contemporary art world. Typically large meandering canvases tell of complex, yet fundamental, stories of ownership and land rights fused with whimsical stories of creation handed from generation to generation.R E D O T F I N E A R T G A L L E R Y in collaboration with Ernabella Arts (Inc.) The Spinifex artists continue to paint traditional stories and document kinship responsibilities and these works have become widely knownpresents in the fine art world as some of the most important modern contemporary Indigenous art pieces being produced today. This growing reputation is also gaining international acclaim and the works are now housed within major art and museum collections both in Australia and overseas, with recent acquisitions by the British Museum making headlines and a major show in Germany in 2013. This exhibition showcasing works by old master such as Fred Grant, Ned Grant, Roy Underwood, Estelle Hogan, Tjaruwa Woods and Lawrence Pennington, to mention but a few, opens on Wednesday, 14th May and runs till Saturday, 21st June 2014 and it is a must-see for anyone interested in following the development of modern contemporary Indigenous art, from one of the Aboriginal art movements most remote, refreshing and innovative art centres.
Ngura Kutjupa,Tjukurpa Kutju/ Different Country, One Story
Giorgio Pilla Director ReDot Fine Art Gallery
19 th November 2014 - 31 st January 2015
For a high resolution, downloadable, PDF version of the this catalogue, with pricing, please send us an email to info@redotgallery.com Thank you.
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Ngura Kutjupa,Tjukurpa Kutju/Different Country, One Story The ReDot Fine Art Gallery proudly invites you to an exhibition of exceptional 3D works from two of Australia’s foremost Aboriginal owned art centres: Ernabella Arts (Inc.) and YarrenytyArltere Artists, in what will represent the first ever showing of ceramic and soft sculptural works in Singapore We will be hosting this dual exhibition, showcasing the sublime talents of the ceramic artists of Ernabella alongside the quirky and iconic soft sculptures of the artists of Yarrenyty-Arltere. The show bears a well deserved double title, We Just Keep on Travelling Further and Ngura Kutjupa,Tjukurpa Kutju/Different Country, One Story. Ceramic works for this unique show were created here in Singapore by three Indigenous artists from Ernabella Arts during their October residency at the Dragon Kiln Studios in Thow Kwang. Our exhibition will coincide and be part of the Awaken the Dragon festival which begins nationally on the 17th of November. The very first exhibition of pottery from Ernabella Arts were works made in Adelaide, at the JamFactory. After six or so years of working with the JamFactory, Ernabella was able to set up their own studio, by converting an old screen-printing room in 2003. Since then their practice of ceramic making has gone from strength to strength culminating in a widely acclaimed residency in China in 2013. That is the year when two Ernabella artists travelled to Jingdezhen, yielding several award winning creations and further cementing the reputation of this deeply rooted community of the central Australian desert. Yarrenyty-Arltere Artists is part of the Yarrenyty-Arltere Learning Centre (YALC), a family resource and learning facility located at Larapinta Valley Town Camp in Alice Springs. The centre aims to improve the social, health, environmental and economic well-being of the community in a way that strengthens and respects culture. YALC was initiated by the community in 2000 to respond to the very serious social problems being faced by families. The art centre has become an integral part of the centre producing some of the most highly sought after and beautifully created soft sculptures, made from recycled woolen blankets and other materials. The work is strongly underpinned by Yarrenyty-Arltere artists’ own culture, that of people living in town camps for a number of generations. It speaks of country, local flora and fauna, family, cattle station and town camp life
Aerial View of Ernabella Source: © Ernabella Arts (Inc.)
whilst also becoming highly collectible. The works are sweeping multiple national art prizes as collectors and national institutions battle to acquire these whimsical delights. The dual exhibition begins on Wednesday, 19th November and runs until Saturday, 31st January 2015. It is a must-see for anyone interested in following the recent developments of 3D Art in Australia. The show will be attended by Ms. Sophie Wallace, Art Coordinator for YarrenytyArltere artists, who will provide insight into the works and life of the town-based artists community.
