Details Artwork Artist Authenticity Framing Details Aboriginal Artist - Evelyn Nangala Robertson Community - Nyirripi   Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 7365/23 Materials - Acrylic on linen  Size(cm) - H107 W76 D2  Postage variants - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to paint 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 Evelyn Nangala Robertson was born in 1986 in Alice Springs Hospital, the closest hospital to Yuendumu, a remote Aboriginal community 290 km north-west of Alice Springs in Australia. She is the daughter of Tina Napangardi Martin Robertson and grand-daughter of Shorty Jangala Robertson, both artists in their own right. Evelyn attended the local school in Yuendumu. In 2005 she moved to Nyirripi with her family and still lives there. She has worked for the Child Care Centre and the local shop and now works at the school. She is married to Kenneth Jungarrayi Martin, also an artist with Warlukurlangu Artists. She has one son, Rhys, born in 2004 from a previous relationship. Evelyn has been painting with Warlukurlangu Artists Aboriginal Corporation; an Aboriginal owned and governed Art Centre, since 2007. She mainly paints her Grandfather’s Jukurrpa stories, but also her Father’s and her Grandmother’s Jukurrpa, Dreamings which relate directly to her land, its features and the plants and animals that inhabit it. “As a little girl I use to watch My Grandmother and Mum paint and they would tell me a story about the painting, the dream-time”. Evelyn uses an unrestricted palette to develop a modern interpretation of her traditional culture. When Evelyn is not working or painting she likes to spend time with her family and with her friends. 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

Details Artwork Artist Art Centre Authenticity Framing Details Aboriginal Artist - Barbara Baker Milpati Community - Ernabella Aboriginal Art Centre - Iwiri Arts  Catalogue number - 24-41 Materials - Acrylic paint on canvas Size(cm) - H91 W71 D2 Postage variants - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork Barbara is painting her grandmother's country from a place on the other side of Watarru, located in the APY lands in South Australia, near the Western Australian border. Ngapari Tjukurpa is about those little white spots you find on the leaves of itara (gum tree). This white residue is made by insects, sometimes people collect it, make it into a big round ball, and eat it. It tastes really good, sweet and soft. A delicious sweet snack. Artist Details are currently unavailable. Art Centre Iwiṟi was established by Aṉangu in 2018, many of whom had been forced to move to Adelaide due to chronic health conditions and lack of services in their home communities. Living far from their traditional homelands, Anangu were concerned about the cultural and social isolation they were experiencing and saw a need to act.  Iwiri was formed initially to help retain, promote and transmit Anangu culture and language through the areas of arts, language, knowledge and community. Since then Iwiṟi has grown rapidly into an organization that delivers  a range of programs that aim to strengthen and advance Aṉangu wellbeing. Iwiri strengthens the Aṉangu community through cultural and arts activities, creating employment opportunities and enterprise development. We want our young people to be strong in their language and culture and to take up opportunities to work in our community. 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 a 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

Arnhem Land Rock Art is unlike that anywhere on earth. It is the artistically most exciting Rock Art because it is full of spirits and figure

Details Artwork Artist Authenticity Details Aboriginal Artist - Catherine Nungarrayi Malbunka Community - Yuendumu Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 6365/22 Materials - Acrylic paint on pre-stretched canvas  Size(cm) - H40 W40 D3.5 Postage variants - This work is posted stretched and ready to hang 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. 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 country are Napangardi/Napanangka women and Japangardi/Japanangka men, who can depict portions of the Mina Mina Jukurrpa in their paintings. 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]). 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 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. This Jukurrpa 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 Mina Mina Jukurrpa,  sinuous lines are often used to represent ‘ngalyipi’ (snakevine). Circles and roundels can represent the ‘jintiparnta’ (desert truffle) that the women collected as they travelled, and straight lines are used to represent the ‘karlangu’ (digging sticks). ‘Majardi’ (hairstring skirts) are represented by wavy lines suspended from a single curved line. Artist Catherine Nungarrayi Malbunka was born in Papunya, a remote Aboriginal community located roughly 240 km north-west of Alice Springs in the NT of Australia. When she was young she attended the local school in Papunya and later went to Yirara College, an Aboriginal boarding college in Alice Springs. When she finished school she held a number of jobs including working in the local store, helping out at the local school and working for the Women’s Centre, a group of volunteers who assist other organisations in the community. She moved to Yuendumu when she married Kipper Jupurrurla Ross and they have three children, Bradley, Charmaine and Malcolm. Catherine has been painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu, since 2005. She paints her father’s Jukurrpa stories, Dreamings which relate directly to her land, its features and the plants and animals that inhabit it. These stories were passed down to her by her father and his father’s father before him for millennia. “I like to paint; I love the colours and my dreamings”. When she is not painting she likes to go hunting for bush tucker and for witchetty grubs.   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

Details Artwork Artist Authenticity Guarantee Details Aboriginal Artist - Juliette Nampijinpa Brown Community - Yuendumu   Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation   Catalogue number - 7769/23 Materials - Acrylic on linen  Size(cm) - H76 W46 D2 Postage - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artwork The country associated with this 'ngapa Jukurrpa' (water Dreaming) is Mikanji, a watercourse west of Yuendumu that is usually dry. There are ‘mulju’ (soakages) in this creek bed. The 'kirda' (owners) of this Dreaming site are Nangala/Nampijinpa women and Jangala/Jampijinpa men. Mikanji is an important water Dreaming site, and features in at least three different water Dreaming tracks. In one story, the water Dreaming travelled from Puyurru, northwest of Yuendumu, to a ‘mulju’ (soakage) in the Mikanji creek. It unleashed a huge storm there. Two old blind women of the Nampijinpa skin group were sitting by the side of the soakages. As the two women strained their eyes to see the sky, tears formed in their eyes, creating the rain. Their spirits can still be seen at Mikanji in the form of two ‘ngapiri’ (river red gums) growing near the soakage. A second water Dreaming track that passes through Mikanji is also owned by the Nangala/Jangala and Nampijinpa/Jampijinpa subsections, and travels further west. At Mikanji, the storm rained so hard it created a hole in the ground which became a soakage. At Mirawarri a ‘kirrkarlanji’ (brown falcon [Falco berigora]) picked up the storm and carried it on its wings to the west until it became too heavy for it. The falcon eventually dropped the storm at Pirlinyarnu (Mt. Farewell) about 165 km west of Yuendumu, where it formed an enormous ‘maluri’ (claypan). A ‘mulju’ (soakage) exists in this place today. A third Dreaming track that passes through Mikanji is the story of the water Dreaming and ‘pamapardu Jukurrpa’ (termite Dreaming). This Dreaming travels further north. This water Dreaming is owned by Nakamarra/Napurrurla women and Jakamarra/Jupurrurla men. The termite and water Dreamings travelled together from Warntungurru in the east past Warlura (a waterhole 8 miles east of Yuendumu), Wirnpa, Kanaralji, Ngamangama, and Jukajuka. A portion of this Dreaming track also includes the ‘kurdukurdu mangkurdu Jukurrpa’ (children of the clouds Dreaming). The termite Dreaming moved on to the west to Nyirrpi, a community approximately 160 km west of Yuendumu, whereas the water Dreaming travelled on to Mikanji. A ‘kirrkarlanji’ (brown falcon) eventually picked up the water and tied it to its head using hairstring. The falcon travelled north with the water Dreaming; at Puyurru, it flew under a tree and the water fell off of its head, forming a soakage there. The Dreaming then 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), 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 Juliette Nampijinpa Brown was born in 1971 in Alice Springs Hospital, the closest hospital to Yuendumu, a remote Aboriginal community 290 km from Alice Springs in NT of Australia. Juliette was born into a long line of artists, her mother is Wendy Nungarrayi Brown and her grandparents are Bessie Nakamarra Sims (1932 - 2012) and Paddy Japaljarri Sims (1916-2010), all renowned artists, nationally and internationally and who paint and have painted with Walukurlangu Artists. Juliette attended Yuendumu School, which she enjoyed very much. When she left school she became a volunteer with the Old People’s Program, a program that helps care for the elderly. She has three children, “all grown up” and five grandchildren. Juliette has been painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu, since 2008. She paints her grandfather’s Jukurrpa stories; Ngapa Jukurrpa (Water Dreaming) and Pamapardu Jukurrpa (Flying Ant Dreaming). These stories relate directly to her land, its features and the plants and animals that inhabit it. Juliette uses an unrestricted palette with traditional patterns and designs that stretch back at least fifty millennia to depict her traditional Jukurrpa. Juliette loves painting and enjoys sitting with her grandchildren while she paints. As the grandchildren watch she passes down her grandfather’s stories. When Juliette is not painting she loves to go hunting for honey ants. 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.

