate of authenticity is supplied by Warlukurlangu Artists Aboriginal Corporation with this artwork. Warlukurlangu Artists is famous for its gloriously colourful acrylic paintings and limited edition prints. The Aboriginal art centre has a national and international profile and its art has been featured in hundreds of exhibitions and publications in Australia and around the world. Warlukurlangu means ‘belonging to fire’ in the local language, Warlpiri, and is named for a fire dreaming site west of Yuendumu. Established in 1985 Warlukurlangu Artists Aboriginal Corporation is a not-for-profit organisation that is 100% Aboriginal-owned by its artists from the remote desert communities of Yuendumu and Nyirripi in Central Australia. Proceeds from the sale of all art go directly back to the artists and their community projects. Warlukurlangu Artists is supported by funding from the Australian Government through the Indigenous Visual Arts Industry Support. Free shipping in Australia
Details Artwork Artist Authenticity Framing Details Aboriginal Artist - Tina Napangardi Martin Community - Nyirripi Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 2700/24 Materials - Acrylic on canvas Size(cm) - H61 W46 D2 Postage variants - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork This ‘jintiparnta Jukurrpa’ (desert truffle [Elderia arenivaga] Dreaming) comes from Mina Mina. Mina Mina is an extremely important ceremonial site for Napangardi and Napanangka women that is located approximately 600kms west of Yuendumu, just east of Lake Mackay and the WA border. The area has a ‘marluri’ (salt lake or claypan) that is usually dry, without water. There are also a number of ‘mulju’ (soakages), sandhills, and a large stand of ‘kurrkara’ (desert oaks [Allocasuarina decaisneana]). The Mina Mina Jukurrpa is an important source of Warlpiri ritual knowledge and social organization, particularly relating to the different roles performed by men and women. The ‘kirda’ (owners) of this Jukurrpa are Napangardi/Napanangka women and Japangardi/Japanangka men. There are a number of different Jukurrpa associated with Mina Mina; artists usually choose to depict one particular Jukurrpa in their paintings. In addition to ‘jintiparnta’ (desert truffle), these can include ‘karnta’ (women), ‘karlangu’ (digging sticks), ‘majardi’ (hairstring skirts/tassels), ‘ngalyipi’ (snakevine [Tinospora smilacina]), and ‘kurrkara’ (desert oak [Allocasuarina decaisneana]). The Mina Mina Jukurrpa tells the story of a group of ancestral ‘karnta’ (women) who traveled from west to east. In the Dreamtime, these ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out of the ground. They collected these digging sticks and started travelling to the east. They carried their digging sticks over their shoulders and they were adorned with ‘majardi’ (hairstring belts), white feathers, and necklaces made from ‘yinirnti’ (bean tree [Erythrina vespertilio]) seeds. They continuously anointed themselves with ‘minyira’ (shiny fat) to increase their ritual powers as they went along. As the women travelled, they were followed by a ‘yinkardakurdaku’ (spotted nightjar [Eurostopodus argus]) from the Jakamarra subsection. The bird would call out and then hide in the bushes behind them as they travelled. When the women danced at Mina Mina, they created a large dust cloud that swept up the ‘walyankarna’ (snake ancestors). The ‘walyankarna’ had previously transformed themselves from witchetty grubs into snakes at Kunajarrayi (Mount Nicker, 200km southwest of Yuendumu), and they had stopped at Mina Mina to watch the women dance. This dust cloud blew the ‘walyankarna’ further north to Yaturluyaturlu (near the Granites gold mine). In this way, the ‘karnta Jukurrpa’ (women’s Dreaming) and ‘ngarlkirdi Jukurrpa’ (witchetty grub Dreaming) intersect. This allowed the ancestral women to observe the witchetty grubs and learn how to best locate and cook them, which are skills that Warlpiri women still use today. The women went east from Mina Mina, dancing, digging for bush tucker, and creating many places as they went. As they went east, they passed through Kimayi (a stand of ‘kurrkara’ (desert oak)). They passed through sandhill country where the ‘yarla’ (bush potato or ‘big yam’ [Ipomea costata]) ancestors from Yumurrpa and the ‘ngarlajiyi’ (pencil yam or ‘small yam’ [Vigna lanceolata]) ancestors from Yumurrpa were engaged in a huge battle over women. This battle is also a very important Warlpiri Jukurrpa narrative. The women went on to Janyinki and stopped at Wakakurrku (Mala Bore), where they stuck their digging sticks in the ground. These digging sticks turned into mulga trees, which still grow at Wakakurrku today. The women then went on to Lungkardajarra (Rich Bore), where they looked back towards their country in the west and started to feel homesick for what they’d left behind. The women split up at Lungkardajarra. Some of them travelled eastwards to Yarungkanyi (Mount Doreen), and kept going east. They passed through Coniston in Anmatyerre country, and then went on to Alcoota and Aileron and beyond. The other group of women travelled travelled northwards from Lungkardajarra to Karntakurlangu. These women stopped at Karntakurlangu (an area that literally means ‘belonging to women’) to dig for ‘wardapi’ (sand monitor/goanna [Varanus gouldii]) and ‘jintiparnta’ (desert truffle). ‘Jintiparnta’ appears in the sandhills after the winter rains. The growing fungus forces the earth above it to crack, exposing it. Women dig it out of the ground and squeeze out the liquid inside to drink before cooking it in hot ashes. After stopping to collect the ‘jintiparnta’ at Karntakurlangu, the women kept traveling further north. However, both groups of women eventually got so homesick for their desert oak country in the west that they went all the way back to Mina Mina, where they stayed for good. The Mina Mina Jukurrpa (of which this ‘jintiparnta’ Jukurrpa is a part) contains important information about the different roles that men and women play in Warlpiri culture, particularly in the context of ritual performance. It alludes to an earlier time in which their ritual and social roles were reversed, in which women controlled the sacred objects and weapons that are now exclusively “owned” by men. In contemporary Warlpiri paintings, traditional iconography can be used to represent the Jukurrpa, particular sites, and other elements. In paintings of the ‘jintiparnta’ Jukurrpa, circles and roundels represent the ‘jintiparnta’ (desert truffle) that the women collected as they travelled, and straight lines represent their ‘karlangu’ (digging sticks). Artist Tina Napangardi Martin Robertson was born in 1960 in Yuendumu, a remote Aboriginal community 290 km north-west of Alice Springs in the NT of Australia. Her parents and grandparents are deceased and she has only one sister who lives in Laramba community, near Napperby Station. Tina went to the local school in Yuendumu. She lived there for most of her life but now lives in Nyirripi after she married her second husband, Douglas Wilson. They have one son born in 1997. She also has five grown-up children from her first marriage. Tina has been painting with Warlukurlangu Artisits Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu, since 1996. When Warlukurlangu Artists began exploring print making in 1997, Tina began screen printing and batik. However it wasn’t until 2007, when the children were grownup, that Tina found the time to paint on a regular basis. She paints her father’s Jukurrpa stories which include Yurrampi Jukurrpa (Honey Ant Dreaming) and Janyinki Jukurrpa (Yanyinki Dreaming). She also paints Ngalyipi Jukurrpa (Snake Vine Dreaming) and recently Pulundari Jukurrpa (Mushroom Dreaming). Tina enjoys painting, especially when her children and grandchildren are watching. She loves to explain to them the meaning of the different designs and patterns. She also enjoys going hunting on weekends for bush tomato and bush sultanas and when she can she