Defining Tradition | black & white

We are delighted to present our third exhibition in the 'defining tradition' exhibition series. In this show, we are celebrating the trailblazing artists who moved away from colour and pursued a more minimalistic style. Inspired by ancient Dreamings and the Australian landscape, their works are restrained in colour palette, yet remarkably powerful with exceptional compositional designs.


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On display are the great trailblazers such as Dorothy Napangardi and Lily Kely Napangardi. Dorothy’s early years at Mina Mina (where she lived a traditional bush life), along with the sacred Dreaming stories that inhabit the land, are the inspiration and subject of her work. 

Dorothy’s early artistic endeavours consisted on subject matter such as Bush Plum and Bush Banana – wild fruits that grow in abundance around Mina Mina – depicted in vibrant acrylic tones. Even at this stage, her superb sense of composition was evident. When Dorothy had the opportunity to return to Mina Mina in the mid 2000s*, she had the opportunity to be inspired by the landscape, and  her work developed towards a previously unseen abstracted method of Aboriginal art – all iconography pared back to the barest essentials. Just as Dorothy’s visual effects are subtle and intriguing, so too are their connection to culture and country.

The Australian art world instantly took note of this trailblazer. In 2002 her major solo exhibition (and the first solo exhibition for an Indigenous Australian artist) opened to considerable acclaim at Sydney's Museum of Contemporary Art, and later toured Asia. In 2012 she became the first indigenous Australian artist to have work accepted by Art Cologne, and in the same year her work was displayed in Ancestral Modern, an exhibition at the Seattle Art Museum. Since Dorothy’s passing, the New York MET has acquired one of her pieces, and there has been a retrospective exhibition at the Seatle Art Museum.

Also on display are the gestural artists such as Charmaine Pwerle. Daughter of Barbara Weir and granddaughter of Minnie Pwerle, Charmaine hails from one of Aboriginal art’s great painting dynasties. Whilst it is tempting to look at Charmaine's artworks in light of her famous relatives, her art demands attention in its own right.

It makes its own statements.

Charmaine’s subject matter draws on stories passed down for generations, but approaches it in a wholly different fashion than her grandmother to whom she is so often compared.

Defining Tradition | black + white also showcases artists who employ exceptionally fine dot work and complex designs, such as Anna Price Petyarre and Dulcie Long Pula.

Like their forebears from Utopia, Anna and Dulcie continue to astound the art world with their distinct and rich artworks, in recent years both having branched out and pursued a more minimalistic style. Exhibiting a restrained colour palette, their works demonstrate an exceptionally fine attention to detail, highlighted by complex designs and fascinating insights into the deep underlying cultural meaning associated with their artworks.

We also present pieces in this exhibition by Clifford Possum and Helen McCarthy Tyalmuty, who have used a black and white colour palette to present stories that are of a more ominous, sombre tone. Follow the links below to find out more about these artwork stories:


Click here to read the story of Awurrapun

 


Click here to read the story of The Tjangala Brothers

 

Click here to read our recent blog piece: Understanding Colour 

We look forward to seeing you in the gallery soon to see this incredible display of works!

* Mina Mina is now uninhabited desert country west of Nyirripi,  since the Warlpiri people’s move into communities Nyirripi and Yeundumu.


 Black & White Art at Home

Love the artworks on display in this exhibition, but are uncertain as to how to incorporate them in to your home or office space? Here is some advice from one of our Senior Art Consultants, Surrey:

The use of black and white Indigenous paintings for contemporary interior spaces create an unquestionably sophisticated and elegant look.  The monochrome allows the viewer to focus on the power of the composition, the ancient narratives behind the designs.

Used in modern interiors these striking artworks are often combined with sleek metals and rich timber surfaces and help create enviable calm, contemporary spaces that feel uncluttered and easy to live in.

Interested in arranging a home trial, digital hang, or using one of our other gallery services? Contact Us and one of our friendly Art Consultants will be able to assist you.

 


Defining Tradition | The Colourists

Welcome to our second exhibition in the ‘defining tradition’ exhibition series. In this show, we’re celebrating the trailblazing artists who pursued an adventurous use of colour. 


article | related videos | exhibition catalogue | online exhibition


  

Our inaugural ‘defining tradition’ exhibition in January, titled ‘the first wave & its disciples’, focused on the genesis of the western desert art movement at Papunya in 1971, when senior men essentially invented a new art form. We presented artists that have remained the faithful disciples of the muted colour palettes and powerful expression of Tjukurrpa (Dreaming) as first set down by those pioneers of western desert art. 