Editor’s Note: With the election of Prime Minister Justin Trudeau, hope for a national inquiry into missing and murdered indigenous women was realized. Read about the inquiry here.&nbs…

Details Artwork Artist Details Aboriginal Artist - Peggy Nampijinpa Brown Community - Yuendumu Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation   Catalogue number - 3772/23 Materials - Acrylic paint on pre-stretched canvas Size(cm) - H30 W30 D2   Postage variants - Artwork posted stretched and ready to hang Orientation - Painted from all sides and OK to hang as wished Artwork This Dreaming belongs to Warlukurlangu country to the south-west of Yuendumu, for which Jampijinpa/Jangala men and Nampijinpa/Nangala women have custodial responsibility. An old man ‘lungkarda’ (centralian blue-tongued lizard [Tiliqua multifasciata]), of the Jampijinpa skin group, lived on a hill with his two Jangala sons. The old man would feign blindness and send the two boys hunting in search of meat. While they were gone he would hunt and eat anything that he caught before they returned. One day the sons returned with a kangaroo that they had caught after much tracking. Unfortunately the kangaroo was sacred to the ‘lungkarda’, unbeknown to the boys. In his anger the old man decided to punish his sons and the next time they went out, he put his fire stick to the ground and sent a huge bush fire after them which chased them for many miles, at times propelling them through the air. Although the boys beat out the flames, ‘lungkarda's’ special magic kept the fire alive and it re-appeared out of his blue-tongued lizard hole. Exhausted the boys were finally overcome by the flames. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, particular sites and other elements. Usually sites that are depicted in paintings of this Jukurrpa include Warlukurlangu (a men's cave), Kirrkirrmanu (where the sacred kangaroo was killed), Wayililinypa (where the fire killed the two Jangala sons) and Marnimarnu (a water soakage) where the two Jangalas camped. Artist Peggy Nampijinpa Brown was born in 1941 in the bush close to Yuendumu. When she was a little girl her family moved to Yuendumu, an Aboriginal settlement 290 kms north-west of Alice Springs in the NT of Australia. Peggy has been an important member of the Yuendumu Community. She participated in several organisations such as the Women Night Patrol, the Mt Theo Petrol Sniffing Program, The Women Center, Warlpiri Media and of course Warlukurlangu Artists Aboriginal Association. Her participation and powerful persona has made her a women respected by all members of the Yuendumu community. Recently (2007) she was the recipient of the Order of the Australia Medal for her work in the successful Petrol sniffing program. The Yuendumu Petrol Sniffing program has served as a standard and been a replication for other communities with Petrol Sniffing problems. Peggy has been painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu, since 1988. She paints several Jukurrpa (dreamings) but the one that features constantly is her country Warlukurlangu Jukurrpa (Fire Dreaming), country south-west of Yuendumu for which Jampijinpa/Jangala men and Nampijinpa/Nangala women have custodial responsibility.

Details Artwork Artist Art Centre Authenticity Framing Details Aboriginal Artist - Tjimpuna Williams Community - Ernabella Aboriginal Art Centre - Iwiri Arts  Catalogue number - 1-24 Materials - Acrylic paint on linen Size(cm) - H220 W143 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 Piltati Tjukurpa belongs to the ranges in far northern South Australia. It tells of two women, seen here with their piti munu wana (collecting bowls and digging sticks), who set out hunting and gradually draw further and further away from home. They dig burrow after burrow hoping to find small game. Their husbands follow them and transform into Wanampi, water snakes, to lie in wait for their wives in the water hole known as Piltati. When the woman approach they are startled by the Snake Men who leap up and swallow them whole. The four then become Wanampi together at Piltati. Artist Tjimpuna has worked across several mediums including painting, linocut prints and batik, but her chosen medium is ceramics. In 2012 she was a finalist in the indigenous Ceramic Art Awards at Shepparton Art Museum. Tjimpuna uses traditional patterns that relate to rockhole (tjukula) or sand dune (tali), and also paints the Tjukurpa of her mother;s country - Piltati, near Kanpi in the APY Lands. Other pieces are her personal walka or design. These designs are drawn from batik patterns and from her own interpretation of images from country and ceremony. In 2011 Tjimpuna's ceramics were featured in an Ernabella exhibition at the South Australian Museum. She undertook a residency at the JamFactory in the same year. In 2012 Tjimpuna participated in the Australian Ceramic Triennale in Adelaide. Tjimpuna and Derek Thompson were awarded a New Work grant by the Australian Council for the Arts and in 2013 undertook a big pot in Ji gdezhen, China. This work was exhibited in 2014 at Sydney's prestigious Sabbia Gallery. Tjimpuna has also travelled to Korea and Signapore for her art practice. in early 2015 Tjimpuna and Derek returned to Jingdezhen, and the work made then was exhibited with Sabbia Gallery in Sydney and at the Australian Ceramic Triennale in Canberra in June and July 2015. In 2016 Ernabella was a key contributor to the collaborative ceramics installation created for the 2016 Indigenous Ceremic Art Award. The work involved seven women potters telling the important Seven Sisters Tjukurpa and was exhibited at Shepparton Art Museum. In 2016 Tjimpuna also exhibited in the Pukatjalanguru kungka tjuta kunpu warkarinytja  - Ernabella wome: Strong work, together exhibition at Sabbia Gallery. Tjimpuna's artwork has been acquired for the collections of the National Museum of Australia, Australian National Gallery, Queensland Art Gallery, and Museum of Ethnology, Osaka, Japan. Art Centre Iwiṟi was established by Aṉangu in 2018, many of whom had been forced to move to Adelaide due to chronic health conditions and lack of services in their home communities. Living far from their traditional homelands, Anangu were concerned about the cultural and social isolation they were experiencing and saw a need to act.  Iwiri was formed initially to help retain, promote and transmit Anangu culture and language through the areas of arts, language, knowledge and community. Since then Iwiṟi has grown rapidly into an organization that delivers  a range of programs that aim to strengthen and advance Aṉangu wellbeing. Iwiri strengthens the Aṉangu community through cultural and arts activities, creating employment opportunities and enterprise development. We want our young people to be strong in their language and culture and to take up opportunities to work in our community. 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