Giorgio Pilla Director ReDot Fine Art Gallery
Various Ernabella Artists (COLLABORATIVE)
Kalaya Ngura (Emu Story) Stoneware with Sgraffito 28.5 H x 17 Ø cm 347Ca_b-14
This pot was decorated by Tjutjuna and his wife Tjimpuna. It depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Alison (Milyika) Carroll at the Dragon Kiln Workshop Source: Š Ernabella Arts (Inc.)
Alison (Milyika) CARROLL
Birth Date Birth Place Language Community
04 March 1958 Pukatja Community, APY Lands Pitjantjatjara,Yankunytjatjara Pukatja, SA
Milyika Carroll is the Director of Ananguku Arts and on the board of Ernabella Arts. In this capacity, she represents the APY Art Centres on a national and international stage, and is often called upon to speak publicly, at national public institutions and with state and federal parliamentarians. Born in 1958 in the community which was known as Ernabella Mission, Milyika continues to live and work in the same place which is now known as Pukatja Community. She has five children, three grandchildren and is a trained health worker. Her artwork reflects her identity as a contemporary and senior Pitjantjatjara/Yankunytjatjara woman. She was Anangu Mayatja (Manager) at Ernabella Arts from 2004 - 2007 and Chairperson of Ernabella Arts from 2007 - 2010. From 2004 - 2006, Milyika was Chairperson of Ananguku Arts and Culture Aboriginal Corporation (Ku Arts) and is currently the Director of that organisation, overseeing its expansion from the APY Lands to a state based organisation. Milyika’s husband Pepai Carroll is a former community policeman who joined the art centre on retiring. He is the current Anangu Mayatja of Ernabella Arts. Both the Carrolls are on the governing council of Ernabella Anangu School. They are strong leaders and excellent spokespeople for APY artists. Milyika is regularly called on to speak at the opening of exhibitions at public institutions. As well as being a public leader, Milyika is a respected artist working across multiple mediums. Her batik and ceramics are held in public collections, nationally and internationally. In 2010, she was awarded an Australia Council grant to undertake a residency within the Ceramics Department at ANU. The resulting work was exhibited in Canberra and collected by the National Museum of Australia and the Art Gallery of South Australia. Milyika is also a well-known singer and member of Ernabella Choir. She appeared in the 2011 ABC TV documentaries ‘No Ordinary Mission’ and ‘Nothing Rhymes With Ngapartji.’
Collections Araluen Centre Collection, 2008 Art Gallery Of South Australia, 1996 Art Gallery Of South Australia, 2011 British Museum, 2001 National Gallery Of Australia, 2004 National Gallery Of Australia, 2009 National Gallery Of Victoria, 1995 National Museum Of Australia, 2011 Powerhouse Museum, Sydney, 1995 Queensland Art Gallery, 1996 South Australian Touring Exhibitions Program, 1997 Wollongong University Collection, 1998 Shepparton Art Museum, 2014
Awards 2014 Indigenous Ceramic Art Award, Second Prize, acquisitive 2010 Australia Council for the Arts, Skills and Arts Development Grant
Group Exhibitions 2014 Ngura Kutjupa,Tjukurpa Kutju/Different Country, One Story - ReDot Fine Art Gallery, Singapore 2014 2014 Indigenous Ceramic Art Award - Shepparton Art Museum, Shepparton,VIC Tjungu Warkarintja: Fifteen Years - Sabbia Gallery, Paddington, NSW 2013 Putitja (From the Bush) - Strathnairn Arts, Canberra, ACT 2012 Tjamuku Kamiku Tjukurpa - Outstation Gallery, Darwin, NT Ngapartji Ngapartji - Canberra Playhouse Theatre, Canberra, ACT Ngayuku Ngura, Ngayuku Tjukurpa - SA Museum, Adelaide, SA 2011 Ngura Kutju,Tjukurpa Pulkatjara - Short St Gallery, Broome, WA Ngura Kutjara - Wangka M antanguru - Strathnairn Gallery, Canberra, ACT Strong Women Strong Painting Strong Culture - Cessnock Regional Art Gallery, Hunter Valley, NSW Ernabella Undiscovered - Tunbridge Gallery, Margaret River, WA
