desert art seeing in a different way Abie Kemarre Loy Bush leaf 2004 synthetic polymer on linen 122 x 122cm

Transcription

1 desert art seeing in a different way Abie Kemarre Loy Bush leaf 2004 synthetic polymer on linen 122 x 122cm 26 January 21 March 2006

2 desert art seeing in a different way desert art seeing in a different way captures the subtle and beautiful nuances of Eastern, Central and Western Desert dot painting, and the vibrant colours and techniques of the Spinifex people, through works by renowned established artists such as Kathleen Petyarre, George Ward, Barbara Weir, Estelle Hogan and Roy Underwood, and those of emerging young artists like Abie Loy, a direct descendant of Emily Kame Kngwarreye. You are invited to the opening on Saturday 28th January in the Octagon ArtSpace, Bungendore Wood Works Gallery at 2.30pm The exhibition will be opened by Margo Neale, Principal Advisor to the Director of the National Museum of Australia and Senior Curator of Indigenous Programs, National Museum of Australia.

3 desert art Aboriginal painting on canvas with acrylics began in the 1970 s at Papunya, 230km north-west of Alice Springs and has become the most widely represented form of modern Aboriginal art with over 2000 practising artists in the Central, Western and Eastern Desert areas. These unique representations of the land have found their way into major art collections around the world representing both directly and by metaphor, the deep understanding and affection held by Aboriginals for their ancient land. desert art- seeing in a different way presents a cross-section of ways of illustrating the macro and micro aspects of the land. While dot painters may well subscribe to a common surface structural technique, diverse employment of the technique produces a variety of styles that present differing interpretations of land, people, flora and fauna. From the strong ochres and minimal macro elements of Rover Thomas Kimberleys through the almost microscopic detail of Abie Loy and Kathleen Petyarre s Utopian subtle patterns to the strong linear and colourful map-like imagery of the Spinifex artists, Aboriginal desert art displays the diversity and multitude of visual approaches to the land. This diversity hints at the complexity and worlds of difference within Indigenous culture in this country. Aboriginal desert art displays the diversity and multitude of visual approaches to the land. This diversity hints at the complexity and worlds of difference within Indigenous culture in this country. Top Bottom: Kathleen Petyarre Mountain Devil Lizard 2005 synthetic polymer on linen 122 x 122cm Margaret Turner Petyarre Mountain Devil Lizard 2005 synthetic polymer on linen 91 x 91cm

4 central and western deserts The artists of the Central and Western Desert base their work on a mutitude of symbols at times with multiple meanings. The dots have a two-fold purpose, as representations of stars, clouds and burnt ground etc., while the Papunya master painters first developed the dense fine layering of the dots to mask sensitive symbolism deemed inappropriate for general viewing. Kintore was established when many of the Papunya painters moved back to their Pintupi homelands which surround Kintore. Often related to the established male painters, the Kintore women s work evolved to produce freely textured works exhibiting colours strong in pastels together with bolder golds and purples, often against a white background. The Eastern desert area of Utopia resulted from the return to Aboriginal control of an 1800 sq km pastoral property. While the work of the men is strong and based on ceremonial design, the introduction of batik techniques saw the women turn from original utilitarian fabrics to silk and then to canvas to more freely represent designs based on seeds, grass, flowers, berries, yams and other plants integral to their everyday life. Most noticeable for this freedom of imagery was Emily Kame Kngwarreye and sisters Ada, Nancy, Kathleen and Gloria Petyarre who shared the enthusiasm for a new freedom offered by acrylics and canvas. The new generation of Utopia s artists is graphically displayed in the work of Abie Loy whose very fine dots and carefully drawn lines demands extreme concentration and discipline to produce works of exquisite beauty and movement, particularly in her works centred on Women s Body Painting and the Bush Leaf Dreaming. Left reight: Naata Nungurrayi Womens Site at Marrapinti 2004 synthetic polymer on linen 120 x 46cm George Ward Pjungurrayi Tingarri Cycle 2004 synthetic polymer on linen 152 x 182cm Walangkura Napanangka Womens Ceremony 2005 synthetic polymer on Belgian linen 120 x 90cm Abie Kemarre Loy Body Paint 2005 synthetic polymer on linen 107 x 107cm