Details Artwork Gapuwiyak Materials Details Aboriginal Artist - Lucy Wanapuyngu Community - Gapuwiyak Aboriginal Art Centre - Gapuwiyak Culture and Arts Materials - Pandanus, natural dyes. Size(cm) - H28 W26 Artwork Mat (Maad) made from Gunga (Pandanus Spiralis), using a twining process. The twinning technique may be thought of as the twisting together of elements. Artists take two twisting lengths of pandanus and work them across a series of vertical or radiating lengths. The twisting lengths are the 'active' elements of the structure and the radiating lengths are 'passive'. The twining technique is traditional and a number of forms were made for ceremonial and utilitarian purposes. A conical mat was made for initiation ceremonies, and flattened, use for various purposes. Variation in the twinning occurs through changing the density, the order, or the colour. The Gunga is coloured with natural bush dyes. Flat mats are traditionally used for sitting on, shelter or preparing food etc. Gapuwiyak Gapuwiyak Culture and Arts Aboriginal Corporation is a recent initiative of the remote East Arnhem Land community of Gapuwiyak, also known as Lake Evella. The organisation is not-for-profit. It was created to enhance the wellbeing of Yolngu people living in the region by supporting their cultural practices, values and intellectual property while providing opportunities for leadership, meaningful employment, and professional development. Materials Pandanus are palm-like, dioecious trees and shrubs, their leaves “pandan” are commonly used in traditional handicraft. The young leaves are harvested and sliced into fine strips, followed by a colouring process, in which the strips are placed in drums of bush dyes, roots and leaves from different plants sourced in the area. Dye is extracted through bashing and crushing techniques, then added to the water with the pandanus to create these vivid hues. The pandan strips are then woven into intricate baskets and mats or rolled into ropes for other designs.

Details Artwork Artist Authenticity Framing Details Aboriginal Artist - Saraeva Napangardi Marshall Community - Yuendumu Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 4772/23 Materials - Acrylic on linen Size(cm) - H152 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 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 country are Napangardi/Napanangka women and Japangardi/Japanangka men, who can depict portions of the Mina Mina Jukurrpa in their paintings. 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]). 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 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. This Jukurrpa 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 Mina Mina Jukurrpa,  sinuous lines are often used to represent ‘ngalyipi’ (snakevine). Circles and roundels can represent the ‘jintiparnta’ (desert truffle) that the women collected as they travelled, and straight lines are used to represent the ‘karlangu’ (digging sticks). ‘Majardi’ (hairstring skirts) are represented by wavy lines suspended from a single curved line. Artist Saraeva Napaljarri Marshall was born on the 24 December 1996 to Julie Nangala Robertson (a Warlukurlangu Artist) and Nigel Japanangka Marshall. She is the grand-daughter of the well-known Telstra Award-winning artist, Dorothy Napangardi (Dec 2013).  Although born in Adelaide Hospital, Saraeva has spent her whole life in Yuendumu, a remote Aboriginal community 290 kms north-west of Alice Springs, in the Northern Territory of Australia. Saraeva attends the local school and hopes to complete her secondary school studies in 2014. Once completed she would like to continue her studies in the visual arts and become a well known artist like her Mother and Grandmother. Although Saraeva has been painting from an early age with her mother and grandmother, she has been painting with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu, since 2013. She paints her Grandmother’s Mina Mina Jukurrpa (Mina Mina Dreaming). Her grandmother would paint and tell her about the important women’s dreaming site, about the ancestral women travelling and dancing and performing ceremonies and creating the country as they travelled. These stories have been passed down through the generations for millennia. To depict her traditional Jukurrpa, Saraeva uses a wide range of colours and traditional iconography while developing a contemporary style. When Saraeva is not studying or painting she likes to go hunting with her family for goanna and bush tucker. 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

Blue seems to appeal almost universally, but historically it has been an incredibly difficult colour to extract.

COLLEEN WALLACE NUNGARRAYI (NUNGARI) TITLE: DREAMTIME SISTERS   ACRYLIC ON CANVAS 147CM X 69CM COLLEEN HAS SIGNED THE PAINTING AND A PHOTO WILL BE PROVIDED   REF#CW122     DOB: 1973.  Santa Teresa (Ltyentye Apurte) Northern Territory Known as: Colleen Wallace Ningarrayi, also spelled Ningari or Nungarrayi Language: Eastern Arrernte Dreaming’s: Awelye (Women’s Dreaming) Bush seeds, Bush Yam (Arlatyeye) & Dreamtime Sisters     Colleen is the stepdaughter of the well-known artist Kathleen Wallace Kemarre, sister of Gabrielle Wallace and granddaughter of the famous artist Kenny Tilmouth Panangka. Colleen began painting in 1990. She is a versatile artist who began painting stories about her Country. She is well-known for her highly sought-after stories of the Dreamtime Sister’s which are ancestral spirits. Colleen uses vibrant, colourful, intricate dot works to tell her dreaming which is a blend of traditional and contemporary.   She lives with her husband Colin Bird Jungala (Ada Bird Petyarre’s son) who is also an accomplished artist, and their children in Mulga Bore, the Utopia region.   Her works have been exhibited in Australia and Internationally.   This painting was purchased directly from Colleen a gallery certificate of authenticity will be provided with the sale.

The story of Australian Aboriginal Art. If you are looking for a great overview of what Aboriginal Art is all about, click to visit us and read this in depth article now.

Damien and Yilpi Marks, husband & wife team, paint Central Desert Dreamings in strong colours. View at Japingka Gallery

acrylic on linen, 136 x 90 cm - Simon Hogan - spinifex

acrylic on linen, 136 x 90 cm - Simon Hogan - spinifex

Imagine you discovered you had an unknown talent at the ripe old age of 95. That's exactly what's happened around a decade ago to Daisy Loongkoonan, a quietly-spoken elder of the Nyikina people in the remote Kimberley region.