For many visitors to the gallery, the natural ochre pigments on display are what they had considered ‘traditional’ or the quintessential colours of Aboriginal art. Our second exhibition, ‘the colourists’, unveils that in experimenting with acrylics in Papunya in the 1970s, another great tradition was ignited - the use of bright colour.

As we completed hanging ‘the colourists’ exhibition, we couldn’t help but feel that the space was brighter, lighter and felt more uplifting. Our eyes were dancing around the space as we followed the sensuous pinks and reds found in Tommy Watson’s artworks, travelled across the dynamic lines of colour in Judy Watson Napangardi’s work, and felt the raw power in Lorna Fencer’s ‘Warna (Snake)’.

Before we delve deeper and discuss some of the fantastic artworks on display, we need to take a moment and debunk the notion that there’s none of this vibrant colour occurring naturally in the Australian landscape; that these artworks are somehow not an accurate or ‘authentic’ depiction of the Australian landscape. As I leave the urban jungle of Sydney - with its hazy air and restricted colour palette - and head to the ‘red centre’ of Alice Springs, the difference in colour is immense. The clean air, the bright Australian light and sensational contrasting colours sends my colour perception off the scale and everything is more intense. The mineral rich earth and stone also reflects a multitude of colours - making sunrise and sunset an incredibly magical time of the day. Everything does just seem more rich and vibrant in this special part of the world, with many landscape photographers commenting they have rarely seen the intensity of natural colour as found in our own backyard.

And then there is that magical time of the year, when for a few weeks the desert is blanketed with wildflowers. As far as the eye can see, there are vibrant splashes of blue, purple, yellow, along with more subtle pastel hues. It can be argued that many of the artists represented in this show are simply painting with colours they have experienced on Country. For me, this is perfectly typified by Polly Ngale’s gorgeous piece titled ‘Bush Plum’. Polly Ngale belongs to the oldest living generation of Utopia women and is considered one of the most accomplished painters to have worked there during the past twenty years. Polly’s artistic career began in the late 1970s when she, like many of the women in Utopia, began working with silk batik before venturing into works on canvas[1].

Polly Ngale ' Bush Plum' PNGG0024 

Most of Polly Ngale's paintings are centred around the 'Bush Plum'(or Conkerberry tree) and range from extremely fine dotting techniques with either interspersed colours or areas of varying colours and depth all blending together across the canvas. Through extensive over-dotting, she builds up layers of colour, blending or separate, to give a wealth of different and very attractive paint effects.

The Bush Plum - which is central to many of the works of artists’ of the Utopia community - provides an important food source for the Anmatyerre people and is frequently featured in the Women's dreaming stories. The fruits are harvested by shaking the trees until they fall to the ground but the fruits, although already quite sweet, need to be soaked in water to soften and plump them up for eating. The Bush Plum tree flowers in Spring and many of Polly's paintings have a distinctly Springtime air to them - one can readily sense a host of blossoms in her works.

Alternatively, some artists have used an adventurous colour palette to capture the energy or emotion of a site or Tjukurrpa (Dreaming). Lockhart River artist Samantha Hobson has an incredible ability to capture the colour and intensity of a moment and transform its radiant energy into an emotional charge pulsating through the artwork. Her Great Barrier Reef Series captures the jewel like quality of this pristine natural wonder, with bold splashes of paint conjuring those twinkling seconds a wave breaks. Her Series leaves the viewer feeling energised, much like a dip in the fresh saltwater.  Art historian Sally Butler perfectly explains Samantha Hobson’s work as “close to abstract expressionism, but there is always something that keeps it in touch with visible reality. This is because her art is about seeing the world, not a way of imagining it”. 

Samantha Hobson 'Great Barrier Reef Series - Coral Sea Dreaming III' SH20170909 

Another fantastic example of colour being used to express an emotion is Betty Mbitjana’s ‘Awelye’ - in this artwork Betty depicts the designs that the women would paint on their bodies, and the dancing tracks which are made in the sand during the women's awelye ceremony. Betty has chosen an array of bright, bold colours.  For me, this is the happiest artwork of the entire exhibition. If feels as if Betty is expressing the joy and celebration that occurs during the awelye ceremony. Betty’s artworks have a fantastic sense of greeting, and have a very uplifting effect in any area where they hang.

