Focus sur les œuvres de l'artiste Barbara Mbitjana Moore (1964)

Œuvre magistrale de l’artiste Barbara Moore (format : 300 x 200 cm). © Photo : Aboriginal Signature Estrangin Gallery with the courtesy of the artists and Tjala Art.

L'artiste Barbara Mbitjana Moore (1964) s’exprime avec fougue et intuition dans ses peintures. Son geste énergique embrasse la toile avec des effets d'amplitude accentués par l'usage d'un pinceau et de brosses larges. Courbes et déliés s'enchaînent et ourlent les contours des trous d'eau ancestraux. Loin des canons esthétiques de cette région de l'Australie, son style souligne une individualité remarquable.
Le mouvement ample et généreux de ses compositions, l'absence de points, introduit un élan de modernité dans son art, pourtant très proche des tracés portés sur le sable du désert hier, ou des formes dessinés sur la peau pour les cérémonies. Des lignes fines, comme suspendues, relient les trous d'eau, et s'affirment en contraste des fonds plus marqués, aux effets dramatiques et veloutés. Elle conjugue ainsi dans ses œuvres un dialogue fertile et dynamique entre tradition et innovation. Sur un terrain artistique Belge, cette œuvre n'est pas sans évoquer d'autres créations dans le cadre du mouvement COBRA hier où présidait un art brut et spontané. Le musée d'art Aborigène d'Utrecht (AAMU), avait il y a quelques années organisé une exposition marquante invitant au dialogue l'art Aborigène et le mouvement COBRA. L'exposition "Mémoires Vives" au musée d'Aquitaine à Bordeaux avait également repris en 2013 l'idée d'exposer des toiles d'Alechinsky et des peintures Aborigènes d’Australie.

Œuvre de l’artiste Barbara Moore (format : 200 x 200 cm). © Photo : Aboriginal Signature Estrangin Gallery with the courtesy of the artists and Tjala Art. Plus d’information sur cette œuvre ici.

Depuis ses premières œuvres en 2003, Barbara Moore a très rapidement suscité un vif intérêt dans ce mouvement artistique, où ses œuvres ont gagné ou été finalistes du prestigieux Telstra Natsiaa award en 2012, 2015, 2017 et 2018 au Musée de Darwin.
Ses peintures ont également intégré les collections du Musée d’Adelaïde (Art Gallery of South Australia), du Musée National de Canberra, de la Fondation Opale en Suisse, et de nombreuses collections privées en Australie, Belgique et Allemagne.

En 2020 l’artiste a été en résidence à l’Université de Virginie aux USA, pour y réaliser une performance murale magistrale au sein du Musée de la collection Kluge-Ruhe.
Sur cette photo prise à la galerie ce matin, apparaît au sol une toile magistrale de 300 x 200 cm de l'artiste Barbara Moore, qui rejoint une collection privée en Europe.
Sur le mur du fond se distingue à gauche une peinture de l'artiste Freddy Ken, et au centre une œuvre de l'artiste Sylvia Ken (198 x 152 cm) qui évoque avec des nuances subtiles la fantastique histoire des Seven sisters aux Temps du Rêve (Tjukurpa).

© Photo : Aboriginal Signature Estrangin Gallery with the courtesy of the artists and Tjala arts.

Œuvre de l’artiste Barbara Moore (format : 152 x 122 cm). © Photo : Aboriginal Signature Estrangin Gallery with the courtesy of the artists and Tjala Art. Plus d’information sur cette œuvre ici.

Reflection, the Mangkaja legacy to Uphold - Art Aborigène du Kimberley Australien

L’artiste Sonia Kuararra (1951) et la coordinatrice du studio Nathalie McCarthy. © Photo : Emilia Galatis with the courtesy of Mangkaja Art Centre

Peinture Aborigène d’Australie de l’artiste Sonia Kurarra - MARTUWARRA - 240 x 120 cm - 434/17

by Natalie McCarthy, studio coordinator at Mangkaja Arts, June 2020

Mangkaja Stars, Legacy to Uphold is an ambitious title for an exhibition but sits in good company with the artists shown and the legacy created. Mangkaja Art and Resource Centre (MARA) is situated in Fitzroy Crossing, a remote community in the west Kimberley Region of Western Australia. What grew from humble beginnings was not without intent.

In 1988, a strong gathering of members formed an adult education centre Karrayili from five language groups. Motivated to be able to understand letters being sent from government officials etc, they came together to learn to read and write English, and understand numbers and hence gain independence from Kartiya (white man). One of those key figures was Ngarralja Tommy May.

Peinture Aborigène de l’artiste Wakartu Cory Suprise, Myarta Jiwari (Rockhole) - 120 x 90 cm, 146/09.

Mangkaja Arts grew out of this arm and presented its first exhibition in 1991 in Adelaide South Australia with works on paper of 19 artists including Corey Wakartu Surprise (dec. 2012), Nada Rawlins (dec. 2019) and Dolly Snell (dec. 2015). The show’s success encouraged the artists involved to incorporate Mangkaja Arts in 1993 perhaps unaware at the time they would continue painting for more than 20 years on.