2011 2010 2009 2008
2007
2006 2003 2001 1999 1998 1997
1996 1995 1994
1990
Continuum (SALA) - Marshall Arts, Adelaide, SA Mark Making - Sabbia Gallery, Paddington, NSW Tjukurpa Nyangatja Ngananala Unngu Ngaranyi - Aboriginal and Pacific Art, Sydney, NSW Ara Irititja Munu Ara Kuwaritja Ernabella-La - Alcaston Gallery, Melbourne,VIC Ngayuku Ngura (My Country) - Jam Factory, Adelaide, SA Ernabella Ceramics - Birrung Gallery, Sydney, NSW (Ceramics Triennial) Desert Mob - Araluen Centre, Alice Springs, NT Nganampa Tjukurpa: Our Stories - Indigenart (Mossenson Galleries), Perth, WA Across the Desert: Aboriginal Batik from Central Australia - National Gallery of Victoria, Melbourne,VIC Desert Mob - Araluen Cultural Precinct, Alice Springs, NT Our Mob - Adelaide Festival Centre, Adelaide, SA (then touring regional SA through Country Arts SA) Kiti Art - New Batik from Ernabella - Fabric of Life (Fringe Festival), Adelaide, SA Nganampa Warka Wiru (Our Work Is Beautiful) - Cudgegong Gallery, Gulgong, NSW Divas of the Desert - Gallery Gondwana, Alice Springs, NT Alice Springs Beanie Festival - Araluen Cultural Precinct, Alice Springs, NT Ernabella – A Collection of New Works - Australia Dreaming Art, Melbourne,VIC Fabric of Life - Adelaide, SA Homeland/Heartland - JamFactory, Adelaide, SA Jam Factory, Adelaide, SA Hogarth Gallery, Sydney, NSW Edinburgh City Art Gallery, Edinburgh British Museum, London Contemporary Australian Craft - Hokkaido Museum of Modern Art, Shiga, Japan Threefold; an exhibition in three parts for shift - Canberra School of Art, Canberra, ACT Mil Arte Gallery, London Superb munu Deadly - Jam Factory Craft and Design Centre, Adelaide, SA Women’s Work, Land and Spirit - WAPECC 1997-1999, travelling Australia Dreamings of the Desert - Art Gallery of South Australia Objects from the Dreaming - Art Gallery of South Australia, Adelaide, SA Great Lengths - Araluen Centre for Art and Entertainment, Alice Springs, NT KOLOA, WAPEC - Beijing and travelling Irene Sutton Galleries - Melbourne,VIC Peter Ballas Gallery - Brisbane, QLD Ernabellaku:Tjukurpa Wiru, Nganampa Tjukurpa - Museum National, Jakarta, Indonesia Ernabella Batik - The Dreamtime Gallery, Alice Springs, NT
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 74 H x 17 Ø cm 279C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 30 H x 19 Ø cm 323C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 28 H x 25 Ø cm 298C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 25 H x 22.5 Ø cm 299C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 29 H x 12 Ø cm 303C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 31 H x 11 Ø cm 304C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 31 H x 13.5 Ø cm 305C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 31.5 H x 13 Ø cm 325C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 5.5 H x 35.5 Ø cm 326C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 20.5 H x 20.5 Ø cm 321C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 25 H x 10.5 Ø cm 324C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 16.5 H x 17 Ø cm 301C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 20 H x 12.5 Ø cm 300C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 21.5 H x 14.5 Ø cm 322C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 14 H x 14.5 Ø cm 302C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Alison (Milyika) CARROLL
Ngayuku Walka Stoneware with Sgraffito 13 H x 13.5 Ø cm 316C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Andy Tjutjuna at the Dragon Kiln Workshop Source: Š Ernabella Arts (Inc.)
