The following quotation is from Short Street galleries website in association with their exhibition “These are the stories we teach our children” – In memory of Kunmanara Williamson. An exhibition from the women artists of Amata.
These works remind us of the imperative significance of inter-generational wisdom. Each work is weighted with a sense of importance, these are not just simple landscapes, they are imbued with meanings of things that are fundamental to our existence. In celebrating country, these women are emphasising the very nature and the significance of consciousness itself.
Unlike most contemporary Aboriginal artists who use acrylic paint, Phyllis Thomas paints ochre on canvas.
Being a Kitja ochre artist, she paints Daiwal (Barramundi) Dreaming. In order to catch the fish, people throw leaves into the water to make the barramundi sleepy – they then rise to the surface and are easier to catch! The leaves turn the water a red colour – hence Phyllis has painted the scales of the fish using red ochre. The black canvas behind represents the women’s skin.
The image on the left shows the elder women of the Kitja community semi dressed and displaying the body paint of the Barramundi on the top half of their bodies, in anticipation of Women’s Business. I find the picture interested and yet somehow disturbing – did the women wear their bra’s to protect their own modesty or the sensibilities of the gathered crowd?
On a recent visit to Alice Springs, Walpiri artist Judy Watson Napangardi arrived with her own stock of fresh bush tomatoes to eat. The bush tomato is one of the stories that Judy depicts in her paintings – see below.
Judy’s paintings are characterised by strong organic lines and circles and heavily textured overlays of sweet muted pastel tones or the more vibrant primary hues.
She also paints the stories of honey ants, digging sticks, snake vines and the hair-string belt, made famous by her contemporary Makinti Napanagka.She also paints the stories of honey ants, digging sticks, snake vines and the hair-string belt, made famous by her contemporary Makinti Napanagka.
Whether you are buying a piece of art for the first time or are adding to an existing collection of works, the most important criteria is that you are passionate about the painting.
A frequent question that I am asked as an art consultant is “How do you know what painting to buy?” The simple answer and the complicated answer is – “Buy it because you love it”. If you are buying art as an investment there will be other criteria such as growth potential, the investment potential of particular artists, long and short term growth prospects etc etc etc.
However, if you don’t have an affinity with the painting, if it dosent speak to you… and if you can’t establish a conversation with the painting, then why would you want it hanging around, every day in your life?
A painting, well placed, will augment a living space more than any other object. Once you have lived with one beautiful Aboriginal painting, it is highly likely that you will want to fill your entire home with them!
Be careful, that’s exactly what happened to me!
This extraordinary Sally Gabori painting is the latest in my stable of works – measuring 1500 x 2000mm it is an amazing example of Sally’s bold unfettered approach to shape, colour and contrast. Now in her late 80’s, Sally continues to consolidate a new language in contemporary Aboriginal iconography – challenging abstract non indigenous art and yet finding her historical expression and motivation in the world’s oldest living culture