Wakartu renowned for her vibrant colour and uninhibited style was born at Tapu the Great Sandy Desert waterhole. She eventually left the bush to end up working on stations, a similar story faced by Walmajarri and Wankajunga people moved onto the Cattle stations mid century due to droughts, bushfires and enforced labour. Made to work for little to no pay in return for basic shelter and rationed food, those that attempted to run away were soon sought out and put back to work. Wakartu and her husband ran away one time and he was brought back in chains.

Featured in the show are three paintings of Wakartu’s beloved Great Sandy Desert country; Napaju Pulka 09 “This is a great big rock which is my dreamtitime (Waljirri) from my great grandfather and great grandmother”; One Big Jila 08 and Jila Jumu Soak 08 “Round one, waterhole, this one its way out in the Great Sandy Desert where my people used to go and visit this waterhole.” Prior to first contact with white people the Jila (Springs) and Jumu (Soaks) were central to life in the desert and a precious resource. The onset of sheep and cattle stations from the 1880’s marked a major change to the lives of Aboriginal people in the surrounding areas. The Canning Stock Route implemented by Alfred Canning in the early 1900’s saw over 50 major waterholes appropriated into wells to provide water for the large droves of cattle en route to their sale or export. They used Indigenous men to find these waterholes and cruel methods that included chaining and starving them and then following them knowing they would be forced to share the locations, It crossed a region of more than 2000 km and 200 languages groups, including 10 major waterholes situated in the Great Sandy Desert which held great significance for Walmajarri and Wangkajunga people who after were prevented access to them.

Peinture Aborigène de l’artiste Jimmy NERRIMAH, Wili 2, 90x90, 317/07

Extensive knowledge of desert waterholes was often seen in the work of artist Mawukura Jimmy Nerrimah Mawukura born c 1924 (dec. 2013) grew up moving between the main waterholes in his country and was nearly a man when his father took him to the station to escape a very large fire that was burning around Tapu. It was a time when he went through law at Lumpu Lumpu and then went back to the desert. Mawukura eventually left the bush, possibly in the early 1960s, and spent most of his time working on Nerrimah Station. Artworks Purrahala, Myilapul and Kartallala 05 are about Waterholes in his country, and Wili 07 is a waterhole where he was born.“

Peinture Aborigène de l’artiste Ngarralja Tommy May - Kurtal_Tommy - 120 x 120 cm - 435/18

Mangkaja Ten Years On 2001 in Adelaide saw Ngarralja Tommy May and Amy Nuggett exhibit for the first time alongside their predecessors and artists making a gradual transition onto canvas from the initial work on paper. The early mid 1990’s had been an exciting time for mob in the Kimberley and the High Court’s Mabo decision being a major event sent ripples across the region. Opportunity came to travel back to traditional lands most had left as a young adult and eventually lead to the collaborative work Ngurarra Canvas I and II painted at Pirnini, in the Great Sandy Desert near Kurtal. 40 artists including Ngarralja, Snell, Wakartu, Rawlins and Nuggett depicted the significant jumu and jila of their different countries mapped side by side on a giant canvas 10mx8m to be used for Native Title Land Claim in 1997. The Canvas creation was documented in Jila . It was the first time an artwork had been used to prove connection to country and took many years. In 2007 Ngurarra part A was granted and 2012 saw Land Rights granted to Ngururra B and C.

Peinture Aborigène de l’artiste Amy Ngurnta Nuggett - Rijijirr - Bush Medicine - 120 x 120 cm - 17/20

The long battle was featured in Putaparri and the Rainmakers documentary Film of 2015. Kurtal country for Dolly Snell and Tommy Ngarralja was only approved in 2015 after the doco was launched and won awards. 2015 proved to be a historic year for Mangkaja when Dolly Snell received the ultimate acknowledgement of her achievements and was awarded the esteemed overall prize at the National Aboriginal and Torres Strait Islander Art Awards. Great joy however was soon to be followed with much sadness with her passing not long after her win. Tanga 13 is a great example of Snell’s vibrant palette masterfully layered to create architectural compositions and shapes that celebrate the iconic beauty of her country. “This place no water. This my grandson’s side, this one saltwater country.

Peinture Aborigène de l’artiste Eva Nargoodah - Parta/Kulparn - 120 x 90 cm - 74/20

Tanga Eva Nargoodah grew up watching her Grandmothers paint and in 2012, Mangkaja’s follow up 21st anniversary exhibition gave an opportunity for her to exhibit beside them and other established artists for the first time. Despite Eva’s works being remarkably different, the confidence and focus she had in developing her own style grew out of watching these older women paint. Since then Eva has been represented internationally and included in the Hadley’s Landscape Art prizes. The two new works she has painted for this show are meticulous visual translations of seasons and knowledge of country handed down from a long line. Now 27 years strong, Mangkaja artists are leading innovators in the Indigenous and Contemporary Art world. They continue to captivate audiences, acquire prestigious awards and be included in numerous international and Australian major collections.

Mangkaja Artists endeavor to take on new mediums and ambitious projects to convey stories strong in culture and contribute to a dynamic Indigenous community locally, nationally and internationally.

Natalie McCarthy
Mangkaja Arts June 2020