Details Artwork Artist Art Centre Authenticity Guarantee Details Aboriginal Artist - Vanessa Inkamala Community - Hermannsburg Aboriginal Art Centre - Iltja Ntjarra / Many Hands Art Centre Catalogue number - WAC133-23 Materials - Watercolours on watercolour paper   Painted Size(cm) - H26 W36.6 Postage variants - Artwork posted flat unframed Orientation - As displayed Artwork Landscape of Gum nuts and Gum Tree Artist Vanessa was born in 1968 at Ntaria (Hermannsburg), a mission established by German Lutheran missionaries at the end of the 19th century. Vanessa’s grandmother’s brother is Albert Namatjira and she is the niece of award-winning artist Ivy Pareroultja. Ivy remembers nursing Vanessa and her brother Reinhold Inkamala (also a painter at Iltja Ntjarra) in Hermannsburg. Vanessa currently lives in Alice Springs and paints in the watercolour tradition. She paints the landscape of her ancestors, which is also the country she belongs to.    In her late 20s Vanessa married Fabien, an Eastern Arrernte man, and moved to Santa Teresa, some 80 km South-West of Alice Springs. Though Vanessa was already a skilled artist, she learnt and adopted a new artistic style specific to Santa Teresa, in which she paints spiritual women. The spiritual women who are the subjects of Vanessa’s work are guardians of the land and remain invisible most of the time. Often, they look after a network of waterholes alongside the riverbed. If intruders come stealing some of the country resources such as bush tucker or water, the spiritual women will come out and the offenders will disappear forever. Art Centre Iltja Ntjarra / Many Hands Art Centre is proudly Aboriginal owned and directed. It is the home of the Namatjira watercolour artists. The Art Centre was established by Ngurratjuta/Pmara Ntjarra Aboriginal Corporation and started operating in 2004, as a not-for-profit Art Centre to provide a place for Arrernte Artists to come together to paint, share and learn new techniques and ideas. The Art Centre is strongly committed to improving economic participation of Aboriginal people and maintaining cultural heritage. Iltja Ntjarra has a special focus on supporting the ‘Hermannsburg School’ style watercolour artists, who continue to paint in the tradition of their grandfather and relative, Albert Namatjira, arguably one of Australia’s most famous artists of the 20th century. Albert Namatjira taught his children to follow in his unique style, who have since passed this knowledge on to their children, which has resonated in a legacy of watercolour artists in the Central Desert region. By continuing his legacy, these artists sustain an important piece of living history. Iltja Ntjarra is proud of its ethical work practices and aims to return the greatest possible percentage of sales to the artist. In June 2016, Iltja Ntjarra Aboriginal Corporation (ICN 8426) was newly incorporated by the Arrernte Artists associated with the Art Centre and in August 2016, the Ngurratjuta/Pmara Ntjarra Aboriginal Corporation transferred the not-for-profit Art Centre business to Iltja Ntjarra Aboriginal Corporation. Iltja Ntjarra acknowledges the role of Ngurratjuta/Pmara Ntjarra Aboriginal Corporation to the establishment and development of the Art Centre and thanks it for its ongoing support. The things that are most important to us are: The watercolour painting style The watercolour painting style To welcome all landscape artists to paint with us To welcome and encourage youth to paint with us To pass down stories about our country and culture To teach about the legacy of the Hermannsburg School of Watercolour art movement To tell stories of learning from our grandfather and relative Albert Namatjira To support and keep culture strong To promote the effective and ethical sale of artworks To provide increased economic benefit directly to the artists through sales, professional development, exhibitions and marketing Test courtesy, Iltja Ntjarra / Many Hands Art Centre 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.

by Barbara Bechtel Throughout history, many religions and cultures have used jewelry as a means of imparting cultural and religious symbols and patterns into their work. However, you don't have to be a world traveler or an anthropologist to find inspiration for your own artisan made jewelry. The internet and your local library offer a wealth of research options to find meaningful and beautiful symbols to inspire your own work.... Here are just a few that have inspired me over the years.... The Maasai women have long been known for their intricate beaded designs and body modification. Originally, the delicate beads and their colors came from traditional means such as bone, stone, and horn but lost favor when trading with Europe and they were able to gain access to larger quantities of their now favored opaque Czech glass. Tradtional Japanese Netsuke and their counterparts, Ojime and Inro, were intricately carved adornments for the obi. Generally serving as a closure (much like a button) for a small pouch, this unique art form is still a popular craft and art form today. Traditionally, they depicted popular animals, deities, nature, and even professions or popular subjects of the day. You need not look any further than your own personal religious beliefs to find beautiful symbols. To expand on this idea, consult historical and religious texts or references to find variations of symbols through out history. In addition to the traditional symbols, look for other symbolic references in the stories of different religions, in example the rainbow in Christianity or the Hamsa in many different religions. Indigenous cultures and tribes throughout the world often used symbols in their writings, weavings and jewelry. Research into different groups can not only inform your work but also enlighten you about art history! Here are some additional references to get you started: PBS: Craft in America : Not only does this series research the rich history of American Craft; many episodes highlight artists working in traditional methods and symbology of their cultural heritage. Signs and Symbols in Christian Art: This book is a wonderful reference for traditional symbols used throughout art history. Also a great reference if you enjoy western art history. Religious-Symbols.net: Is a great basic site that overviews different religious symbols and their meaning. A great jumping point for your research. If you have any wonderful references, I'd love to hear them below!

Art of the Skins in the SLQ Gallery embodies the continuous, ever-growing and adapting nature of Australia’s first cultures