Another interesting item to consider when viewing ‘the colourists’ exhibition is how the artist has applied colour to the canvas. It is well known that the late Kudditji Kngwarreye would sing while he painted, as if to infuse the paint with his songlines and stories of Country. In the case of Judy Watson Napangardi, her brush was loaded with original and vital colour which she shuffled across the canvas, never losing connection between the brush and canvas. Interestingly, it is said that the ancestral women danced across country, and Warlpiri women of today channel their ancestors when they dance in ceremony, shuffling through the sand, never losing connection to Country. The method in which the paint has been applied could also imply a deep, ancient tradition. 

 Judy Watson Napangardi painting

Judy Watson Napangardi was one of the trailblazing artists at Yuendumu, who cemented Warlukurlangu Art Centre’s reputation for their bold use of colour through an unrestricted palette[2]. Another early distinctive feature was the use of very traditional iconography. As explained by Warlukurlangu Art Centre, “the artists painted Jukurrpa (dreaming story), ensuring appropriate Warlpiri relationships of kirda (owners) and kurdugurlu (guardians) were followed and the images reflected the social and cultural obligations present in ceremonies and day-to-day life in the community. The kurawarri, the iconographic elements of a painting that held the story, were painted first and scrutinized by others for their adherence to Jukurrpa. The dotting that filled the canvases was less important, and many artists developed varying styles of application and experimented with different colours while maintaining a consistency in their presentation of kuruwarri”.

Nowadays, the paintings tell the story of the artists’ connection to their country, the features of the landscape, the plants and animals that are found there and the creation story that occurred in the Dreamtime. These stories are still very relevant to the artists today. Artists have their own particular styles or palettes, and constantly experiment and vary their paintings, so the works are constantly evolving.

As I walk through ‘the colourists’ exhibition, I also love how the art captures a sense of the artists personality - none more so than the incomparable Lorna Fencer Napurrula. We have created our own Lorna Fencer Photo Page to give you some insight into the persona of the artist and I think help to put her bold and uncompromising artwork into context.

Whilst many of the trailblazing artists featured in the show are no longer with us, it is heartening to see the next generation taking up the brush. In this exhibition alone we have artworks by the great Minnie Pwerle, her daughters Betty Mbitjana and Barbara Weir, and granddaughter Charmaine Pwerle (Barbara Weir’s daughter).

Coming away from ‘defining tradition | the colourist’ exhibition, I realise that no artist can work in a vacuum. We are all influenced by what we see around us. Painters are influenced by what other painters did before them. The colours we see and use, the effects in nature we try to convey, the things which inspire us and make us want to paint; all these reactions are conditioned by the traditions we respect and the influences and conventions we absorb - many of them unconsciously.

I encourage you all to see this monumental display of artworks and get some colour into your life!

 Related Videos

 



[1] Preceding the expansion of the Papunya Tula movement to communities such as Yuendumu and Balgo Hills in the mid 1980s, Pitjantjatjara women in Ernabella and Anmnatyerr/Alyawarr women at Utopia station celebrated colour in their fluid batiks, before making the transition to canvas in the late 1980’s, when the art world really began to take notice.

[2] In the early 1970s Paddy Japaljarri Stewart was involved in the painting of the mural on the Papunya School wall. In 1983 he and Paddy Japaljarri Sims were instrumental together with other senior men in the painting of the now famous Yuendumu school doors. They went on with other senior leaders including Darby Jampinjnpa Ross, Jack Jakamarra Ross, Samson Japaljarri Martin and senior women including Uni Nampijinpa Martin, Dolly Nampijinpa Daniels, Rosie Nangala Fleming and Maggie Napangardi Watson to found the Warlukurlangu art centre in 1985. It was incorporated in 1986.


A Day in Utopia with Barbara Weir

Earlier this year, we visited the remote community of Utopia (Urapuntja) with renowned artist Barbara Weir. Here, KOG Crew member, Elizabeth Geyer, recalls some of the highlights of the day.

article          |         video


 

Visiting Utopia as a day trip from Alice Springs is not for the faint hearted. Expect to leave Alice Springs well before the sun rises!

With our supplies packed in the troopie the night before, we were ready to pick up renowned artist Barbara Weir and hit the highway, pronto. En route to Barbara’s place, I spread out in the back of the troopie and made myself comfortable – with only four people in a vehicle that can hold up to eleven, I was hoping I could catch up on a few zzz’s I had lost that morning. But as we pulled up to Barbara’s  house that fantasy quickly subsided.