visits her father’s country and her country. Authenticity All paintings come with a certificate of authenticity provided by the community-run Aboriginal Art Centre, not us, which is the gold standard for ethical purchasing and documentation. We take great pride in offering high-quality, authentic Aboriginal Art pieces to you and in addition to our 120-day returns(they don't come back), we are pleased to offer a lifetime money-back authenticity guarantee to all customers who purchase Aboriginal Art from us, both past and present. This guarantee covers any disrepute or wrongdoing in association with the authenticity of any Aboriginal artwork ever sold by ART ARK®. We understand that purchasing authentic Aboriginal Art is important to you, and we want to provide you with peace of mind in knowing that you are getting what you expect. We take the authenticity of Aboriginal Art seriously and are committed to providing you with high-quality and genuine works of art. If at any time you have any concerns whatsoever about the authenticity of any art piece, please do not hesitate to contact us and we will investigate further. If we find any wrongdoing or disrepute in regards to the provenance or authenticity of any artwork sold by us we will promptly provide a full refund to you at any time in the future, be it in one year, or in ten! Please find more information on authenticity here: https://artark.com.au/pages/aboriginal-art-authenticity Framing All of our Desert Paintings, with the exception of the Stretched Desert Paintings Collection, are sent rolled. Sending paintings rolled is the best option for their safe arrival and allows us to include free shipping, provide timely service, and maintain consistent and transparent pricing relating to the prices set by each Aboriginal Art centre. The size of the painting listed relates to the painted surface. There is also a painted edge(2cm) and additional canvas for stretching. A local framer will easily stretch the work for you at a nominal cost. Framers are everywhere and there is likely one just up the road. We recommend choosing one with good reviews and if you call ahead you will generally get a better-quoted price than if you turn up, painting in hand. Please find further details and examples relating to framing here: https://artark.com.au/pages/how-to-frame-your-aboriginal-art
The symbols in this painting map out some of the significant sites of Atnwengerrp country, Betty's mother’s country, as well as land formations such as sand hills, campsites, flora, fauna, awelye (women’s ceremony), spiritual figures and ancestral dancing tracks, as they can still be seen today, etched in the rocks at Anthep. Anthep is an ancestral place that remains the most significant site on Atnwengerrp country. Ceremony and dance are still performed there. It is a place where everyone - men, women and children can meet together and camp. It is also a place where permanent water can be found. Betty's mother was a renowned aboriginal artist named Minnie Pwerle who passed away in 1996. Her work was famous for these markings and Betty was given permission by her family after her passing to continue to paint in this style. Artist Name: Betty Mbitjana Skin name: Mbitjana (also spelled Mpetyane) Language group: Anmatyerre Country: Ahalpere Region: Utopia, Central Australia Born: 1957 Read Betty Mbitjana's full bio » Related Content Songlines Exhibition | July - Sept 2016 Specs Medium: Synthetic polymer paint on canvas Background colour: Black Size of painting: 30cm x 30cm Canvas border: Black, approx 6cm This painting comes unstretched and rolled in a tube. This painting comes with a Certificate of Authenticity and artist profile.
Details Ouvrages d'art Artiste Authenticité Encadrement Details Artiste autochtone - Margaret Napangardi Lewis Communauté - Yuendumu Centre d'art aborigène - Société autochtone des artistes Warlukurlangu Numéro de catalogue - 2839/24 Matériaux - Acrylique sur toile Taille (cm) - H61 W46 D2 Variantes d'affranchissement - Illustration publiée non étirée et roulée pour une expédition en toute sécurité Orientation - Peint de tous les côtés et OK à accrocher comme vous le souhaitez Ouvrages d'art Mina Mina est un site cérémoniel extrêmement important pour les femmes Napangardi et Napanangka, situé à environ 600 km à l'ouest de Yuendumu, juste à l'est du lac Mackay et de la frontière de l'État de Washington. La région possède un « marluri » (lac salé ou cuvette argileuse) généralement sec, sans eau. Il y a aussi un certain nombre de « mulju » (trempages), des dunes et un grand peuplement de « kurrkara » (chênes du désert). [Allocasuarina decaisneana]) . Le Mina Mina Jukurrpa est une source importante de connaissances rituelles et d'organisation sociale Warlpiri, notamment en ce qui concerne les différents rôles joués par les hommes et les femmes. Les « kirda » (propriétaires) de ce pays sont des femmes Napangardi/Napanangka et des hommes Japangardi/Japanangka, qui peuvent représenter des parties de Mina Mina Jukurrpa dans leurs peintures. Il existe un certain nombre de composants différents du Mina Mina Jukurrpa ; les artistes choisissent généralement de représenter un aspect particulier. Ceux-ci peuvent inclure 'karnta' (femmes), 'karlangu' (bâtons à creuser), 'majardi' (jupes/glands en cheveux), 'ngalyipi' (snakevine [Tinospora smilacina]), 'jintiparnta' (truffe du désert [Elderia arenivaga]) , et 'kurrkara' (chêne du désert [Allocasuarina decaisneana] ). Le Mina Mina Jukurrpa raconte l'histoire d'un groupe de « karnta » (femmes) ancestrales qui voyageaient d'ouest en est. Au Temps du Rêve, ces femmes ancestrales dansaient à Mina Mina et des « karlangu » (bâtons à creuser) sortaient du sol. Ils récupérèrent ces bâtons à creuser et commencèrent à voyager vers l'est. Ils portaient leurs bâtons à creuser sur leurs épaules et étaient ornés de « majardi » (ceintures en cheveux), de plumes blanches et de colliers fabriqués à partir de graines de « yinirnti » (haricot [Erythrina vespertilio]). Ils s'oignaient continuellement de « minyira » (graisse brillante) pour augmenter leurs pouvoirs rituels au fur et à mesure. Pendant leur voyage, les femmes étaient suivies par un « yinkardakurdaku » (engoulevent tacheté [Eurostopodus argus]) de la sous-section Jakamarra. L'oiseau criait puis se cachait dans les buissons derrière eux pendant leur voyage. Lorsque les femmes dansaient à Mina Mina, elles créaient un grand nuage de poussière qui balayait les « walyankarna » (ancêtres des serpents). Les « walyankarna » s'étaient auparavant transformés de larves sorcières en serpents à Kunajarrayi (mont Nicker, 200 km au sud-ouest de Yuendumu), et ils s'étaient arrêtés à Mina Mina pour regarder les femmes danser. Ce nuage de poussière a soufflé le « walyankarna » plus au nord jusqu'à Yaturluyaturlu (près de la mine d'or Granites). De cette façon, le « karnta Jukurrpa » (le rêve des femmes) et le « ngarlkirdi Jukurrpa » (le rêve des larves sorcières) se croisent. Cela a permis aux femmes ancestrales d'observer les larves de witchetty et d'apprendre comment les localiser et les cuisiner au mieux, compétences que les femmes Warlpiri utilisent encore aujourd'hui. Les femmes se sont dirigées vers l'est de Mina Mina, dansant, creusant pour trouver du bush tucker et créant de nombreux endroits au fur et à mesure de leur passage. En se dirigeant vers l'est, ils traversèrent Kimayi (un peuplement de « kurrkara » (chêne du désert)). Ils traversèrent la région des dunes où les « Yarla » (pomme de terre de brousse ou « grosse igname » [Ipomea costata]) de Yumurrpa et les ancêtres « ngarlajiyi » (igname au crayon ou « petite igname » [Vigna lanceolata]) de Yumurrpa étaient engagés dans une énorme bataille pour les femmes. Cette bataille est également un récit très important du Warlpiri Jukurrpa. Les femmes se dirigèrent vers Janyinki et s'arrêtèrent à Wakakurrku (Mala Bore), où elles enfoncèrent leurs bâtons dans le sol. Ces bâtons à creuser se sont transformés en arbres mulga, qui poussent encore aujourd'hui