5 spinifex Spinifex artists paint traditional stories about their land, some 55,000 square kilometres of Western Australia close to the South Australian border. Senior Spinifex artists include Simon and Estelle Hogan, Roy Underwood, Neville McCarthur and Cyril Brown. The distinguishing feature is a unique and vibrant style, inspired by, yet distinctly different from, Western Desert dot painting. Unlike other Aboriginal art groups the Spinifex people create their art far away from any settlement, drawing inspiration from remote campsite locations in the sandhill country. Significantly, most artists are well over 50 years of age and are the custodians of the land and the main Dreamtime storytellers within their communities. Canvases are mostly collaborative with artists addressing histories and legends, each one telling the story that relates to their tribal land. The essential magic of the work lies in the use of vibrant colour and reference to six major Dreaming and creation stories. These include the Seven Sisters, many variations of the two-men Dreamings (father and his uninitiated son who travel as snakes, two powerful men who have magic powers and manifest as lizards) and Emu Dreaming where real and spirit emu figures of the Dreaming manifest as men, women and children. A key figure is the hawk which watches the emus and learns their dance. In all stories there is a sense of journey through the land. The Spinifex artists have had shows in Melbourne, London, Sydney, Zurich and Utrecht and their paintings have been collected by the National Gallery of Australia and the National Gallery of Victoria. Canvases are mostly collaborative with artists addressing histories and legends, each one telling the story that relates to their tribal land. Top Bottom: Judith Donaldson Tjawarr 2005 synthetic polymer on canvas 131 x 125cm Estelle Hogan Baltatatjara synthetic polymer on Belgian linen x 88cm

6 Artists Eastern Desert Utopia Barbara Weir Minnie Pwerle Kathleen Petyarre Abie Kemarre Loy Greeny Purvis Petyarre Gloria Petyarre Anna Price Petyarre Margaret Turner Petyarre Central and Western Desert Papunya Walala Tjapaltjarri Ningurra Naparrula Kintore Natta Nungurrayi George Ward Tjungurrayi Janet Nakamarra Long Walangkura Reid Napanangka Makinti Napanangka Ronnie Tjampitjinpa Spinifex Ilurkla Judith Donaldson Estelle Hogan Established by David Mac Laren in 1983 in an historic building in Bungendore on the main route from Canberra to the South Coast, Bungendore Wood Works became known as a place for wood workers to display their work, where diversity was encouraged and fine craftsmanship essential.in addition to being the proprietor, a designer, furniture maker, and expert in wood finishing, David MacLaren is also the artistic director of the Gallery. Since 1990 the Gallery has won nine ACT Tourism Awards and two National Tourism awards for Tourism Retailing. In 2003 and 2004 it was awarded the Significant Tourist Attraction Award in the ACT and NSW. With over 125,000 visitors each year the Gallery is a major regional tourist attraction specialising in promoting, exhibiting, and retailing Australian wood-craft, gifts, furniture, fine and decorative art and sculpture. Over 200 of Australia s foremost makers and artists from every state and territory exhibit at the Gallery. Bungendore Wood Works Gallery kings highway bungendore NSW 2621 ph gallery@bwoodworks.com.au Adrian Newstead began showing Aboriginal Art in 1980 when he opened Coo-ee Aboriginal Emporium and Art Gallery in Paddington, Sydney. In 2002 Coo-ee Aboriginal Art moved to Bondi Beach. The gallery specialises in high quality Aboriginal paintings, sculpture and limited edition fine art prints. Adrian has curated and organised over 300 Indigenous art exhibitions in Australia and overseas. Kerry Williams became Coo-ee s consultant adviser following 6 years as Art Coordinator at Maruku Arts, Mutitjulu community, Uluru and has a deep understanding of, and respect for, Aboriginal people, their culture and art. Adrian and Kerry personally source artworks from Aboriginal communities throughout Australia. Coo-ee was a foundation member of the Australian Indigenous Art Trade Association, an organisation devoted to ethical trade in Indigenous arts. Adrian acted as the association s National President for 7 years and is also a Trustee of the Aboriginal Benefits Foundation and a Board Member of Aboriginal Tourism Australia. Coo-ee Aboriginal Art 31 Lamrock Avenue, Bondi Beach ph adrian@coeeart.com.au