Despite Barbara being in her 70s, she was the most energetic of all of us and quickly instructed us what to load in to the troopie. Barbara had purchased an incredible amount of food for her family who we’d be visiting that day. As the massive drums of food essentials piled in, I realized it was going to be a cosy ride to Utopia. With the back doors squeezed shut, we were ready to start the 300km journey to Utopia.

Our early start was rewarded with a spectacular sunrise. Already well on our way, but hours of driving left, we stopped and enjoyed the sunrise until the sun started to sear the first blades of grass. Then we were on the road again, knowing the day had begun.

For some, the Sandover Highway may just be a very long (560km long to be exact!) dirt track. But the places and people who live along the road are quite extraordinary. And if you’re an art buff, you’ll know the community of Utopia is home to some of Australia’s greatest artists. We took a moment to say farewell to the bitumen road, and embrace the glorious red earth ahead of us.

Mt Skinner cattle station, roughly 200km north-east of Alice Springs, is the first property we passed on the Sandover Highway. Whilst the cattle set against the desert landscape has a visual contradiction for some, they were very healthy and completely content in their surroundings. Utopia station was once a cattle farm too; the land was leased by German settlers in the 1920s that set up a station and homestead – apparently called ‘Utopia’ due to the abundance of wild rabbits. So I assume Mt Skinner Station it is a window of what Utopia once was for a short period of time. In 1979 the Anmatyerre and Alyawarr peoples gained freehold title to the Utopia Pastoral Lease under the Aboriginal Land Rights (Northern Territory) Act 1976. 

Over an hour of travelling on the bumpy dirt road and we reached the stock grid dividing Mt Skinner Station and Utopia Station. My first impression of Utopia was that there were a surprising amount of shrubs, bush grass, even gum trees in certain areas – which suggests a good source of water. Despite visiting at a drier time of the year, we were still able to see a beautiful variation in vegetation, and vibrant bursts of colour from the wild flowers. I can only image the colour punctuating the landscape in spring!

The bitumen greeted us for a few short kilometers while we visited Alparra, one of the 16 outstations and camps spread over approximately 1000 square kilometres of land. Alparra is home to the local store, school and AFL field – which hosted a big game the night before – so Alparra was buzzing as we waited for the local store to open. If you ever visit Alparra, make sure you stop at the local store as it also houses the local ‘trophy cabinet’ for the community – and they’ve won plenty of very impressive trophies!!

As we enjoyed our breakfast and succumbed to the devoted eyes of some of the community dogs – Barbara was already busy catching up with family. We continued on our journey, first stop: Atnwengerrp.

I was very excited to visit Atnwengerrp (pronounced ‘a-noong-a-pa’) as this is the title given to many of Minnie Pwerle and Barbara Weir’s artworks. Kate Owen Gallery also held an exhibition and artist in residence program a couple of years ago titled ‘Atnwengerrp Revisited’ with Barbara Weir, Lizzie Pwerle, Charmaine Pwerle, and Teresa Purla. I had to pinch myself that I was about to be on the Country which is home to (and to which has served as artistic inspiration) for some of Australia’s greatest artists.

It was a delight to pull up in the troopie and see some familiar faces like Lizzie and Teresa, and to be introduced to a whole host of family members. Anmatyerre and Alyawarre language was flowing as everyone caught up.

Teresa took us on a tour of Atnwengerrp outstation – as well as a great artist, Teresa has served on the Board of the Urapuntja Council Aboriginal Corporation for the last 15 years, and she was eager to highlight the improvements that had been made in Atnwengerrp. The Urapuntja Council Aboriginal Corporation is the administrative body responsible for service delivery to the Anmatyerre and Alyawarra speaking people who live on the Angarapa and Alyawarra Land Trusts, covering some 3,230 square kilometers. Teresa is now the vice-chairman of the Urapuntja Council, which is hugely rewarding, but due to her many commitments she has had limited time to devote to her artwork. Teresa showed us some artworks she had been working on in her limited spare time and they are spectacular – make sure you keep an eye on our newest artworks page for when they arrive in the gallery!

Teresa then took us to meet three esteemed elders and legendary artists, Galya, Molly and Emily Pwerle.  Three sisters and matriarchs who witnessed their late sister, Minnie Pwerle, skyrocket to dizzying heights of the contemporary Australian art scene, and now paint in their own right on country – rarely leaving their home for the ‘big smoke’ of Alice Springs.