Andy TJUTJUNA
Birth Date Birth Place Language Community
30 December 1964 Kaltjiti Community, APY Lands Pitjantjatjara Pukatja, SA
Tjutjuna first came to Ernabella Arts in 2011, for the inaugural Wati Workshop in the Ceramics Studio. For many years Tjutjuna has worked for APY as the Mining Liason Officer. His father, Andy Tjilari, is a well known ngangkari who has worked for NPY Women’s Council for a long time. His wife, Tjimpuna Williams, is one of Ernabella’s most famous ceramic artists and together they will be undertaking a ceramic residency in Singapore in late 2014. Tjutjuna’s mother’s and grandmother’s country is near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. This is the story which Tjutjuna tells in his work.
Collections Araluen Arts Centre, 2013
Group Exhibitions 2014 Ngura Kutjupa,Tjukurpa Kutju/Different Country, One Story - ReDot Fine Art Gallery, Singapore 2014 Tjulpirpa wiya - Clay! - RAFT Artspace, Alice Springs, NT Desert Mob 2014 - Araluen Art Centre, Alice Springs, NT 2013 Desert Mob 2013 - Araluen Art Centre, Alice Springs, NT Ernabella Men, New Ceramics - RAFT Artspace, Alice Springs, NT Putitja: From the Bush - Strathnairn Arts, Canberra, ACT 2011 Nganana Ngura-ku Ninti, Nganana Ngura Kanyini (We Know Our Land, We Keep Our Land) - RAFT Artspace, Alice Springs, NT
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 50 H x 22.5 D x 31.5 W cm 327C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 44.5 H x 18 Ø cm 284C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 58 H x 14.5 Ø cm 317C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story Stoneware with Sgraffito 4.7 H x 33 Ø cm 336C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 24 H x 22 Ø cm 309C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 31.5 H x 12.5 Ø cm 329C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 31.5 H x 12 Ø cm 331C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 21 H x 21 Ø cm 334C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 28 H x 12.5 Ø cm 333C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 22 H x 18.5 Ø cm 332C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 23 H x 11 Ø cm 328C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 22 H x 14 Ø cm 335C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 18 H x 15.5 Ø cm 330C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 21.5 H x 13.5 Ø cm 306C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 21 H x 12 Ø cm 307C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Andy TJUTJUNA
Kalaya Tjukurpa (Emu Story) Stoneware with Sgraffito 18 H x 12.5 Ø cm 308C-14
This pot depicts Tjutjuna’s mother’s and grandmother’s country near Kanpi in the Western APY Lands. It is the country of the emu, meaning the emu or kalaya is the creation being that formed that part of the country. The Kalaya travelled from Kanpi to Watarru.
Tjimpuna Williams at the Dragon Kiln Workshop Source: Š Ernabella Arts (Inc.)
Tjimpuna WILLIAMS
Birth Date Birth Place Language Community
21 June 976 Pukatja Community, APY Lands Pitjantjatjara Pukatja, SA
Tjimpuna has experimented with 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 is employed part time at the Art Centre, her job involves teaching ceramics to the Senior Girls Class at Ernabella Anangu School. Tjimpuna and Derek Thompson were awarded a New Work grant by the Australia Council for the Arts and in 2013 undertook a big pot workshop in Jingdezhen, China. This work was exhibited in 2014 at Sydney’s prestigious Sabbia Gallery.