Details Kunstwerk Künstler Kunstzentrum Details Aborigine-Künstler – Samuel Miller Gemeinschaft - Pipalyatjara Aboriginal Art Center – Ninuku Arts Katalognummer - 19/487 Materialien - Acryl auf Leinen Größe (cm) – H91 B61 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 Ngayuku Ngura bedeutet „Mein Platz“. Samuel verwendet eine umfangreiche Farbpalette, um das Land rund um Kalka und Pipalyatjara zu malen. Seine Gemälde zeigen die verschiedenen Landformationen dieser Gegend – Felslöcher, Bäche und Hügel. Sein Land ist ein heiliges Felsloch für Menschen, so heilig, dass der Name weder niedergeschrieben noch erwähnt werden darf. Künstler Samuel Miller wurde 1966 in der Ernabella Mission geboren. Als Samuels Mutter starb, kümmerte sich die zweite Frau seines Vaters, Molly Nampitjin Miller, um ihn. Molly ist Gründungsdirektorin von Ninuku Arts. Als er aufwuchs, zog Samuel zwischen Amata und Pipalyatjara hin und her, aber jetzt lebt er mit Molly und dem Rest ihrer Familie in Kalka. Als engagiertes Mitglied von Ninuku Arts malt Samuel normalerweise jeden Tag. Seine Gemälde zeigen die traditionelle Ikonographie seines Landes, das östlich von Pipalyatjara liegt – Felslöcher, Bäche und Hügel sind in seinen Werken zu sehen, alles eingebettet in Tjukurpa (Traumgeschichten). Samuels Gemälde sind faszinierend. Seine Komposition ist minimalistisch und er verwendet in großem Umfang strahlende Farben, die größtenteils aus den unterschiedlichen Farben der Landschaft rund um sein Land stammen. Er geht anspruchsvoll vor und arbeitet mit einer großen Anzahl von Mitarbeitern zusammen Malfarben, die er beim Malen um sich herum ausbreitet. Obwohl er einer der jüngsten Männer ist, die im Kunstzentrum malen, geht Samuel selbstbewusst und konzentriert vor. Kunstzentrum Ninuku Arts ist ein vollständig von Einheimischen geführtes Kunstzentrum, das Künstler aus zwei Gemeinden unterstützt – Pipalyatjara und Kalka. Jeder hat eine Bevölkerung von etwa 100-150 Anangu und die Mehrheit sind Pitjantjatjara-Sprecher – Anangu bedeutet auf Pitjantjatjara einfach „Volk“. Beide Gemeinden liegen im äußersten Nordwesten von Südaustralien, nahe der Dreistaatengrenze von Südaustralien, Westaustralien und dem Northern Territory. Die beiden vierzehn Kilometer voneinander entfernten Gemeinden sind von den sanften, felsigen Hügeln der Tomkinson Ranges umgeben und Teil des Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. Sowohl Kalka als auch Pipalyatjara sind friedliche Orte. Dies ist das Ergebnis einer starken Regierungsführung, kulturellen Engagements und des Stolzes der lokalen Anangu. Das Kunstzentrum selbst befindet sich in Kalka und ist in einem Lehmziegelgebäude (dem einzigen in den Lands) untergebracht, das Anfang der 1980er Jahre von Anangu und weißen Mitarbeitern als Büro erbaut und seitdem erweitert wurde, um dort Platz zu bieten Immer mehr Künstler, die gerne malen. Vor Ort befindet sich auch ein Silver Bullet Caravan (ehemals eine mobile Gesundheitseinheit), der für einige Künstler zu einem Ort zum Malen geworden ist, vor allem in den Wintermonaten, wenn die Morgensonne das Deck wärmt. Obwohl Ninuku Arts das abgelegenste Kunstzentrum im APY-Gebiet ist und über begrenzte Arbeitsräume und Zugang zu Dienstleistungen verfügt, ist sein Erfolg von Jahr zu Jahr gewachsen. Das Engagement des Künstlers sowohl für das Kunstzentrum als auch für die Malerei ist unerschütterlich. Das Kunstzentrum ist stolz auf seine Inklusivität (es bietet Chancen für alle Generationen) und die Förderung der Individualität von Künstlern.

Details Ouvrages d'art Artiste Centre d'art Authenticité Encadrement Details Artiste autochtone - Maralyn Stanley Inawinytji Communauté - Ernabella Centre d'art aborigène - Iwiri Arts Numéro de catalogue - 24-62 Matériaux - Peinture acrylique sur lin Taille (cm) - H102 W75 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 C'est l'histoire de la sœur aînée qui parcourt un long chemin pour retrouver sa sœur cadette et la ramener. Ils ont traversé de nombreux endroits en cours de route, mais je ne parlerai que d'une courte partie de leur voyage à Wingellina. Deux femmes qui sont toutes deux venues d'en haut et sont restées un certain temps. Ils pouvaient tous deux voir que Docker River était proche. Et pendant qu'ils étaient assis là, ils ont célébré une cérémonie, en fait. Après, ils ont tous deux jeté leurs armes, ils les ont jetées. Leurs anneaux de tête, ils les ont jetés. Puis ils se sont levés et sont partis. Ils se rendirent à un autre endroit, un creux appelé Kantarangkutjara, puis ils se dirigèrent vers la rivière Docker. L'histoire de leurs voyages après Docker River appartient aux habitants de Docker River et à d'autres personnes vivant dans des pays lointains. Ma partie de l'histoire est courte. Artiste Maralyn Stanley est née à Ernabella en 1967 de Nungalka et Stanley de Young's Well. Elle est la sœur cadette de Renita et fait partie d'une famille forte tant dans le domaine juridique que dans le centre d'art. Maralyn a commencé à travailler au centre d'art dans les années 1990 et a participé à plusieurs expositions collectives et ateliers entre 1996 et 1998. Elle a ensuite quitté la communauté pour vivre à Alice Springs et, après une longue absence, est revenue à Ernabella en 2008 et est immédiatement devenue une très participant actif au studio de céramique récemment relancé. Centre d'art Iwiṟi a été créée par Aṉangu en 2018, dont beaucoup ont été contraints de déménager à Adélaïde en raison de problèmes de santé chroniques et du manque de services dans leur communauté d'origine. Vivant loin de leur pays d'origine traditionnel, les Anangu étaient préoccupés par l'isolement culturel et social qu'ils subissaient et voyaient la nécessité d'agir. Iwi r i a été initialement créé pour aider à conserver, promouvoir et transmettre la culture et la langue Anangu à travers les domaines des arts, de la langue, de la connaissance et de la communauté. Depuis lors, Iwiṟi s'est rapidement développée pour devenir une organisation qui propose une gamme de programmes visant à renforcer et à faire progresser le bien-être des Aṉangu. Iwi r i renforce la communauté Aṉangu à travers des activités culturelles et artistiques, créant des opportunités d'emploi et le développement d'entreprises. Nous voulons que nos jeunes soient forts dans leur langue et leur culture et qu'ils saisissent les opportunités de travailler dans notre communauté. 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 désert étirées , sont envoyées roulées. L'envoi de peintures roulées est la meilleure option pour leur arrivée en toute sécurité et nous permet d'inclure la livraison gratuite, de fournir un service en temps opportun et de maintenir des prix cohérents et transparents par rapport aux prix fixés par chaque centre d'art aborigène. La taille du tableau indiqué se rapporte à la surface peinte. Il y a aussi un bord peint (2 cm) et une toile supplémentaire pour l'étirement. Un encadreur local étendra facilement le travail pour vous à un coût minime. Les encadreurs sont partout et il y en a probablement un juste au bout de la rue. Nous vous recommandons d'en choisir un avec de bonnes critiques et si vous appelez à l'avance, vous obtiendrez généralement un meilleur prix que si vous vous présentez, peinture à la main. Veuillez trouver plus de détails et des exemples relatifs au cadrage ici : https://artark.com.au/pages/how-to-frame-your-aboriginal-art