Despite Galya and Emily being in their 80s, and Molly in her 90s, they walked up unaided to meet us and took great delight when we asked if we could take some photos (Molly LOVES the camera!). What struck me was the pure, unadulterated happiness and openness with which we were met. Despite living in one of the most remote places in Australia, it appeared the sisters’ health, happiness and overall wellbeing surpassed many people their age in Alice Springs, or Sydney for that matter.

After a quick lunch Barbara was ready to hit the road again – she had many other outstations she wanted to visit that day and unlike us, she knew what the road conditions would be like ahead! We waved good bye and continued on to Rocket Range.

At Rocket Range we were able to witness Angelina Ngale painting – on country and surrounded by family. For me, it highlighted the artmaking practice employed by many Indigenous Australian artists, which is in stark contrast to the western notion of the artist secluded in their studio, removed from the distractions of the outside world. For Angelina, creative expression occurred while life continued all around her; siblings sharing stories, children playing, dogs wanting to cuddle up close (sometimes too close and stepping on the canvas, which was met with a ferocious yell from all of the ladies). Art and life are inextricably linked.

We also had a chance meeting with nephew of  ‘the batik man’. Batik is traditionally a women's art form in other countries, and is a method of decorating cloth by applying designs in hot wax to the fabric followed by dyes.

In 1978 the women had learned the art of batik as a means to establish a source of income in preparation for the land claim hearing. The 1978 Utopia Batik Art Program was the first art program in Utopia and participants included Emily Kame Kngwarreye, Lena Pwerle and the Petyarre Sisters: Kathleen, Violet, Gloria, Nancy, Myrtle and Ada, as well as one man, Lindsay Bird Mpetyane.

The Utopia batiks soon gained recognition for their distinctive artistic statements, showcasing an intuitive sense of movement, composition and colour.  Art collectors took notice and by 1981 Utopia batiks were exhibited at the Adelaide Art Festival in a major event titled “Floating Forests of Silk:  Utopia Batik from the Desert”. By the late 1980s the artists moved to the painting medium and, as they say, ‘the rest is history’.

The Batik Mans’ family has kept close ties to the people of Utopia, and we found out he was to be the lucky recipient of Angelina's recent creation!

After some time catching up and having a yarn Barbara was itching to get on the road again – still so many more places and people to meet and half the day was already over.

We visited more outstations, including Soapy Bore, Three Bore, and Mosquito Bore. Some of the roads appeared more like walking tracks, but they proved to be valuable shortcuts and a brilliant opportunity to see more of the vibrant red earth and vegetation; soft long grasses, scrubby bushes and areas that were charred black from a recent burn off.  

We then passed through the great Sandover River. While it was dry when we visited I was surprised just how large the river bed was. This is a major feature in the landscape, with large old white gum trees lining the river as far as the eye can see. It made complete sense why the bend in the great Sandover River is a frequent motif and Barbara Weir’s art.

We then continued to what remained of the old Utopia Station. Barbara pointed out old foundations of what once was the old homestead. The metal frame of a shed, a water tower and the old windmill appear to be the only items that have withstood the test of time.

It felt like a place that held a lot of childhood memories and nostalgia for Barbara, but also the place where her life dramatically changed forever.

Being of mixed heritage Barbara was hidden from welfare patrol at a young age by her family, including her Aunty, the late Emily Kame Kngwarreye. Barbara has fond childhood memories living at Utopia with her large extended family, and in some of her works today she will depict the caves where she would collect water with her coolamon. As we passed through the Sandover River, Barbara also showed us the bushy scrub next to many of the great gum trees that lined the river, which made for good hiding spots as a child.

Her idyllic childhood was disrupted when at the age of ten Barbara was suddenly taken from her family by welfare from Utopia Homestead, as she was collecting water. She is one of the people known as the "stolen generation". Barbara was taken to Alice Springs, but because she kept speaking her Anmatyerre and Alyawarre tongue, was moved further away to children's homes and foster families around Australia, eventually ending up in Darwin. Though she lost contact with her family, she was determined to return to them, never forgetting that 'Atnwengerrp' was the Anmatyerre word for her home.

As Barbara and her children stand on country today, speaking language with an intimate knowledge of culture, country and law – it is true testament to Barbara’s strength and resilience.