Collections National Museum of Australia, 2005 Australian National Gallery, 1986 Museum of Ethnology, Osaka, Japan, 1985 Queensland Art Gallery, 1994
Awards 2013 New Work Grant, ATSIAB, Australia Council for the Arts
Group Exhibitions 2014 Ngura Kutjupa,Tjukurpa Kutju/Different Country, One Story - ReDot Fine Art Gallery, Singapore 2014 Ngayuku Ngura, Ngayuku Tjukurpa - South Australian Museum, Adelaide, SA 2012 Ngayuku Ngura, Ngayuku Tjukurpa - South Australian Museum, Adelaide, SA Indigenous Ceramic Art Award - Shepparton Art Museum, Shepparton,VIC Kapi Ukalinganyi - Aboriginal and Pacific Art Gallery, Sydney, NSW 2011 Ngura Kutjara - Wangka Mantanguru - Strathnairn Gallery, Strathnairn, ACT Pottery and Painting - Kerri Lowe Gallery, Newtown, NSW Tjukurpa Nyangatja Ngananala Unngu Ngaranyi - South Australian Museum, Adelaide, SA 2009 Desert Mob - Araluen Arts Centre, Alice Springs, NT 2008 From the Earth - JamFactory Contemporary Craft and Design, Adelaide, SA Desert Mob - Araluen Cultural Centre, Alice Springs, NT Nganampa Warka Wiru: Our Work Is Beautiful - Cudgegong Gallery, Gulgong, NSW 2007 Desert Mob - Araluen Cultural Centre, Alice Springs, NT Desert Diversity - Flinders Lane Gallery, Melbourne,VIC Ernabella – A Collection of New Works - Australia Dreaming Art, Melbourne,VIC Indigenous Ceramic Award - Shepparton Art Gallery, Shepparton,VIC Australian Contemporary – New works from Ernabella, Hermannsburg and Tiwi Islands - SOFA, Chicago, USA 2006 Two Countries: Desert and Sea - Fox Galleries, Brisbane, QLD Homeland Heartland - JamFactory Contemporary Craft and Design, Adelaide, SA 2005 Itjani (Fresh like flowers after rain) - JamFactory Contemporary Craft and Design, Adelaide, SA 2003 Colours - JamFactory Contemporary Craft and Design, Adelaide, SA 1999 Hidden Horizons - Desart Show for the Fringe Festival, Tandanya, Adelaide, SA 1997 CAAACE - Araluen Centre for Art and Entertainment, Alice Springs, NT Ernabella Walka (Ernabella Design) - Mutijulu Cultural Centre, Uluru-Kata Tjuta National Park, NT 1996 CAAACE - Araluen Centre for Art and Entertainment, Alice Springs, NT
Tjimpuna WILLIAMS
Tali (Sand Dunes) Stoneware with Sgraffito 76 H x 18 Ă˜ cm 280C-14
This work is inspired by the red sand dunes that are found throughout the central desert. There is a large, red sand dune near Ernabella named Womikata which is a popular place for looking for maku (witchetty grubs) and also for teaching Milpatjunanyi (telling stories in the sand) to children.
Tjimpuna WILLIAMS
Piltati Stoneware with Sgraffito 56.5 H x 15.5 Ø cm 314C-14
There were two sisters who married two brothers and they all lived together. One day the women went wandering and they went such a long way that they forgot about their husbands. Back at the camp, the two husbands were thinking, ‘Where are our wives?’ and they decided to go looking for them. One brother said to the other, ‘What should we become to go looking for them?’ and the other brother said ‘Why don’t we become Rainbow Serpents?’ And they travelled in the sky looking down for their wives. Finally they see them hunting for carpet snakes and they put something in the hole where the women were digging. The women find it and then dig another hole and once again the men have put something in there. And this is how the men lure the women back to Piltati where the men make the sisters transform into Wanampi, swallow them and keep them in their throats. All four of them live together in the waterhole and still live there today.
Tjimpuna WILLIAMS
Ngayuku Walka Stoneware with Sgraffito 24.5 H x 11.5 Ø cm 312C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Tjimpuna WILLIAMS
Kapi Tjukula Stoneware with Sgraffito 6.5 H x 38.5 Ă˜ cm 345C-14
Waterholes.