à Wakakurrku. Les femmes se sont ensuite rendues à Lungkardajarra (Rich Bore), où elles ont regardé vers leur pays à l'ouest et ont commencé à avoir le mal du pays pour ce qu'elles avaient laissé derrière elles. Les femmes se séparèrent à Lungkardajarra. Certains d'entre eux se sont rendus vers l'est jusqu'à Yarungkanyi (Mont Doreen), et a continué vers l'est. Ils passèrent par Coniston en pays d'Anmatyerre, puis se dirigèrent vers Alcoota et Aileron et au-delà. L'autre Un groupe de femmes a voyagé vers le nord, de Lungkardajarra à Karntakurlangu. Ces femmes s'arrêtèrent à Karntakurlangu pour chercher du « wardapi » ( moniteur des sables/goanna [Varanus gouldii] ) et du « jintiparnta » (truffe du désert) avant d'aller plus au nord. Les deux groupes ont finalement eu tellement le mal du pays de leur pays de chênes du désert à l'ouest qu'ils sont retournés à Mina Mina, où ils sont restés pour de bon. Ce Jukurrpa contient des informations importantes sur les différents rôles que jouent les hommes et les femmes dans la culture Warlpiri, en particulier dans le contexte de l'accomplissement des rituels. Il fait allusion à une époque antérieure où leurs rôles rituels et sociaux étaient inversés, où les femmes contrôlaient les objets sacrés et les armes qui appartiennent désormais exclusivement aux hommes. Dans les peintures Warlpiri contemporaines, l'iconographie traditionnelle peut être utilisée pour représenter le Jukurrpa, des sites particuliers et d'autres éléments. Dans les peintures du Mina Mina Jukurrpa, des lignes sinueuses sont souvent utilisées pour représenter « ngalyipi » (serpent vigne). Les cercles et les cocardes peuvent représenter la « jintiparnta » (truffe du désert) que les femmes récoltaient au cours de leur voyage, et les lignes droites sont utilisées pour représenter les « karlangu » (bâtons à creuser). Les « Majardi » (jupes en dentelle) sont représentées par des lignes ondulées suspendues à une seule ligne courbe. Artiste Margaret Napangardi Lewis est née à Mount Doreen Station, une vaste station d'élevage de bétail située à environ 55 km à l'ouest de Yuendumu dans le Territoire du Nord. Margaret a parcouru le pays avec ses parents et est allée à l'école à Papunya puis à l'école locale de Yuendumu, une communauté aborigène isolée située à 290 km au nord-ouest d'Alice Springs dans le Territoire du Nord de l'Australie. Elle est la fille de Paddy Japanangka Lewis, juriste et artiste chevronné. Margaret a deux frères, John et Willy et une sœur Dorothy Napangardi Robertson, également une artiste bien connue travaillant avec Warlukurlangu Artists. Margaret est une femme Warlpiri qui vit désormais à Nyirripi. Elle a réalisé quelques peintures pour la Warlukurlangu Artists Indigenous Corporation, un centre d'art détenu et géré par des aborigènes à Yuendumu, entre 1986 et 2001, alors qu'elle vivait à Yuendumu. Elle a également participé au programme Yuendumu Batik coordonné par Peter Toyne de 1986 à 1988. Pendant son séjour à Yuendumu, elle a travaillé dans la cuisine et au Centre d'Art. Elle a ensuite déménagé à Nyirripi et ce n'est qu'en 2007 qu'elle a commencé à peindre régulièrement. Ses rêves sont Karnta Jukurrpa (le rêve des femmes) ; Ngalyipi Jukurrpa (Rêve de vigne de serpent); et wanakiji Jukurrpa (Rêve de tomates de brousse). Depuis 2009, Margaret peint Mina Mina Jukurrpa, Rêver lié au pays situé à l'extrême ouest de Yuendumu, à la frontière du désert de Tanami et de Gibson. Elle partage ce pays et ses rêves avec ses « grandes sœurs » Betsy Napangardi Lewis et Judy Napangardi Watson. Mina Mina est un site de rêve féminin très important et a une longue histoire dans laquelle un grand groupe de femmes ancestrales de tous âges parcourent le pays en dansant et en exécutant des cérémonies et en créant le pays au fur et à mesure. Quand Margaret ne peint pas, elle adore aller à la chasse au bush tucker, en particulier aux pommes de terre de brousse, aux baies de brousse, aux bananiers de brousse et au goanna. Authenticité Toutes les peintures sont accompagnées d'un certificat d'authenticité fourni par le Centre d'art autochtone géré par la communauté, et non par nous, qui est la référence en matière d'achat et de documentation éthiques. Nous sommes très fiers de vous offrir des pièces d'art aborigène authentiques et de haute qualité et en plus de nos retours sous 120 jours (ils ne reviennent pas), nous sommes heureux d'offrir une garantie d'authenticité de remboursement à vie à tous les clients qui Achetez chez nous de l'art aborigène, passé et présent. Cette garantie couvre tout discrédit ou acte répréhensible en association avec l'authenticité de toute œuvre d'art autochtone jamais vendue par ART ARK® . Nous comprenons que l'achat d'art aborigène authentique est important pour vous et nous voulons vous offrir la tranquillité d'esprit en sachant que vous obtenez ce que vous attendez. Nous prenons au sérieux l’authenticité de l’art aborigène et nous engageons à vous fournir des œuvres d’art authentiques et de haute qualité. Si, à tout moment, vous avez des inquiétudes quant à l'authenticité d'une œuvre d'art, n'hésitez pas à nous contacter et nous enquêterons plus en détail. Si nous constatons un acte répréhensible ou un discrédit concernant la provenance ou l'authenticité d'une œuvre d'art que nous vendons, nous vous rembourserons rapidement et intégralement à tout moment dans le futur, que ce soit dans un an ou dans dix ! Veuillez trouver plus d'informations sur l'authenticité ici : https://artark.com.au/pages/aboriginal-art-authenticity Encadrement Toutes nos peintures du désert , à l'exception de la collection de peintures du dés
Details Artwork Artist Art Centre Details Aboriginal Artist - Angkaliya Nelson Community - Pipalyatjara Aboriginal Art Centre - Ninuku Arts Catalogue number - 24-100 Materials - Acrylic on canvas Size(cm) - H91 W61 D2 Postage variants - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork This is a major Tjukurpa for Irrunytju (Wingellina) and across the central Australian deserts. The seven sisters travelled from Kaliwarra to Wannan in Western Australia, stopping at significant sites and rockholes including Kuru Ala, a sacred place for women. They encountered a lusƞul man named Wati Nyiru, who chased them around the desert. Some of the details of this Tjukurpa (Dreaming story) are sacred and can’t be repeated. Artist Details currently unavailable Art Centre Ninuku Arts is a wholly-Indigenous owned and governed Art Centre which supports artists from two communities - Pipalyatjara and Kalka. Each have populations of around 100-150 Anangu and the majority are Pitjantjatjara speakers – Anangu simply means ‘people’ in Pitjantjatjara. Both communities are located in the far north-western corner of South Australia, near the tri-state border of South Australia, Western Australia and Northern Territory. The two communities, fourteen kilometres apart, are surrounded by the rolling, rocky hills of the Tomkinson Ranges and are part of the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. Both Kalka and Pipalyatjara are peaceful places. This is a result of strong governance, cultural engagement and pride among local Anangu. The Art Centre itself is located in Kalka and is housed in a mud-brick building (the only one in the Lands), which was built as an office in the early 1980’s by Anangu and white staff, and has since been extended to accommodate the growing number of artists keen to paint. A silver bullet caravan (formerly a mobile health unit) is also located on site, and has become a place for some artists to paint, mostly during the winter months while the morning sun warms the deck. Despite being the most remote art centre on the APY Lands, having limited working space and access to services, Ninuku Arts has continued to grow in success with each year. The artist’s commitment to both the art centre and painting is unflappable. The art centre prides itself on its inclusivity (providing opportunities for all generations) and embracing individuality in artists.