As the light started to shift to the soft afternoon sun, we knew we were fast running out of time if we wanted to reach the bitumen before dark. The Sandover Highway put on a spectacular show for us, which made it hard not to pull over for a few more photos – the light perfectly hitting the red earth, the rock formations, and even animal tracks in the sand.

This land is alive and full of features in the landscape - quite different to the story painted by Google Maps when you search this region of Australia (a vast expanse of nothing appears!). While it would be brilliant for Google street view to capture the Sandover Highway – I don’t think their equipment could take the battering of the corrugated road or the dust whipped up on the road. By the end of the day I think all of our bodies were weary from the relentless rattling and shaking of the troopie.

As we turned off the Sandover back on to the highway, we were greeted with large clouds forming in the distance, and shortly after, a spectacular lightning show. We rolled the windows down and soaked in the smell of the rain hitting the hot earth.

We left Alice Springs in the dark hours of the morning, and we got back late in the evening. There was a stillness in the air again, and the streets were glistening from the storm that had passed through earlier in the evening. Our bodies were tired, but for the KOG Crew who had never visited Utopia before, our minds were invigorated by the amazing people and country we had the pleasure and privilege of visiting that day.

I hope this blog has been a glimpse into a day that none of us will forget. Our sincerest thanks to KOG’s Director, Geoff Henderson, for this brilliant opportunity and our most heartfelt gratitude to the incredible Barbara Weir. 

Video: A Day in Utopia with Barbara Weir


Gift Guide for Christmas

Say sayonara scented candle! It’s time to think outside the gift box and give the unique gift of art this festive season!

Here at the gallery we all too often see visitors who want to give the gift of art for their loved ones, but get themselves into a state of exasperation trying to decide which artwork would be right. So, to help you out this festive season, we’ve created a ‘gift guide’ where we’ve listed some fabulous Aboriginal artists, and the personality types we see going gaga for their work.

Of course this is just a suggestion; nobody knows your friends and family better than you do, so be brave and confident in your decisions!  And don’t forget – here at Kate Owen Gallery we are very understanding if an artwork was purchased as a gift and may not be quite right. Our Art Consultants are always here to help so please don’t hesitate to contact us.

Ready to start your Xmas shopping? Let’s go!

 


The Logical Sort

A good way to tell if someone would fit in to this category would be to ask yourself:

How would they respond to the blobs of paint in this artwork:

 

  • a)            Argh! Fix it!
  • b)            No- that’s just the quality of the work

If they would respond with something along the lines of A) then it is best to go for an aritist that has precise dot work or a systematic composition. Artists that instantly come to mind are Walala and Thomas Tjapaltjarri. These are highly regarded artists that we featured this year in our ‘Three Brothers’ exhibition. Geometric shapes and a carefully applied dot work give these artworks a powerful ‘Shimmering’ quality synonymous with depictions of the Tingari Cycle. These artworks are a great ‘go-to’ if you are purchasing for a man, as these artworks depict secret sacred men’s business, so there’s a great connection and story to share as you gift the artwork. 

Two other trailblazing artists who are soaring to dizzying heights are the King Sisters. Back in 2009, Kate Owen Gallery was proud to present the 3 Kings exhibition, where Sarrita and Tarisse King paid homage to their father, the highly respected artist and elder, William King Jungala (1966 – 2007). Back then, the sisters wove their own styles with that of their father and produced fascinating interplays of colour, design, heritage and spirit.  While still at the early stages of their careers, we could tell that Sarrita and Tarisse were set to become big names in the Aboriginal Art world.

Flash forward nine years, and the King Sisters have cemented themselves as the exciting next generation of Aboriginal artists. Still honouring their father’s stories, the sisters have matured and developed their own unique style which has seen them displayed in galleries throughout Australia and around the world. Their works are vibrant, striking and contemporary. The sisters employ a diversity of styles and colour palettes which make them perfect artists to explore as gift options.

View Sarrita Kings artworks

View Tarisse Kings artworks

Whilst these “giftees” will simply not appreciate the loose, wild, and gestural nature of a Polly Ngale Bush Plum or a Gloria Petyarre Bush Medicine piece, but a good alternative is a Jeannie Petyarre Bush Medicine piece. It may come as a surprise, but we find the focal point in Jeannie’s art makes all the difference for these logical folks – it provides an opportunity to enter the artwork and be taken on a journey through the flowing bush work.

