Exhibition Announcement: The Pintupi Nine — Tradition and Legacy

26 April – 25 May 2025
On Display in our Third Level Collectors Gallery

We’re thrilled to announce our upcoming exhibition The Pintupi Nine: Tradition and Legacy — a powerful celebration of one of the most extraordinary stories in Australian art.

View Exhibition Catalogue 

Emerging from the remote Gibson Desert in 1984, the Pintupi Nine captured the world’s imagination. Having lived a traditional, nomadic life until their dramatic encounter with the modern world, these artists - including the renowned Tjapaltjarri brothers (Warlimpirrnga, Walala, and the late Thomas) and their sister Yukultji Napangati - went on to create some of the most iconic works in the story of contemporary Aboriginal art.

Their paintings are deeply rooted in culture, place, and ancestral knowledge. Every canvas is a map of memory and country - rich with sacred stories, shimmering desert landscapes, and extraordinary visual language passed down for millennia.

To coincide with the exhibition, we’ve created a new article exploring the incredible story of the Pintupi Nine in more detail.

Learn More

Why These Artists Belong in Every Serious Collection

Unparalleled Cultural and Historical Significance

The Pintupi Nine represent one of the last unbroken links to a pre-contact way of life. Their paintings are not just artworks—they are living documents of an ancient culture, making them invaluable to collectors who recognize the importance of preserving Indigenous heritage.

International Recognition and Market Demand

From the National Gallery of Victoria to exhibitions in New York, their artworks are consistently featured in major institutions. This level of global recognition ensures the enduring value of their pieces, making them both a cultural treasure and a sound investment.

Aesthetic Excellence and Unique Artistic Vision

Each artist brings a distinct yet complementary style, creating mesmerizing visual narratives of Dreaming stories. Their work is characterized by intricate patterns, rich textures, and deep symbolism, making them a striking addition to any collection.

Investment Value and Legacy

Aboriginal art is one of the fastest-growing segments in the global art market, with works by the Pintupi Nine consistently increasing in value. As these artists age, and with the recent passing of Thomas Tjapaltjarri, their paintings become even more significant, heightening their desirability among serious collectors.

Own a Piece of History

The Pintupi Nine’s journey from isolation to international acclaim is one of the most extraordinary stories in contemporary art. Their works offer more than just visual beauty—they carry the weight of history, culture, and an ancient artistic tradition. For collectors, acquiring a piece by the Pintupi Nine is not just about owning exceptional art; it’s about preserving and celebrating one of the world’s oldest living cultures.

 

Kate Owen Gallery is honored to present these extraordinary works. Explore our exhibition and invest in a legacy that transcends time.

View Paintings

 


Introducing Niah Juella

It is with great excitement that we are hosting the first Sydney solo exhibition for Niah Juella McLeod, an exciting new voice in the contemporary Indigenous art scene, winner of the 2017 Paddington Art Prize Young Artist Award and finalist in this year’s Paddington Art Prize. Niah is a descendant from the Monero, Wandandian and Yuin people from south eastern Australia and her works tell of stories passed down from her parents which are unique to her history.

As the daughter of artist Kathrin Sharp and Aboriginal activist, poet, healer, musician and Yuin Elder Bobby McLeod, Niah's works tell of stories passed down and unique to her history.
 
A fine dot artist, Niah  began painting as a form of meditation, only first exhibiting her work in public in 2015! We instantly noticed Niah's incredible talent at the 2017 Paddington Art Prize, where Niah stunned visitors and the judges alike with her incredible depiction of “Ngudjung Yugarang” – Mother’s Heartbeat. 
 
Niah's art continues to develop and we are delighted to present her latest body of work - the meditative process is evident in her works and explores her spiritual and physical connection with place and people. Enjoy!
 

 

Interview with Niah Juella McLeod

Do you remember the first time you picked up the brush and started painting?

