Ningura Napurrula Painting, ‘Untitled’, 910 x 610 mm, Acrylic on linen, Cat No: PALYA-0535HR.

Ningura Napurrula Painting, ‘Untitled’, 910 x 610 mm, Acrylic on linen, Cat No: PALYA-0535HR.

Artist: Ningura Napurrula
Area: Papunya Tula Artists
Artwork is: Painting
Title: Untitled
Date: Purchased July 2000
Medium: Acrylic on linen
Size: 910 x 610 mm
Papunya Tula Artists Cat No: NN200006134
Palya Art Cat No: PALYA-0535HR

这幅画描述了与妇女仪式有关的图案,画作中的圆饼状的图案象征着岩石洞与露营地,而“U”形则象征着女性。画作描绘了妇女们聚集现场表演舞蹈和演唱与该地区有关的歌曲。他们收集了被称作为“Kampurrrpa”,大约可以理解为沙漠葡萄干的可食用浆果专门供庆典来客食用。1995年,Ningura第一次的画出了自己的作品,在当时,女性艺术家算是少数。在1998年,同样作为画家的丈夫去世之后,她的画作出产率急剧增加,她大胆的,错综复杂的线纹和浓密的单色填充。这不禁让人联想起了她丈夫早期的画作作品。现在,Ningura的儿子们Morris Gibson Tjapaltjarri和Adam Gibbs Tjapaltjarri,同样作为画家的他们,现在各自在他们的画作中继承了他们的父亲和母亲的作品风格。


This painting depicts designs associated with Womens’ Ceremonies at the rockhole and soakage water site of Ngaminya, just to the south-west of the Kiwirrkura Community. The roundels are rockholes and camp sites and the ‘U’ shapes are women. The women have gathered at the site to perform the dances and sing the songs associated with the area. They also gathered the edible berries known as kampurarrpa or desert raisin from the small shrub Solanum centrale. Source: Papunya Tula Artists.

Biography – Ningura Napurrula was a young woman in her mid-twenties when she took her first journey out of the Gibson Desert in 1962 to Papunya with the Northern Territory Welfare Branch patrol. After their son received medical treatment at Papunya, Napurrula and her husband Yala Yala Gibbs Tjungurrayi were transported by another patrol back to their own country, close to the present day site of Kiwirrkura. The following year, Napurrula and Tjungurrayi walked back to Papunya with their whole family group as part of a general migration of Pintupi people from their country.

Yala Yala Gibbs Tjungurrayi became one of the founders of Papunya Tula Artists in the early 1970s, and one of the exponents of the classic Tingari painting style that dominated Pintupi men’s painting until the early 1990s. In the 1980s, the family moved back to the newly established Pintupi township of Walungurru (Kintore), then to Muntarti outstation in Western Australia, before returning to Walungurru. Here, Napurrula and Tjungurrayi’s other two wives began assisting Tjungurrayi in infilling the backgrounds of his canvases with the meticulous, precisely placed dots that characterised the Tingari style. Napurrula first painted in her own right in 1995, in the second year of the Haasts Bluff/Kintore women’s painting project. Following Tjungurrayi’s death in 1998, her painting activity increased dramatically. Her bold, intricate linework and dense monochrome infilling – as seen in Untitled (Wirrulnga), 2000 – are reminiscent of Tjungurrayi’s earliest works. Wirrulnga is an important women’s rockhole site east of Kiwirrkura. Napurrula’s work is strongly charged with the seriousness of women’s business, echoed in the distinctive paintings of fellow Papunya Tula Artists, Makinti Napanangka and Inyuwa Nampitjinpa. Napurrula and Tjungurrayi’s sons, Morris Gibson Tjapaltjarri (Mawitji) and Adam Gibbs Tjapaltjarri, now carry on their mother’s and father’s work in their own paintings.

Vivien Johnson in ‘Tradition today: Indigenous art in Australia’, Art Gallery of New South Wales, Sydney, 2014


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