Details Artwork Artist Details Aboriginal Artist - Jill Nungarrayi Watson Community - Yuendumu Aboriginal Art Centre- Warlukurlangu Artists Aboriginal Corporation Catalogue number - 2686/21 Materials - Acrylic on linen Size(cm) - H122 W61 D2 Postage variants - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork The Jukurrpa site shown in this painting for Ngatijirri (budgerigar [Melopsittacus undulates]) is at Yangarnmpi, south of Yuendumu. ‘Ngatijirri’ are small, bright green birds native to central Australia which are common around the Yuendumu area, especially after the summer rains. Men would hunt for ‘ngatijirri’ nests, robbing them of eggs and juvenile birds, which are both considered delicacies. The men would also go out hunting for adult, flying ‘ngatijirri’, which they would kill by swinging branches, killing sticks or ‘karli’ (boomerangs) to hit the birds in flight. The ‘ngatijirri’ travelled to Yangarnmpi from Patirlirri, near Willowra to the east of Yuendumu and travelled further on to Marngangi, north/west of Mount Dennison and west of Yuendumu. Each time the flock of ancestral ‘ngatijirri’ lands, they perform ceremonies, singing and dancing as they fly and roost in the trees. The sites of these ceremonies are depicted in this painting as concentric circles, while cross-like shapes depict the footprints of the birds on the ground and give an indication of the large flocks of ‘ngatijirri’ that can be found near Yangarnmpi and other sites close to Yuendumu. After good rains ‘ngatijirri’ can successfully breed several times, resulting in an explosion of the population in a short time. Custodians for the Ngatijirri Jukurrpa are Napaljarri/Nungarrayi women and Japaljarri/Jungarrayi men. Artist Jill Nungarrayi Watson was born near Tennant Creek, a small township located 500 km north of Alice Springs. When her grandfather died, her family moved to Lajamanu where she went to school. She later moved to Yirara College, a coeducational, Years 7 to 10, Indigenous residential School in Alice Springs. In 1983 she married Lawrence Jangala Watson and shortly after they moved to Yuendumu, a remote Aboriginal community located 290 km north-west of Alice Springs in the NT of Australia. She has 4 children, three sons and one daughter. Her second son is a Yuendumu Police aid. Jill worked at the local Centre link office for 12 years, working from 1994 to 2010. She has been painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu, since 1992. She paints her father’s Jukurrpa stories, Dreamings which relate directly to her land, its features and animals. These stories have been passed down to her from her Grandmother and Grandfather and their parents before them for millennia. Jill has exhibited in Group Exhibitions in Florida, USA; Osaka, Japan; and Alice Springs, Australia. When she’s not painting she likes to go hunting for Bush tucker and taking her Aunty, Judy Napangardi Watson, goanna hunting.
The symbols in this painting map out some of the significant sites of Atnwengerrp country, Betty's mother’s country, as well as land formations such as sand hills, campsites, flora, fauna, awelye (women’s ceremony), spiritual figures and ancestral dancing tracks, as they can still be seen today, etched in the rocks at Anthep. Anthep is an ancestral place that remains the most significant site on Atnwengerrp country. Ceremony and dance are still performed there. It is a place where everyone - men, women and children can meet together and camp. It is also a place where permanent water can be found. Betty's mother was a renowned aboriginal artist named Minnie Pwerle who passed away in 1996. Her work was famous for these markings and Betty was given permission by her family after her passing to continue to paint in this style. Artist Name: Betty Mbitjana Skin name: Mbitjana (also spelled Mpetyane) Language group: Anmatyerre Country: Ahalpere Region: Utopia, Central Australia Born: 1957 Read Betty Mbitjana's full bio » Related Content Songlines Exhibition | July - Sept 2016 Specs Medium: Synthetic polymer paint on canvas Background colour: Black Size of painting: 30cm x 30cm Canvas border: Black, approx 6cm This painting comes unstretched and rolled in a tube. This painting comes with a Certificate of Authenticity and artist profile.
Details Artwork Artist Details Aboriginal Artist - Selina Napanangka Fisher Community - Nyirripi Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 1696/18ny Materials - Acrylic on canvas Size(cm) - H61 W46 D2(painted edge) Postage variants - This work is posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork Pikilyi is a large and important waterhole and natural spring near Mount Doreen station. Pikilyi Jukurrpa (Vaughan Springs Dreaming) tells of the home of two rainbow serpents, ancestral heroes who lived together as man and wife. The woman ‘rainbow serpent’ was of the Napanangka skin group, the man was a Japangardi. This was a taboo relationship contrary to Warlpiri religious law. Women of the Napanangka and Napangardi subsection sat by the two serpents, picking lice off them. For this service, the two serpents allowed the women to take water from the springs at Pikilyi. This was because the serpents were the ‘kirda’, or ceremonial owners, for that country. The spirits of these two rainbow serpents are still at Pikilyi today. This Dreamings belongs to the women and men of the Japanangka/Napanangka and Japangardi/Napangardi skin groups. Artist Selina Napanganka Fisher was born in Alice Springs Hospital, the closest hospital to Yuendumu, a remote Aboriginal community 290 km north-west of Alice Springs in the NT of Australia. At the time her parents were living in Yuendumu. She has three sisters and two brothers. Her Mum has since passed away and her father now lives Mt Allen with “another wife”. Selina is the granddaughter of the late Topsy Napurrurla Fisher, an established artist with Warlukurlangu Artists. Selina went to the local Yuendumu School before going to Yirara College, an Aboriginal boarding college in Alice Springs, where she graduated in Year 10. When she finished school, she moved to Nyirripi, where she worked in the local store. She is married to Lance Tanner, who works for the Community Development Employment Project (CDEP). They have three children.
Details Artwork Artist Details Aboriginal Artist - Melissa Nungarrayi Larry Community - Nyirripi/Kintore Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 1314/21ny Materials - Acrylic on linen Size(cm) - H76 W30 D2 Postage variants - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork The site for this Dreaming is Yumari, a collection of rocks west of Kintore in the Gibson Desert. Yumari is the site of a forbidden love union between a Japaljarri man and a Nangala woman. This Dreaming was passed down to the artist by a Pintupi man. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, associated sites and other elements. In this work concentric circles are often used to represent ‘warnirri’ (rock holes). Artist Melissa Nungarrayi Larry was born in Alice Springs Hospital, the closest hospital to Kintore, a remote Aboriginal community located 550 km west of Alice Springs, near the NT/WA border on the Tropic of Capricorn. When she was young her father died and her mother raised Melissa and her three sisters alone in Kintore. Melissa attended the local school in Kintore and when she finished school she travelled to Nyirripi, a remote Aboriginal community located in the Central Desert Region of the NT of Australia, where she met her future husband. They married and she now has five children who attend the local Nyirripi school. Melissa began painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu, in 2006. The Art Centre makes regular visits to Nyirripi (140 km west of Yuendumu) to drop off canvas, paint and brushes for the artists and to collect finished artwork. Melissa is a full time artist and paints her Mother’s Jukurrpa, Dreamings which have been passed down over the generations for millennia and relate directly to the land, its features and the plants and animals that inhabit it. She uses an unrestricted palette to paint the site of her dreaming - Yumari, developing a modern individualist style to depict her traditional Jukurrpa.