 
Yes, I was actually living overseas at the time.. a friend of mine had an art studio so I would to spend a lot of my days in there hanging out with her and one day picked up the brush and starting doodling on her “offcuts”. It wasn’t until I moved home though that I painted my first painting, I would say I have definitely become more intricate with my paintings… I do worry less though about the tiny little imperfections, I’ve come to really love those and I feel like it makes a painting more unique.
 

What inspired you to become an artist?

 
I’ve always drawn and painted, Mum always encouraged both my brother & I to be creative. We were always surrounded by beautiful artworks my grandmother brought back from different remote Aboriginal communities where she worked as a nurse and midwife.
 
Drawing and painting was always something to me more like meditation, a way to switch off or tune out; not realising until later it was doing the opposite. I only really painted here and there and doodled in books like my art diary, then decided to move Sydney just over a year ago. I was signed with a modelling agency and working full time.
 
Within the first week of living in Sydney I took myself off to the South Coast, I needed to see my Grandmother whom I hadn’t seen since I was a baby. I met up with my Uncles, Aunties, Brothers, Sisters. Re-connecting with my family has been one of the most significant moments in my life.
 
I looked at myself, my life a little differently, my scribbles, my drawings were more meaningful. My first painting I’d really connected with was one I had done specifically for my Nanna Mac.
 
After that trip, I caught the train back to North Bondi, quit my job and quit the modeling world. I entered myself into an exhibition art fair, painted my ass off for three months and sold every single piece. Whoo!
 
I have recognition most importantly from Family and now I can pay my rent through doing something that is so intrinsically part of who I am and so worth doing! I have started painting full time. It is still such an extreme journey, I'm so proud of myself and of my faith in my belonging.
 
      

Can you tell us about your artworks?

 
I don’t have a plan when I start panting unless it's a commission,  Usually I just dive in and they turn themselves into something. They are a way for me to connect, it's my belonging and my journey  .. I was once asked if I could describe my paintings to the visually impaired what would I say .. I think that it looks like movement but feels still.. that still resonates with me.
 
 
 
       

Can you tell us about your favourite dreaming that you paint?

 
I have a Painting named ‘Ngudjung Yugarang - Mother’s Heartbeat’. This is a special piece very close to my heart. I remember I had my set paintings for my first exhibition with 4 weeks to go and I had decided to paint a 1.5 X 2 metre painting which was the first ‘Mothers Heartbeat'. I stayed up almost every night for 4 weeks and painted like crazy and I’m so happy that I did. I created her and I fell in love with her and so have a lot of other people. She has a really beautiful feeling when you get to see her in person. Once I had finished I had found the title in one of my father's books, the name just felt perfect.
As soon as I finished painting I also fell pregnant with my first daughter - meant to be.
 
     

When you are painting, what are you thinking of?

 
It can go either way.. Literally everything goes through my head… it's like I completely go through every situation I’m currently in. Or nothing at all - I can blink and it's been 3 hours (if I’m lucky) and I’ve finished half a painting.. my kids are usually running around me or at my feet wanting something every 3 minutes but if I get the time to myself I will usually blast reallllly bad (awesome) music and try to completely switch off.
 
 

How do you paint? Do you have an easel; do you have canvas on the floor or wall?

 
I paint on canvas either on the floor or just on any table the canvas fits on away from little grubby kiddy fingers that are constantly waiting to pounce or “help".
 
 
 
 

“When I’m not painting, you can find me…”

 
I have a 3 year old daughter and a 1 year old son so I’m trying to do my best with keeping up with them all day every day, then at night when they sleep I can paint if my partner can’t wrangle them for a few hours .. soo , beaches, parks, dance classes, soccer classes, farms and  can probably recite every lyric of Frozen and Moana.
 
 

“If I wasn’t an artist, I would be a…”

 
Honestly, probably an even more hands on mum with a cleaner house, that's a full time job in itself.
 
 

What’s your advice to others hoping to become an artist?