Details Kunstwerk Künstler Details Künstlerin: Evelyn Nangala Robertson Gemeinschaft - Nyirripi Kunstzentrum/Gemeinschaftsorganisation – Warlukurlangu Artists Aboriginal Corporation Katalognummer - 1643/17ny Materialien – Acryl auf vorgespannter Leinwand Größe (cm) – H30 B30 T3,5 Versandvarianten – Das Kunstwerk wird gestreckt verschickt und kann sofort aufgehängt werden Ausrichtung – Von allen Seiten bemalt und kann wie gewünscht aufgehängt werden Kunstwerk Der in diesem Gemälde dargestellte Ort ist Pirlinyarnu (Mount Farewell), etwa 165 km westlich von Yuendumu im Northern Territory. Die „Kirda“ (Eigentümer) des Water Dreaming-Standorts in Pirlinyarnu sind Nangala/Nampijinpa-Frauen und Jangala/Jampijinpa-Männer. Zwei Jangala-Männer, Regenmacher, sangen den Regen und lösten einen riesigen Sturm aus, der mit einem anderen Sturm aus Wapurtali bei Mirawarri kollidierte. Ein „Kirrkarlanji“ (brauner Falke [Falco berigora]) trug den Sturm von Mirawarri weiter nach Westen. Die beiden Stürme zogen von Karlipirnpa aus durch das Land, einem zeremoniellen Ort für das Wasser Dreaming in der Nähe von Kintore, der Mitgliedern der Unterabschnitte Napaljarri/Japaljarri und Napanangka/Japanangka gehört. Unterwegs zogen die Stürme durch Juntiparnta, einen Ort, der Jampijinpa-Männern gehört. Der Sturm wurde schließlich zu heftig für den Falken. Es ließ das Wasser bei Pirlinyarnu fallen und bildete dort eine riesige „Maluri“ (Tonpfanne). An diesem Ort gibt es heute ein „Mulju“ (Einweichen). Immer wenn es heute regnet, strömen immer noch Hunderte von „Ngapangarlpa“ (Buschenten) nach Pirlinyarnu. In zeitgenössischen Warlpiri-Gemälden wird traditionelle Ikonographie verwendet, um das „Jukurrpa“ (Träumen), zugehörige Orte und andere Elemente darzustellen. In vielen Gemälden dieser Träume werden häufig kurze Striche verwendet, um „Mangkurdu“ (Cumulus- und Stratocumuluswolken) darzustellen, und längere, fließende Linien stellen „Ngawarra“ (Überschwemmungswasser) dar. Kleine Kreise werden verwendet, um „Mulju“ (Einschwemmungen) und Flussbetten darzustellen. Künstler Evelyn Nangala Robertson wurde 1986 im Alice Springs Hospital geboren, dem nächstgelegenen Krankenhaus zu Yuendumu, einer abgelegenen Aborigine-Gemeinde 290 km nordwestlich von Alice Springs in Australien. Sie ist die Tochter von Tina Napangardi Martin Robertson und die Enkelin von Shorty Jangala Robertson, beide eigenständige Künstler. Evelyn besuchte die örtliche Schule in Yuendumu. 2005 zog sie mit ihrer Familie nach Nyirripi und lebt dort noch immer. Sie hat für die Kindertagesstätte und den örtlichen Laden gearbeitet und arbeitet jetzt in der Schule. Sie ist mit Kenneth Jungarrayi Martin verheiratet, ebenfalls Künstler bei Warlukurlangu Artists. Sie hat einen Sohn, Rhys, der 2004 aus einer früheren Beziehung geboren wurde. Evelyn hat mit der Warlukurlangu Artists Aboriginal Corporation gemalt; Seit 2007 ist sie ein von den Aborigines geführtes Kunstzentrum. Sie malt hauptsächlich die Jukurrpa-Geschichten ihres Großvaters, aber auch die Jukurrpa-Träume ihres Vaters und ihrer Großmutter, die sich direkt auf ihr Land, seine Besonderheiten und die darin lebenden Pflanzen und Tiere beziehen. „ Als kleines Mädchen schaute ich meiner Großmutter und meiner Mutter beim Malen zu und sie erzählten mir eine Geschichte über das Gemälde, die Traumzeit .“ Evelyn nutzt eine uneingeschränkte Palette, um eine moderne Interpretation ihrer traditionellen Kultur zu entwickeln. Wenn Evelyn nicht arbeitet oder malt, verbringt sie gerne Zeit mit ihrer Familie und ihren Freunden.

Details Kunstwerk Künstler Rückgabe + Versand Details Künstlerin: Evelyn Nangala Robertson Gemeinschaft - Nyirripi Kunstzentrum/Gemeinschaftsorganisation – Warlukurlangu Artists Aboriginal Corporation Katalognummer – 607-16ny Materialien – Acryl auf vorgespannter Leinwand Größe (cm) – H30 B30 T3,5 Versandvarianten – Das Kunstwerk wird gestreckt verschickt und kann sofort aufgehängt werden Kunstwerk Der in diesem Gemälde dargestellte Ort ist Pirlinyarnu (Mount Farewell), etwa 165 km westlich von Yuendumu im Northern Territory. Die „Kirda“ (Eigentümer) des Water Dreaming-Standorts in Pirlinyarnu sind Nangala/Nampijinpa-Frauen und Jangala/Jampijinpa-Männer. Zwei Jangala-Männer, Regenmacher, sangen den Regen und lösten einen riesigen Sturm aus, der mit einem anderen Sturm aus Wapurtali bei Mirawarri kollidierte. Ein „Kirrkarlanji“ (brauner Falke [Falco berigora]) trug den Sturm von Mirawarri weiter nach Westen. Die beiden Stürme zogen von Karlipirnpa aus durch das Land, einem zeremoniellen Ort für das Wasser Dreaming in der Nähe von Kintore, der Mitgliedern der Unterabschnitte Napaljarri/Japaljarri und Napanangka/Japanangka gehört. Unterwegs zogen die Stürme durch Juntiparnta, einen Ort, der Jampijinpa-Männern gehört. Der Sturm wurde schließlich zu heftig für den Falken. Es ließ das Wasser bei Pirlinyarnu fallen und bildete dort eine riesige „Maluri“ (Tonpfanne). An diesem Ort gibt es heute ein „Mulju“ (Einweichen). Immer wenn es heute regnet, strömen immer noch Hunderte von „Ngapangarlpa“ (Buschenten) nach Pirlinyarnu. In zeitgenössischen Warlpiri-Gemälden wird traditionelle Ikonographie verwendet, um das „Jukurrpa“ (Träumen), zugehörige Orte und andere Elemente darzustellen. In vielen Gemälden dieser Träume werden häufig kurze Striche verwendet, um „Mangkurdu“ (Cumulus- und Stratocumuluswolken) darzustellen, und längere, fließende Linien stellen „Ngawarra“ (Überschwemmungswasser) dar. Kleine Kreise werden verwendet, um „Mulju“ (Einschwemmungen) und Flussbetten darzustellen. Künstler Evelyn Nangala Robertson wurde 1986 im Alice Springs Hospital geboren, dem nächstgelegenen Krankenhaus zu Yuendumu, einer abgelegenen Aborigine-Gemeinde 290 km nordwestlich von Alice Springs in Australien. Sie ist die Tochter von Tina Napangardi Martin Robertson und die Enkelin von Shorty Jangala Robertson, beide eigenständige Künstler. Evelyn besuchte die örtliche Schule in Yuendumu. 2005 zog sie mit ihrer Familie nach Nyirripi und lebt dort noch immer. Sie hat für die Kindertagesstätte und den örtlichen Laden gearbeitet und arbeitet jetzt in der Schule. Sie ist mit Kenneth Jungarrayi Martin verheiratet, ebenfalls Künstler bei Warlukurlangu Artists. Sie hat einen Sohn, Rhys, der 2004 aus einer früheren Beziehung geboren wurde. Evelyn hat mit der Warlukurlangu Artists Aboriginal Corporation gemalt; Seit 2007 ist sie ein von den Aborigines geführtes Kunstzentrum. Sie malt hauptsächlich die Jukurrpa-Geschichten ihres Großvaters, aber auch die Jukurrpa-Träume ihres Vaters und ihrer Großmutter, die sich direkt auf ihr Land, seine Besonderheiten und die darin lebenden Pflanzen und Tiere beziehen. „ Als kleines Mädchen schaute ich meiner Großmutter und meiner Mutter beim Malen zu und sie erzählten mir eine Geschichte über das Gemälde, die Traumzeit .“ Evelyn nutzt eine uneingeschränkte Palette, um eine moderne Interpretation ihrer traditionellen Kultur zu entwickeln. Wenn Evelyn nicht arbeitet oder malt, verbringt sie gerne Zeit mit ihrer Familie und ihren Freunden. Rückgabe + Versand Wir sind uns darüber im Klaren, dass es nicht immer einfach ist, Kunstwerke ungesehen zu kaufen, aber wir sind so zuversichtlich, dass Sie sie absolut lieben werden, wenn sie auftauchen, und dass Sie zurückkommen können, wenn Sie aus irgendeinem Grund Ihre Meinung ändern oder das Feng Shui nicht spüren Sie erhalten innerhalb von 14 Tagen eine vollständige Rückerstattung. Gerne versenden wir alle unsere Gemälde innerhalb Australiens kostenlos per Einschreiben und für den internationalen Versand zahlen wir 30 US-Dollar. Für die sichere Verpackung und den Einschreiben unserer 3D-Artikel fällt eine Prämie von 15 US-Dollar an.