Details Artwork Artist Authenticity Guarantee Details Aboriginal Artist - Desmond Japangardi Williams Community - Yuendumu Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 597/22ny Materials - Acrylic paint on linen Size(cm) - H76 W46 D2 Postage variants - Artwork is posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork The site depicted in this painting is Pirlinyarnu (Mt. Farewell), about 165 km west of Yuendumu in the Northern Territory. The ‘kirda’ (owners) for the water Dreaming site at Pirlinyarnu are Nangala/Nampijinpa women and Jangala/Jampijinpa men. Two Jangala men, rainmakers, sang the rain, unleashing a giant storm that collided with another storm from Wapurtali at Mirawarri. A ‘kirrkarlanji’ (brown falcon [Falco berigora]) carried the storm further west from Mirawarri. The two storms travelled across the country from Karlipirnpa, a ceremonial site for the water Dreaming near Kintore that is owned by members of the Napaljarri/Japaljarri and Napanangka/Japanangka subsections. Along the way the storms passed through Juntiparnta, a site that is owned by Jampijinpa men. The storm eventually became too heavy for the falcon. It dropped the water at Pirlinyarnu, where it formed an enormous ‘maluri’ (claypan). A ‘mulju’ (soakage) exists in this place today. Whenever it rains today, hundreds of ‘ngapangarlpa’ (bush ducks) still flock to Pirlinyarnu. In contemporary Warlpiri paintings, traditional iconography is used to represent the ‘Jukurrpa’ (Dreaming), associated sites, and other elements. In many paintings of this Dreaming, short dashes are often used to represent ‘mangkurdu’ (cumulus & stratocumulus clouds), and longer, flowing lines represent ‘ngawarra’ (flood waters). Small circles are used to depict ‘mulju’ (soakages) and river beds. Artist Details are currently unavailable Authenticity Guarantee We take great pride in offering high-quality, authentic Aboriginal Art pieces to you. However, we are aware that there have been instances (and recent press relating to the unaffiliated APYACC) in the Aboriginal Art market where the authenticity of some artworks has been called into question. We want to assure you and all of our customers that we firmly stand behind the authenticity of every artwork we sell. In addition to our extended 120 days standard returns, we are pleased to offer a lifetime money-back authenticity guarantee to all customers who purchase Aboriginal Art from us, both past and present. This guarantee covers any disrepute or wrongdoing in association with the authenticity of any Aboriginal artwork sold by ART ARK®. We understand that purchasing authentic Aboriginal Art is important to you, and we want to provide you with peace of mind in knowing that they are getting what you paid for. As part of our commitment to authentic Aboriginal Art, we work with reputable Aboriginal Art centres that we know are committed to maintaining the integrity of Aboriginal Art. Additionally, we continually monitor all aspects of the Aboriginal Art market and are acutely aware of, and are proactive in addressing any issues arising. We take the authenticity of Aboriginal Art seriously and are committed to providing you with high-quality and genuine works of art. If you have any concerns about the authenticity of any art piece you purchased from us, please do not hesitate to contact us and we will investigate further. If we find any wrongdoing or disrepute in regards to the provenance or authenticity of any artwork we have sold we will happily provide a full refund to you at any time in the future outside of our standard returns policy. Thank you for choosing ART ARK® for your Aboriginal Art purchasing. We are honoured to provide you with authentic, high-quality art pieces and look forward to continuing to serve you.
The symbols in this painting map out some of the significant sites of Atnwengerrp country, Betty's mother’s country, as well as land formations such as sand hills, campsites, flora, fauna, awelye (women’s ceremony), spiritual figures and ancestral dancing tracks, as they can still be seen today, etched in the rocks at Anthep. Anthep is an ancestral place that remains the most significant site on Atnwengerrp country. Ceremony and dance are still performed there. It is a place where everyone - men, women and children can meet together and camp. It is also a place where permanent water can be found. Betty's mother was a renowned aboriginal artist named Minnie Pwerle who passed away in 1996. Her work was famous for these markings and Betty was given permission by her family after her passing to continue to paint in this style.
Details Artwork Artist Details Aboriginal Artist - Christine Nakamarra Curtis Community - Nyirripi Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 2539/18ny Materials - Acrylic on linen Size(cm) - H61 W122 D2 Postage variants - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork This ‘Jukurrpa’ (Dreaming) comes from Mina Mina, a very important women’s Dreaming site far to the west of Yuendumu near Lake Mackay and the WA border. The ‘kirda’ (owners) of this Dreaming are Napangardi/Napanangka women and Japangardi/Japanangka men; the area is sacred to Napangardi and Napanangka women. There are a number of ‘mulju’ (water soakages) and a ‘maluri’ (clay pan) at Mina Mina. In the Dreamtime, ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out of the ground. The women collected the digging sticks and then travelled on to the east, dancing, digging for bush tucker, collecting ‘ngalyipi’ (snake vine [Tinospora smilacina]), and creating many places as they went. ‘Ngalyipi’ is a rope-like creeper that grows up the trunks and limbs of trees, including ‘kurrkara’ (desert oak [Allocasuarina decaisneana]). It is used as a ceremonial wrap and as a strap to carry ‘parraja’ (coolamons) and ‘ngami’ (water carriers). ‘Ngalyipi’ is also used to tie around the forehead to cure headaches, and to bind cuts. The women stopped at Karntakurlangu, Janyinki, Parapurnta, Kimayi, and Munyuparntiparnti, sites spanning from the west to the east of Yuendumu. When they stopped, the women dug for bush foods like ‘jintiparnta’ (desert truffle [Elderia arenivaga]). The Dreaming track eventually took them far beyond Warlpiri country. The track passed through Coniston in Anmatyerre country to the east, and then went on to Alcoota and Aileron far to the northeast of Yuendumu and eventually on into Queensland. In Warlpiri paintings, traditional iconography is used to represent the Jukurrpa and other elements. In many paintings of this Jukurrpa, sinuous lines are used to represent the ‘ngalyipi’ (snake vine). Concentric circles are often used to represent the ‘jintiparnta’ (desert truffles) that the women have collected, while straight lines can be used to depict the ‘karlangu’ (digging sticks). Artist Christine Nakamarra Curtis was born in Alice Spring Hospital, the closest hospital to Yuendumu, a remote Aboriginal community 290 km north-west of Alice Springs. She was born into a family of artists, which include Kelly Napanangka Michaels, her mother, Roy Jupurrurla Curtis, her father and Alice Nampijinpa Henwood Michaels, her Aunty. She is the eldest of 7 sisters and spent most of her childhood at Nyirripi, a remote Aboriginal community located 150 km north-west of Yuendumu. She attended her local school, then Yirara College, an Aboriginal boarding college in Alice Springs. Christine continued her studies at Kormilda College, an Aboriginal boarding college in Darwin. When she finished schooling she returned to Nyirripi where she worked in the store. “I love the place. I grew up here – learning from the old people.” Christine began painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu, in 2007. Warlukurlangu Artists provides an outlet for Warlpiri artists to paint their cultural heritage and earn income from their work. This service is extended to Nyirripi artists, on a weekly basis, by delivering canvas and paint to artists and picking up finished artwork. Christine paints her grandparent’s dreaming on her mother’s side, Dreamings which relate directly to her land, its features and the plants and animals that inhabit it. These stories have been passed down for millennia. “I like the patterns and all those colours, and the stories. Watching family painting, they show you the dreaming.” Christine uses an unrestricted palette to develop a modern interpretation of her traditional culture. Christine has two sons, Navarone and Mahela, who attend the local school in Nyirripi. When Christine is not painting she likes to take them hunting for bush tucker and goanna.