We would also recommend heading to our Art Search Page. On the bar to the left try searching for ‘Style: Dots – Fine’ or ‘Style: Dots – Medium’ as we do find these types of art lovers appreciate the time and effort to create such a piece.


Loose, Wild, Gestural

Have you heard your friend ever mention that they love Monet’s water lilies? Or do you notice they lean towards more organic shapes? Then we’d recommend exploring the beautiful bush plum and bush medicine leaf paintings made famous by the artists of Utopia. These artworks are produced using acrylic paints loaded onto a single brush and then applied or ‘pushed’ vigorously into the canvas, linen or board in such a way that the paint is mixed in the resultant mark on the canvas. These artworks may appear more abstract, but they are deeply grounded in Awelye.

Another artist who depicts Awelye is Charmaine Pwerle. Charmaine’s lines are bold and sure, echoing those of her grandmother Minnie Pwerle, but with the assurance of a much more practised artist than her years or experience would suggest. The brushwork in her body designs, Awelye, has all the characteristics of this family dreaming, but Charmaine lends her own distinct creative flair, pattern and movement to the canvas. We held an exhibition earlier this year showcasing her incredible talent titled Charmaine Pwerle – New Traditions.


Naïve Art

I have to look inwards to describe this personality – as I absolutely LOVE this style of art !

I think it’s fair to say we are a quirky bunch – if you were drawn to Courtney’s styling on the recent TV series of Channel Nine’s The Block (the more lamas the better!) then I think it’s safe to say this is your squad. Perhaps you’ve admired the Tjanpi Desert weavers  or the soft sculptures of Yarrenyty Arltere Artists? To you – figurative art that’s a little off beat is fine, because it’s bursting with personality.

There may be simplicity of form in Karen Napaltjarri Barns and Trevor ‘Turbo’ Brown's art, but there is an incredible energy in the dynamic composition, colour and line.

What makes naïve Indigenous Australia art so fascinating is that certain artists, such as Linda Syddick and Jack Dale, have used this style to depict the changes in Aboriginal life, their interface with the 'whitefella' ways, and their experience through this period of seismic change.  If you have an interest in history, these artworks represent a fascinating first-hand account of important moments in our nation’s history.


Kudditji

When it comes to this artist, it’s quite clear – you either love his work, or you don’t. And that’s fine. All we say is – we’ve had visitors to our gallery who never considered his work and left the gallery converted. What amazes us about Kudditji Kngwarreye’s artworks is that we never tire of them, as they are always revealing themselves. The light at different times of the day emphasise certain colours in his work which is just magical. Each artwork also has quite a unique ‘feel’ and can completely change the atmosphere of a room. Take for example the images below. It’s the same space, the artworks are the same size, but the artwork selection has completely changed the feel of the room.

 

This artwork brings a beautiful warmth to the room and is very grounding.

 

Whereas this artwork is very uplifting and keep as cooler tone to the room.

Both look fabulous, but it is really a personal preference what mood you want your home to have. When it comes to giving the gift of a Kudditji, make sure you have a clear understanding of your loved ones home décor, so you can select the right piece that will match the mood.

Check Out our 'See Art on Wall' feature!


Family and Friends visiting from overseas 

Why not give them a piece of Australia to take home with them? We find that most international clients love a conversation piece – something that they can proudly hang on their wall and share their stories of their time in Australia, and impart some interesting information about the world’s oldest living culture.

Kathleen Buzzacott and Selma Coulthard are brilliant choices. Their work depicts the features of the land and the native fauna in incredible detail. Peter Overs is also a popular choice due to its universal appeal and neutral colour palette.

The artists of Yuendumu are also an excellent choice as they come with a certificate of authenticity from Warlukurlangu Art Centre which explains the artwork story in great detail. Head over to our Art Search Page and in region select ‘Yuendumu’ – you will be spoilt for choice!

If your international family and friends have to catch a plane home, you may have to consider size as well – we have a huge range of artworks that can safely be rolled in a tube and taken as hand luggage.

 


 

If all of this information has just made you even more confused – well, why not give your loved ones a gift voucher, or create a gift registry page where multiple people can make a contribution. Then your loved ones can use all of our gallery services to help pick the perfect piece for their home.

As we mentioned at the beginning of this blog post – these are all just our suggestions and nobody knows your friends and family better than you do, so be brave. Your loved ones will probably be very touched you thought of such a unique gift for them that truly will last the test of time.