Details Kunstwerk Künstler Details Künstlerin: Sarah Napaljarri Simms Gemeinschaft - Nyirripi Kunstzentrum/Gemeinschaftsorganisation – Warlukurlangu Artists Aboriginal Corporation Katalognummer – 176/17ny Materialien - Acryl auf Leinen Größe (cm) – H122 B76 T2 Versandvarianten – Dieses Werk wird ungedehnt und gerollt verschickt, um einen sicheren Versand zu gewährleisten Kunstwerk Pikilyi ist ein großes und wichtiges Wasserloch und eine natürliche Quelle in der Nähe der Mount Doreen Station. Pikilyi Jukurrpa (Vaughan Springs Dreaming) erzählt von der Heimat zweier Regenbogenschlangen, Helden der Vorfahren, die als Mann und Frau zusammenlebten. Die Frau „Regenbogenschlange“ gehörte zur Napanangka-Hautgruppe, der Mann war ein Japangardi. Dies war eine tabuisierte Beziehung, die im Widerspruch zum religiösen Gesetz der Warlpiri stand. Frauen aus den Unterbezirken Napanangka und Napangardi saßen neben den beiden Schlangen und pflückten ihnen Läuse. Für diesen Gottesdienst erlaubten die beiden Schlangen den Frauen, Wasser aus den Quellen von Pikilyi zu schöpfen. Dies lag daran, dass die Schlangen die „Kirda“ oder zeremoniellen Besitzer dieses Landes waren. Die Geister dieser beiden Regenbogenschlangen sind noch heute in Pikilyi. This Dreamings gehört zu den Frauen und Männern der Hautgruppen Japanangka/Napanangka und Japangardi/Napangardi. Künstler Sarah Napaljarri Sims wurde 1988 im Derby Hospital geboren, dem nächstgelegenen Krankenhaus zu Balgo, einer abgelegenen Aborigine-Gemeinde in Westaustralien, die sowohl mit der Great Sandy Desert als auch mit der Tanami-Wüste verbunden ist. Ihre Mutter stammte aus Balgo und ihr Vater aus Nyirripi, einer weiteren abgelegenen Aborigine-Gemeinde, etwa 1500 v. 660 km nordöstlich von Balgo. Sara lebte bei ihren Eltern in Balgo, bis ihre Mutter starb, als sie dreizehn Jahre alt war. Ihr Vater, Evan Jungarrayi Sims, zog zurück nach Nyirripi, wo Saras Großmutter, Bessie Nakamarra Sims (1931-2012), sie großzog. Sarah begann ihre Schulausbildung in Balgo und beendete sie in Nyirripi. Nachdem sie die Schule verlassen hatte, reiste sie und besuchte ihre Familie in Kintore und Balgo, bevor sie nach Nyirripi zurückkehrte, wo sie jetzt lebt. Sie ist eine alleinerziehende Mutter und hat einen Sohn, der 2010 geboren wurde. Sarah begann 2013 bei der Warlukurlangu Artists Aboriginal Corporation zu malen, einem von Aborigines geführten Kunstzentrum in Yuendumu. Das Kunstzentrum besucht Nyirripi regelmäßig, um Leinwand, Farbe und Pinsel für die Künstler abzugeben und fertige Kunstwerke abzuholen. Sie malt das Jukurrpa ihrer Großmutter, Geschichten über eine Frauenzeremonie in der Nähe von Pikilyi (Vaughan Springs). „ Ich schaue meiner Großmutter beim Malen zu und höre mir ihre Geschichten an .“ Diese Geschichten werden seit Jahrtausenden von Generation zu Generation weitergegeben und beziehen sich direkt auf das Land, seine Besonderheiten sowie die Pflanzen und Tiere, die es bewohnen. Sara findet das Malen entspannend und nutzt eine uneingeschränkte Palette, um eine moderne Interpretation ihrer traditionellen Kultur zu entwickeln. Wenn Sarah nicht gerade malt, genießt sie ihr Zuhause und ist stolz darauf, ein sauberes Zuhause zu schaffen, das sie mit Familie und Freunden teilen kann, besonders wenn sie fernsieht. Am Wochenende geht sie manchmal mit ihrer Familie auf die Jagd.