Details Artwork Artist Details Aboriginal Artist - Marcia Nampijinpa Sampson Community - Yuendumu Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 2549/23ny Materials - Acrylic paint on pre-stretched canvas Size(cm) - H30 W30 D3.5 Postage variants - Artwork posted stretched and ready to hang Orientation - Painted from all sides and OK to hang as wished Artwork The site depicted in this painting is Pirlinyarnu (Mt. Farewell), about 165 km west of Yuendumu in the Northern Territory. The ‘kirda’ (owners) for the water Dreaming site at Pirlinyarnu are Nangala/Nampijinpa women and Jangala/Jampijinpa men. Two Jangala men, rainmakers, sang the rain, unleashing a giant storm that collided with another storm from Wapurtali at Mirawarri. A ‘kirrkarlanji’ (brown falcon [Falco berigora]) carried the storm further west from Mirawarri. The two storms travelled across the country from Karlipirnpa, a ceremonial site for the water Dreaming near Kintore that is owned by members of the Napaljarri/Japaljarri and Napanangka/Japanangka subsections. Along the way the storms passed through Juntiparnta, a site that is owned by Jampijinpa men. The storm eventually became too heavy for the falcon. It dropped the water at Pirlinyarnu, where it formed an enormous ‘maluri’ (claypan). A ‘mulju’ (soakage) exists in this place today. Whenever it rains today, hundreds of ‘ngapangarlpa’ (bush ducks) still flock to Pirlinyarnu. In contemporary Warlpiri paintings, traditional iconography is used to represent the ‘Jukurrpa’ (Dreaming), associated sites, and other elements. In many paintings of this Dreaming, short dashes are often used to represent ‘mangkurdu’ (cumulus & stratocumulus clouds), and longer, flowing lines represent ‘ngawarra’ (flood waters). Small circles are used to depict ‘mulju’ (soakages) and river beds. Artist Details are currently unavailable
Details Kunstwerk Künstler Details Aborigine-Künstlerin – Christine Nakamarra Curtis Gemeinschaft - Nyirripi Aboriginal Art Center – Warlukurlangu Artists Aboriginal Corporation Katalognummer – 2069/19ny Materialien - Acryl auf Leinen Größe (cm) – H107 B152 T2 Versandvarianten – Das Kunstwerk wird ungedehnt und gerollt verschickt, um einen sicheren Versand zu gewährleisten Ausrichtung – Von allen Seiten bemalt und kann wie gewünscht aufgehängt werden Kunstwerk Dieses „Jukurrpa“ (Träumen) stammt aus Mina Mina, einem sehr wichtigen Ort zum Träumen von Frauen weit westlich von Yuendumu in der Nähe des Lake Mackay und der Grenze zu Washington. Die „Kirda“ (Besitzer) dieses Dreaming sind Napangardi/Napanangka-Frauen und Japangardi/Japanangka-Männer; Das Gebiet ist den Napangardi- und Napanangka-Frauen heilig. In Mina Mina gibt es eine Reihe von „Mulju“ (Wasserbecken) und eine „Maluri“ (Tonpfanne). In der Traumzeit tanzten die Frauen der Vorfahren Mina Mina und „Karlangu“ (Grabstöcke) ragten aus dem Boden. Die Frauen sammelten die Grabstöcke ein und reisten dann weiter nach Osten, tanzten, gruben nach Buschpflanzen, sammelten „Ngalyipi“ (Schlangenrebe [Tinospora smilacina]) und schufen unterwegs viele Orte. „Ngalyipi“ ist eine seilartige Schlingpflanze, die an Stämmen und Ästen von Bäumen wächst, darunter auch „Kurrkara“ (Wüsteneiche [Allocasuarina decaisneana]). Es wird als zeremonielle Umhüllung und als Tragegurt für „Parraja“ (Coolamons) und „Ngami“ (Wasserträger) verwendet. „Ngalyipi“ wird auch verwendet, um es sich um die Stirn zu binden, um Kopfschmerzen zu heilen, und um Schnittwunden zu verbinden. Die Frauen hielten in Karntakurlangu, Janyinki, Parapurnta, Kimayi und Munyuparntiparnti an, Orten, die sich vom Westen bis zum Osten von Yuendumu erstrecken. Als sie anhielten, gruben die Frauen nach Buschnahrungsmitteln wie „Jintiparnta“ (Wüstentrüffel [Elderia arenivaga]). Der Dreaming-Track führte sie schließlich weit über das Warlpiri-Land hinaus. Die Strecke führte durch Coniston im Anmatyerre-Land im Osten und dann weiter nach Alcoota und Aileron weit nordöstlich von Yuendumu und schließlich weiter nach Queensland. In Warlpiri-Gemälden wird traditionelle Ikonographie zur Darstellung des Jukurrpa und anderer Elemente verwendet. In vielen Gemälden dieses Jukurrpa werden geschwungene Linien verwendet, um die „Ngalyipi“ (Schlangenranke) darzustellen. Konzentrische Kreise werden oft verwendet, um die „Jintiparnta“ (Wüstentrüffel) darzustellen, die die Frauen gesammelt haben, während gerade Linien verwendet werden können, um die „Karlangu“ (Grabstöcke) darzustellen. Künstler Christine Nakamarra Curtis wurde im Alice Spring Hospital geboren, dem nächstgelegenen Krankenhaus zu Yuendumu, einer abgelegenen Aborigine-Gemeinde 290 km nordwestlich von Alice Springs. Sie wurde in eine Künstlerfamilie hineingeboren, zu der Kelly Napanangka Michaels, ihre Mutter, Roy Jupurrurla Curtis, ihr Vater und Alice Nampijinpa Henwood Michaels, ihre Tante, gehören. Sie ist die älteste von sieben Schwestern und verbrachte den größten Teil ihrer Kindheit in Nyirripi, einer abgelegenen Aborigine-Gemeinde 150 km nordwestlich von Yuendumu. Sie besuchte ihre örtliche Schule, dann das Yirara College, ein Aborigine-Internat in Alice Springs. Christine setzte ihr Studium am Kormilda College fort, einem Internat der Aborigines in Darwin. Als sie mit der Schule fertig war, kehrte sie nach Nyirripi zurück, wo sie im Laden arbeitete. „Ich liebe den Ort. Ich bin hier aufgewachsen – habe von den alten Leuten gelernt.“ Christine begann 2007 bei der Warlukurlangu Artists Aboriginal Corporation zu malen, einem von Aborigines geführten Kunstzentrum in Yuendumu. Warlukurlangu Artists bietet Warlpiri-Künstlern die Möglichkeit, ihr kulturelles Erbe zu malen und mit ihrer Arbeit Einnahmen zu erzielen. Dieser Service wird wöchentlich auf Nyirripi-Künstler ausgeweitet, indem Leinwand und Farbe an Künstler geliefert und fertige Kunstwerke abgeholt werden. Christine malt die Träume ihrer Großeltern mütterlicherseits, Träume, die sich direkt auf ihr Land, seine Besonderheiten und die darin lebenden Pflanzen und Tiere beziehen. Diese Geschichten werden seit Jahrtausenden weitergegeben. „Ich mag die Muster und all diese Farben und die Geschichten. Wenn man sich die Familienmalerei anschaut, zeigt man einem, wie man träumt.“ Christine nutzt eine uneingeschränkte Palette, um eine moderne Interpretation ihrer traditionellen Kultur zu entwickeln. Christine hat zwei Söhne, Navarone und Mahela, die die örtliche Schule in Nyirripi besuchen. Wenn Christine nicht gerade malt, geht sie gerne mit ihnen auf die Jagd nach Bush Tucker und Goanna.