 
If I could pass anything on, it would be to go for every opportunity, even if you think you aren’t “qualified” or good enough. I think travelling and meeting new people, putting yourself out there is very important and has been a big help for me, I’m an introvert and love my anonymity. Though I surround myself with people that are so driven and passionate about what they do, it’s a constant inspiration to keep doing what I’m doing.
Don’t be so hard on yourself, you are your own worst critic and to just surrender to it. 
 

Video: Niah Juella exhibition


A vibrant new exhibition by Karen Napaljarri Barnes

Our Karen Napaljarri Barnes show is proving to be popular with visitors young and old. Her depictions of Ngatijirri Jukurrpa (Budgerigar Dreaming) and the birds and animals that live around Yuendumu have such a great charm and presence that they really do stop you in your tracks.

Upstairs visitors can enjoy a salon hang of Karen’s latest body of work simply bursting with colour. Large statement pieces and more affordable smaller works makes it a lively, dynamic show with something for everyone.

Karen is one of Warlukurlangu’s exciting next generation of artists. She caught the attention of the art world some years ago when she showcased her depictions of Ngatijirri Jukurrpa (Budgerigar Dreaming) – using a naïve portrayal of the birds and a very abstract representation of the landscape, favouring bold and contrasting colours. In recent years, Karen has extended her repertoire and has taken great delight in depicting the animals that live around Yuendumu (scroll down for a beautiful selection of her muses, courtesy of Warlukurlangu Artists of Yuendumu!).

Karen’s distinctive style extends an existing Warlukurlangu reputation for innovative and expressive use of bold colour, of which her grandmother, the great Judy Napangardi Watson, was one of the trailblazers. In fact, when Karen first started painting for Warlukurlangu, you would find Karen sitting next to her grandmother, who would not only encourage her to paint but teach her all the important cultural stories and traditions.

This really is a delightful show and the KOG Crew just love seeing visitors to the gallery meet Karen’s quizzical critters, discover their unique charm and personality, and leave with a smile.

 
Some beautiful images of Karen and her muses. All images © Warlukurangu Artists of Yuendumu

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Polly Ngale | Arnwetky Exhibition

On display in the charcoal gallery. Can't visit the gallery? View our online exhibition here.

 
click on image above to view the exhibition catalogue

Polly Ngale is one of the most senior custodians of her country Ahalpere, in the heart of Utopia, located in the north west corner of the Simpson desert and roughly 350km north east of Alice Springs, along the Sandover Highway.

Polly in considered one of the most accomplished painters from the Utopia region and is inspired by the Arnwetky (conkerberry) – a green tangled, spiny shrub that produces fragrant white flowers. After the summer rains tiny green berries begin to grow and ripen, changing colour over the weeks from light green to pinks and browns to yellow, to shades of red and purple when they finally ripen. The fruits very much resemble a plum and is often referred to in English by Polly as a ‘bush plum’. The Arnwetky is a popular variety of bush tucker for the people of Utopia, as well as possessing medicinal properties.

During the Dreamtime, winds came from all directions, carrying the Arnwetky seed all over Polly’s ancestors’ Anmatyerre land. To ensure the continued fruiting of the Arnwetky, the Anmatyerre people pay homage to the spirit of the bush plum by recreating it in their ceremonies through song and dance, and in recent years, through painting. The patterns in the paintings can represent the fruit of the plant, its leaves and flowers, and also the body paint designs that are associated with it during ceremony.

For Anmatyerre women, the bush plum is a source of physical and spiritual sustenance - reminding them of the sacredness of Ahalpere country. Its story is crucial to Anmatyerre women's ceremonies.

Polly’s depictions of Arnwetky are the accumulation of a lifetime's knowledge about the country that she loves and feels a personal responsibility to care for. The power of the art resonates across geographical, botanical and spiritual dimensions.

In recent years, Polly has undergone a renaissance in her work - by all accounts producing some of the finest paintings of her career to date.

Kate Owen Gallery is delighted to present Polly Ngale’s new body of work, which showcases her exuberant and masterful depiction of Arnwetky .

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Polly Ngale's Bush Plum