Details Ouvrages d'art Artiste Centre d'art Authenticité Encadrement Details Artiste autochtone - Maralyn Stanley Inawinytji Communauté - Ernabella Centre d'art aborigène - Iwiri Arts Numéro de catalogue - 24-62 Matériaux - Peinture acrylique sur lin Taille (cm) - H102 W75 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 C'est l'histoire de la sœur aînée qui parcourt un long chemin pour retrouver sa sœur cadette et la ramener. Ils ont traversé de nombreux endroits en cours de route, mais je ne parlerai que d'une courte partie de leur voyage à Wingellina. Deux femmes qui sont toutes deux venues d'en haut et sont restées un certain temps. Ils pouvaient tous deux voir que Docker River était proche. Et pendant qu'ils étaient assis là, ils ont célébré une cérémonie, en fait. Après, ils ont tous deux jeté leurs armes, ils les ont jetées. Leurs anneaux de tête, ils les ont jetés. Puis ils se sont levés et sont partis. Ils se rendirent à un autre endroit, un creux appelé Kantarangkutjara, puis ils se dirigèrent vers la rivière Docker. L'histoire de leurs voyages après Docker River appartient aux habitants de Docker River et à d'autres personnes vivant dans des pays lointains. Ma partie de l'histoire est courte. Artiste Maralyn Stanley est née à Ernabella en 1967 de Nungalka et Stanley de Young's Well. Elle est la sœur cadette de Renita et fait partie d'une famille forte tant dans le domaine juridique que dans le centre d'art. Maralyn a commencé à travailler au centre d'art dans les années 1990 et a participé à plusieurs expositions collectives et ateliers entre 1996 et 1998. Elle a ensuite quitté la communauté pour vivre à Alice Springs et, après une longue absence, est revenue à Ernabella en 2008 et est immédiatement devenue une très participant actif au studio de céramique récemment relancé. Centre d'art Iwiṟi a été créée par Aṉangu en 2018, dont beaucoup ont été contraints de déménager à Adélaïde en raison de problèmes de santé chroniques et du manque de services dans leur communauté d'origine. Vivant loin de leur pays d'origine traditionnel, les Anangu étaient préoccupés par l'isolement culturel et social qu'ils subissaient et voyaient la nécessité d'agir. Iwi r i a été initialement créé pour aider à conserver, promouvoir et transmettre la culture et la langue Anangu à travers les domaines des arts, de la langue, de la connaissance et de la communauté. Depuis lors, Iwiṟi s'est rapidement développée pour devenir une organisation qui propose une gamme de programmes visant à renforcer et à faire progresser le bien-être des Aṉangu. Iwi r i renforce la communauté Aṉangu à travers des activités culturelles et artistiques, créant des opportunités d'emploi et le développement d'entreprises. Nous voulons que nos jeunes soient forts dans leur langue et leur culture et qu'ils saisissent les opportunités de travailler dans notre communauté. 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 désert étirées , sont envoyées roulées. L'envoi de peintures roulées est la meilleure option pour leur arrivée en toute sécurité et nous permet d'inclure la livraison gratuite, de fournir un service en temps opportun et de maintenir des prix cohérents et transparents par rapport aux prix fixés par chaque centre d'art aborigène. La taille du tableau indiqué se rapporte à la surface peinte. Il y a aussi un bord peint (2 cm) et une toile supplémentaire pour l'étirement. Un encadreur local étendra facilement le travail pour vous à un coût minime. Les encadreurs sont partout et il y en a probablement un juste au bout de la rue. Nous vous recommandons d'en choisir un avec de bonnes critiques et si vous appelez à l'avance, vous obtiendrez généralement un meilleur prix que si vous vous présentez, peinture à la main. Veuillez trouver plus de détails et des exemples relatifs au cadrage ici : https://artark.com.au/pages/how-to-frame-your-aboriginal-art

Details Kunstwerk Künstler Details Künstlerin - Agnes Nampijinpa Brown Gemeinschaft - Nyirripi Kunstzentrum/Gemeinschaftsorganisation – Warlukurlangu Artists Aboriginal Corporation Katalognummer – 63/18ny Materialien - Acryl auf Leinwand Größe (cm) – H61 B46 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 Der in diesem Gemälde dargestellte Ort ist Puyurru, westlich von Yuendumu. In den normalerweise trockenen Bachbetten befinden sich „Mulju“ (Einschwemmungen) oder natürlich vorkommende Brunnen. Die „Kirda“ (Eigentümer) dieser Website sind Nangala/Nampijinpa-Frauen und Jangala/Jampijinpa-Männer. Zwei Jangala-Männer, Regenmacher, sangen den Regen und lösten einen riesigen Sturm aus. Der Sturm zog von Osten nach Westen durch das Land und zog zunächst mit einem „Pamapardu Jukurrpa“ (träumende Termite) von Warntungurru nach Warlura, einem Wasserloch 8 Meilen östlich von Yuendumu. Bei Warlura blies ein Gecko namens Yumariyumari den Sturm auf Lapurrukurra und Wilpiri weiter. Blitze schossen in Wirnpa (auch Mardinymardinypa genannt) und Kanaralji. An dieser Stelle enthält der Dreaming-Track auch das „Kurdukurdu mangkurdu Jukurrpa“ (träumende Kinder der Wolken). Die Wasserträumerin baute Hügel in Ngamangama aus Babywolken und steckte auch in Jukajuka lange, spitze Wolken in den Boden, wo sie noch heute als Felsformationen zu sehen sind. Künstler „Ich male gerne die Motive meines Landes, sie sind farbenfroh und erhebend und lassen mich an meinen Vater denken. Er erzählte mir immer seine Geschichten, als ich ein kleines Mädchen war.“ Agnes Nampijinpa Brown wurde 1973 in Nyirripi geboren, einer abgelegenen Aborigine-Gemeinde etwa 450 km nordwestlich von Alice Springs im Nordosten Australiens. Sie lebt zwischen Nyirripi und Yuendumu, einer Aborigine-Gemeinde, die 160 km südöstlich von Nyirripi liegt. Ihre Eltern sind beide verstorben. Agnes besuchte die Yuendumu-Schule und schloss die 12. Klasse ab. Anschließend kehrte sie nach Nyirripi zurück, wo sie im Laden arbeitete. Agnes hörte mit ihrer Heirat auf zu arbeiten. Sie hat zwei Töchter und einen Sohn. Sie ist auch Großmutter und hat zwei Enkelkinder, einen Jungen und ein Mädchen. Sie arbeitet jetzt für das Altenpflegeprogramm in Nyirripi. Agnes arbeitet seit 2007 mit der Warlukurlangu Artists Aboriginal Corporation zusammen, einem von Aborigines geführten Kunstzentrum in Yuendumu. Sie malt die Jukurrpa-Geschichten ihres Vaters, das Yankirri Jukurrpa (Emu Dreaming) und das Pamapardu Jukurrpa (Flying Ant Dreaming), die einen direkten Bezug haben in das Land ihres Vaters um Mikanji, westlich von Yuendumu und Walungurru südwestlich von Nyirripi. Diese Geschichten wurden über Jahrtausende hinweg über Generationen hinweg weitergegeben. Agnes lebt mit ihrer Familie und liebt das Malen.

L'artigianato indigeno australiano sposa la plastica riciclata. Il risultato è vera e propria arte: lampadari coloratissimi che hanno meritato di essere esposti presso la National Gallery of Victoria in Australia

As an exhibition of work by "accidental artists" opens in London, Izabella Scott goes in search of naive art from around the world.

Aboriginal artist Loongkoonan is proving that age is just a number by creating award-winning art well into her 100s.