The symbols in this painting map out some of the significant sites of Atnwengerrp country, Betty's mother’s country, as well as land formations such as sand hills, campsites, flora, fauna, awelye (women’s ceremony), spiritual figures and ancestral dancing tracks, as they can still be seen today, etched in the rocks at Anthep. Anthep is an ancestral place that remains the most significant site on Atnwengerrp country. Ceremony and dance are still performed there. It is a place where everyone - men, women and children can meet together and camp. It is also a place where permanent water can be found. Betty's mother was a renowned aboriginal artist named Minnie Pwerle who passed away in 1996. Her work was famous for these markings and Betty was given permission by her family after her passing to continue to paint in this style.
Details Artwork Artist Details Aboriginal Artist - Kenneth Jungarrayi Martin Community - Nyirripi / Yuendumu Aboriginal Art Centre- Warlukurlangu Artists Aboriginal Corporation Catalogue number - 2723/21ny Materials - Acrylic on linen Size(cm) - H107 W107 D2 Postage variants - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork The Jukurrpa site shown in this painting for Ngatijirri (budgerigar [Melopsittacus undulates]) is at Yangarnmpi, south of Yuendumu. ‘Ngatijirri’ are small, bright green birds native to central Australia which are common around the Yuendumu area, especially after the summer rains. Men would hunt for ‘ngatijirri’ nests, robbing them of eggs and juvenile birds, which are both considered delicacies. The men would also go out hunting for adult, flying ‘ngatijirri’, which they would kill by swinging branches, killing sticks or ‘karli’ (boomerangs) to hit the birds in flight. The ‘ngatijirri’ travelled to Yangarnmpi from Patirlirri, near Willowra to the east of Yuendumu and travelled further on to Marngangi, north/west of Mount Dennison and west of Yuendumu. Each time the flock of ancestral ‘ngatijirri’ lands, they perform ceremonies, singing and dancing as they fly and roost in the trees. The sites of these ceremonies are depicted in this painting as concentric circles, while cross-like shapes depict the footprints of the birds on the ground and give an indication of the large flocks of ‘ngatijirri’ that can be found near Yangarnmpi and other sites close to Yuendumu. After good rains ‘ngatijirri’ can successfully breed several times, resulting in an explosion of the population in a short time. Custodians for the Ngatijirri Jukurrpa are Napaljarri/Nungarrayi women and Japaljarri/Jungarrayi men. Artist Kenneth Jungarrayi Martin was born in Lajamanu, an Aboriginal community in semi-arid country on the edge of the Tanami Desert, halfway between Darwin and Alice Springs in the NT of Australia. His parents passed away when he was a little boy so he was brought up by his father’s brother. His Grandmothers live in Alice Springs in the “old timers” home. “When I was young I was a lover boy, a music man! I’m a singer, my mother was a singer and my father was her manager.” Kenneth is a member of the ‘Lajamanu Teenage Band’ and their album Vision was nominated for an Aria Award for Best World Music Album. They are one of the most popular live acts in the Territory and have played Survival, Burunga, Melbourne Fringe and many other community festivals. When Kenneth is not travelling with his music he lives in Nyirripi with his second wife Evelyn Nangala Robertson, an artist with Warlukurlangu Artists. Kenneth began painting with Warlukurlangu Artists Aboriginal Corporation; an Aboriginal owned and governed Art Centre in Yuendumu, in 2011. His “Grandfather” Mosquito Morris and he share the same land and it was Mosquito who showed him the designs and shapes that depict his country. Kenneth paints his father’s Jukurrpa, Yankirri (Emu Dreaming), Dreaming stories about his country south of Yuendumu. “I sit and do painting, it makes me feel relaxed. I do the design and everything and my wife does the dot painting.”
Details Artwork Artist Details Aboriginal Artist - Kelly-Anne Nungarrayi Gibson Community - Nyirripi Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 2520/19ny Materials - Acrylic on linen Size(cm) - H122 W61 D2 Postage variants - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork The site depicted in this painting is Puyurru, west of Yuendumu. In the usually dry creek beds are ‘mulju’ (soakages), or naturally occurring wells. The 'kirda' (owners) for this site are Nangala/Nampijinpa women and Jangala/Jampijinpa men. Two Jangala men, rainmakers, sang the rain, unleashing a giant storm. The storm travelled across the country from the east to the west, initially travelling with a ‘pamapardu Jukurrpa’ (termite Dreaming) from Warntungurru to Warlura, a waterhole 8 miles east of Yuendumu. At Warlura, a gecko called Yumariyumari blew the storm on to Lapurrukurra and Wilpiri. Bolts of lightning shot out at Wirnpa (also called Mardinymardinypa) and at Kanaralji. At this point the Dreaming track also includes the ‘kurdukurdu mangkurdu Jukurrpa’ (children of the clouds Dreaming). The water Dreaming built hills at Ngamangama using baby clouds and also stuck long pointy clouds into the ground at Jukajuka, where they can still be seen today as rock formations. The termite Dreaming eventually continued west to Nyirripi, a community approximately 160 km west of Yuendumu. The water Dreaming then travelled from the south over Mikanji, a watercourse with soakages northwest of Yuendumu. At Mikanji, the storm was picked up by a ‘kirrkarlanji’ (brown falcon [Falco berigora]) and taken farther north. At Puyurru, the falcon dug up a giant ‘warnayarra’ (rainbow serpent). The serpent carried water with it to create another large lake, Jillyiumpa, close to an outstation in this country. The ‘kirda’ (owners) of this story are Jangala men and Nangala women. After stopping at Puyurru, the water Dreaming travelled on through other locations including Yalyarilalku, Mikilyparnta, Katalpi, Lungkardajarra, Jirawarnpa, Kamira, Yurrunjuku, and Jikaya before moving on into Gurindji country to the north. In contemporary Warlpiri paintings, traditional iconography is used to represent the ‘Jukurrpa’ (Dreaming). Short dashes are often used to represent ‘mangkurdu’ (cumulus & stratocumulus clouds), and longer, flowing lines represent ‘ngawarra’ (flood waters). Small circles are used to depict ‘mulju’ (soakages) and river bed. Artist Details currently unavailable