Tjimpuna WILLIAMS
Kapi Tjukula Stoneware with Sgraffito 24.5 H x 21 Ă˜ cm 338C-14
Waterholes.
Tjimpuna WILLIAMS
Tali,Tjanpi, Puli Stoneware with Sgraffito 33.5 H x 14 Ă˜ cm 339C-14
Sand dunes, native grasses, mountains.
Tjimpuna WILLIAMS
Ngayuku Ngura Stoneware with Sgraffito 32 H x 13 Ă˜ cm 341C-14
My Country.
Tjimpuna WILLIAMS
Ngayuku Walka Stoneware with Sgraffito 32.5 H x 11.5 Ø cm 343C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Tjimpuna WILLIAMS
Ngayuku Walka Stoneware with Sgraffito 31 H x 11 Ø cm 344C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Tjimpuna WILLIAMS
Ngayuku Walka Stoneware with Sgraffito 29.5 H x 13.5 Ø cm 346C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Tjimpuna WILLIAMS
Tali (Sand Dunes) Stoneware with Sgraffito 21.5 H x 21 Ă˜ cm 315C-14
This work is inspired by the red sand dunes that are found throughout the central desert. There is a large, red sand dune near Ernabella named Womikata which is a popular place for looking for maku (witchetty grubs) and also for teaching Milpatjunanyi (telling stories in the sand) to children.
Tjimpuna WILLIAMS
Ngayuku Walka Stoneware with Sgraffito 21.5 H x 22.5 Ø cm 313C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Tjimpuna WILLIAMS
Ngayuku Ngura Stoneware with Sgraffito 26 H x 15.5 Ă˜ cm 318C-14
This is a depiction of the artist’s country. The different colours and designs represent variations in the landscape.
Tjimpuna WILLIAMS
Piltati Stoneware with Sgraffito 27 H x 14.5 Ø cm 340C-14
There were two sisters who married two brothers and they all lived together. One day the women went wandering and they went such a long way that they forgot about their husbands. Back at the camp, the two husbands were thinking, ’Where are our wives?’ and they decided to go looking for them. One brother said to the other, ’What should we become to go looking for them?’ and the other brother said ’Why don’t we become Rainbow Serpents?’ And they travelled in the sky looking down for their wives. Finally they see them hunting for carpet snakes and they put something in the hole where the women were digging. The women find it and then dig another hole and once again the men have put something in there. And this is how the men lure the women back to Piltati where the men make the sisters transform into Wanampi, swallow them and keep them in their throats. All four of them live together in the waterhole and still live there today.
Tjimpuna WILLIAMS
Kapi Tjukula Stoneware with Sgraffito 18 H x 17.5 Ă˜ cm 337C-14
Waterholes.
Tjimpuna WILLIAMS
Ngayuku Walka Stoneware with Sgraffito 22.5 H x 12 Ø cm 311C-14
Ngayuku Walka translates as ’my mark’ and artists use this to describe artworks which are pattern based rather than descriptive or story based.
Tjimpuna WILLIAMS
Tali Munu Puli Stoneware with Sgraffito 14.5 H x 16.5 Ă˜ cm 342C-14
Sand dunes and mountains.
Tjimpuna WILLIAMS
Tjanpi (Native Grasses) Stoneware with Sgraffito 12 H x 14.5 Ă˜ cm 310C-14
The many varities of grasses which grow locally in the Musgrave ranges had many different uses specific to their variety in traditional Anangu Pitjantjatjara life. They define different kinds of country, being suited to varied conditions of soil. Today some varieties are used by women to make baskets and large sculptural pieces. Women favour the sweet-smelling Intjianyu which was once used as medicine for respiratory problems and grows long and flexible at the base of hills.
Ernabella Artists at the Dragon Kiln Workshop
Source: Š Ernabella Arts (Inc.)
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