Details Kunstwerk Künstler Details Aborigine-Künstler – Lee Nangala Gallagher Gemeinschaft - Nyirripi Aboriginal Art Center – Warlukurlangu Artists Aboriginal Corporation Katalognummer – 2620/19ny Materialien - Acryl auf Leinen Größe (cm) – H152 B76 T2 Versandvarianten – Das Kunstwerk wird ungedehnt und gerollt verschickt, um einen sicheren Versand zu gewährleisten Ausrichtung – Von allen Seiten bemalt und kann wie gewünscht aufgehängt werden Kunstwerk Diese besondere Stätte der Yankirri Jukurrpa (emu Dreaming [Dromaius novaehollandiae]) befindet sich in Ngarlikurlangu, nördlich von Yuendumu. Die „Yankirri“ reisten zum Felsloch bei Ngarlikurlangu, um Wasser zu finden. Diese Jukurrpa-Geschichte gehört Jangala/Jampijinpa-Männern und Nangala/Nampijinpa-Frauen. In zeitgenössischen Warlpiri-Gemälden wird traditionelle Ikonographie verwendet, um Jukurrpa, zugehörige Stätten und andere Elemente darzustellen. Emus werden normalerweise durch ihre „Wirliya“ (Fußabdrücke) dargestellt, pfeilähnliche Formen, die zeigen, wie sie um Ngarlikurlangu herumlaufen und „Yakajirri“ (Buschrosinen [Solanum centrale]) essen. Zur Zeit des Jukurrpa gab es in Ngarlikiurlangu einen Streit zwischen einem „Yankirri“-Vorfahren und Wardilyka-Vorfahren (Australische Trappe [Ardeotis australis]) um die Aufteilung der „Yakajirri“. Zu diesem Jukurrpa gibt es auch einen Tanz, der bei Initiationszeremonien aufgeführt wird. Künstler „Malen finde ich sehr kontemplativ.“ Lee Nangala Wayne/Gallagher wurde 1958 in Yuendumu geboren, einer abgelegenen Aborigine-Gemeinde 290 km nordwestlich von Alice Springs im Nordosten Australiens. Sie lebte die meiste Zeit ihres Lebens in Yuendumu, zog aber nach dem Tod ihres Mannes im Jahr 2003 nach Nyirripi, weitere 160 km westlich von Yuendumu, wo ihre Mutter noch lebt. Nyirripi ist das Land ihres Vaters und ihre Mutter ist Mary Napangardi Gallagher, eine bekannte Künstlerin, die auch mit Warlukurlangu-Künstlern malt. Lee hat eine Schwester und drei Brüder. Sie hat drei Kinder, zwei Söhne und eine Tochter sowie ein Adoptivkind von ihrer jüngeren Schwester. Sie hat viele Enkelkinder. Lee besuchte die Yuendumu-Schule und arbeitete nach ihrem Schulabschluss für den Central Desert Shire (CDS) Council Trust, wo sie für die Altenpflege kochte. Sie malt seit 2006 bei der Warlukurlangu Artists Aboriginal Corporation, einem von Aborigines geführten Kunstzentrum in Yuendumu. Sie begann mit dem Malen, nachdem sie „all diesen alten Leuten beim Malen zugesehen“ hatte. Sie sagt, dass sie sich beim Malen besser fühlt. Lee malt die Jukurrpa-Geschichten ihres Vaters, Träume, die sich direkt auf das Land ihres Vaters, seine Besonderheiten und die darin lebenden Pflanzen und Tiere beziehen. Diese Geschichten werden seit Jahrtausenden weitergegeben. Besonders gern malt sie die Jukurrpa ihres Vaters, insbesondere Yankirri Jukurrpa (Emu Dreaming) und Yunkarnyi Jukurrpa (Flying Ants), Träume, die sich auf ihr Land zwischen Nyirripi und Yuendumu beziehen. Lee verwendet die traditionellen Aborigine-Farben Schwarz, Gelb und Rot sowie Acrylfarben, die die in der Gegend vorkommenden Ockerfarben imitieren.
The symbols in this painting map out some of the significant sites of Atnwengerrp country, Betty's mother’s country, as well as land formations such as sand hills, campsites, flora, fauna, awelye (women’s ceremony), spiritual figures and ancestral dancing tracks, as they can still be seen today, etched in the rocks at Anthep. Anthep is an ancestral place that remains the most significant site on Atnwengerrp country. Ceremony and dance are still performed there. It is a place where everyone - men, women and children can meet together and camp. It is also a place where permanent water can be found. Betty's mother was a renowned aboriginal artist named Minnie Pwerle who passed away in 1996. Her work was famous for these markings and Betty was given permission by her family after her passing to continue to paint in this style. Artist Name: Betty Mbitjana Skin name: Mbitjana (also spelled Mpetyane) Language group: Anmatyerre Country: Ahalpere Region: Utopia, Central Australia Born: 1957 Read Betty Mbitjana's full bio » Related Content Songlines Exhibition | July - Sept 2016 Specs Medium: Synthetic polymer paint on canvas Background colour: Black Size of painting: 30cm x 30cm Canvas border: Black, approx 6cm This painting comes unstretched and rolled in a tube. This painting comes with a Certificate of Authenticity and artist profile.
Details Artwork Artist Details Aboriginal Artist - Kathy Napangardi Bagot Community - Yuendumu Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Art Centre catalogue number - 6770/21 Materials - Acrylic on pre-stretched canvas Size(cm) - H30 W30 D3.5 Postage variants - This work is posted pre-stretched and ready to hang Orientation - Painted from all sides and OK to hang as wished Artwork The site depicted in this painting is Puyurru, west of Yuendumu. In the usually dry creek beds are ‘mulju’ (soakages), or naturally occurring wells. The 'kirda' (owners) for this site are Nangala/Nampijinpa women and Jangala/Jampijinpa men. Two Jangala men, rainmakers, sang the rain, unleashing a giant storm. The storm travelled across the country from the east to the west, initially travelling with a ‘pamapardu Jukurrpa’ (termite Dreaming) from Warntungurru to Warlura, a waterhole 8 miles east of Yuendumu. At Warlura, a gecko called Yumariyumari blew the storm on to Lapurrukurra and Wilpiri. Bolts of lightning shot out at Wirnpa (also called Mardinymardinypa) and at Kanaralji. At this point the Dreaming track also includes the ‘kurdukurdu mangkurdu Jukurrpa’ (children of the clouds Dreaming). The water Dreaming built hills at Ngamangama using baby clouds and also stuck long pointy clouds into the ground at Jukajuka, where they can still be seen today as rock formations. The termite Dreaming eventually continued west to Nyirripi, a community approximately 160 km west of Yuendumu. The water Dreaming then travelled from the south over Mikanji, a watercourse with soakages northwest of Yuendumu. At Mikanji, the storm was picked up by a ‘kirrkarlanji’ (brown falcon [Falco berigora]) and taken farther north. At Puyurru, the falcon dug up a giant ‘warnayarra’ (rainbow serpent). The serpent carried water with it to create another large lake, Jillyiumpa, close to an outstation in this country. The ‘kirda’ (owners) of this story are Jangala men and Nangala women. After stopping at Puyurru, the water Dreaming travelled on through other locations including Yalyarilalku, Mikilyparnta, Katalpi, Lungkardajarra, Jirawarnpa, Kamira, Yurrunjuku, and Jikaya before moving on into Gurindji country to the north. In contemporary Warlpiri paintings, traditional iconography is used to represent the ‘Jukurrpa’ (Dreaming). Short dashes are often used to represent ‘mangkurdu’ (cumulus & stratocumulus clouds), and longer, flowing lines represent ‘ngawarra’ (flood waters). Small circles are used to depict ‘mulju’ (soakages) and river bed. Artist Details currently unavailable
