Artiste : Bradley Tunkin

Titre de l'œuvre : Kalaya Tjukurpa

Format : 101 x 101 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 20-024

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Explications pour cette œuvre :

Bradley is the grandson of renowned artist Jimmy Baker and the son and brother of Tjungu Palya painters Kaye Baker, Teresa & Kani Baker. Bradley is a traditional man and resides in Kanpi on his families country- the place of important Kalaya Tjukurpa (emu dreaming).

This painting is dealing about my grand father's story that I'am learning. He was very knowledgeable about the Kanpi area. Kalaya Tjukurpa (the story of the ancestoral Emu Man).

Father and Mother emu travel together to Kanpi. The mother emu layed her eggs in Kanpi then went away forever, leaving the father to take care of the young emu's. The father stayed with them and fed them. Also, he took them to them away with him to other lands such as Wattaru and Fregon. The young emu's grow strong and eventually they travelled back to kanpi where the father died by Anangu spear. The young emu's survived though and lived in Kanpi.

This is Kanpi. Ngayuku ngura, ngayuku ninti pulka (this is my country and I hold great knowledge for this place).

You can find artworks by the artists in the following prestigious collections :
Queensland Art Gallery | Gallery of Modern Art

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Bradley Tunkin

Titre de l'œuvre : Kalaya Tjukurpa

Format : 152 x 129 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-044

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Bradley is the grandson of renowned artist Jimmy Baker and the son and brother of Tjungu Palya painters Kaye Baker, Teresa & Kani Baker. Bradley is a traditional man and resides in Kanpi on his families country- the place of important Kalaya Tjukurpa (emu dreaming).

This painting is dealing about my grand father's story that I'am learning. He was very knowledgeable about the Kanpi area. Kalaya Tjukurpa (the story of the ancestoral Emu Man).

Father and Mother emu travel together to Kanpi. The mother emu layed her eggs in Kanpi then went away forever, leaving the father to take care of the young emu's. The father stayed with them and fed them. Also, he took them to them away with him to other lands such as Wattaru and Fregon. The young emu's grow strong and eventually they travelled back to kanpi where the father died by Anangu spear. The young emu's survived though and lived in Kanpi.

This is Kanpi. Ngayuku ngura, ngayuku ninti pulka (this is my country and I hold great knowledge for this place).

You can find artworks by the artists in the following prestigious collections :
Queensland Art Gallery | Gallery of Modern Art

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Bradley Tunkin

Titre de l'œuvre : Kalaya Tjukurpa

Format : 102 x 76 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-249

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Bradley is the grandson of renowned artist Jimmy Baker and the son and brother of Tjungu Palya painters Kaye Baker, Teresa & Kani Baker. Bradley is a traditional man and resides in Kanpi on his families country- the place of important Kalaya Tjukurpa (emu dreaming).

This painting is dealing about my grand father's story that I'am learning. He was very knowledgeable about the Kanpi area. Kalaya Tjukurpa (the story of the ancestoral Emu Man).

Father and Mother emu travel together to Kanpi. The mother emu layed her eggs in Kanpi then went away forever, leaving the father to take care of the young emu's. The father stayed with them and fed them. Also, he took them to them away with him to other lands such as Wattaru and Fregon. The young emu's grow strong and eventually they travelled back to kanpi where the father died by Anangu spear. The young emu's survived though and lived in Kanpi.

This is Kanpi. Ngayuku ngura, ngayuku ninti pulka (this is my country and I hold great knowledge for this place).

You can find artworks by the artists in the following prestigious collections :
Queensland Art Gallery | Gallery of Modern Art

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Bradley Tunkin

Titre de l'œuvre : Kalaya Tjukurpa

Format : 107 x 76 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-232

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Bradley is the grandson of renowned artist Jimmy Baker and the son and brother of Tjungu Palya painters Kaye Baker, Teresa & Kani Baker. Bradley is a traditional man and resides in Kanpi on his families country- the place of important Kalaya Tjukurpa (emu dreaming).

This painting is dealing about my grand father's story that I'am learning. He was very knowledgeable about the Kanpi area. Kalaya Tjukurpa (the story of the ancestoral Emu Man).

Father and Mother emu travel together to Kanpi. The mother emu layed her eggs in Kanpi then went away forever, leaving the father to take care of the young emu's. The father stayed with them and fed them. Also, he took them to them away with him to other lands such as Wattaru and Fregon. The young emu's grow strong and eventually they travelled back to kanpi where the father died by Anangu spear. The young emu's survived though and lived in Kanpi.

This is Kanpi. Ngayuku ngura, ngayuku ninti pulka (this is my country and I hold great knowledge for this place).

You can find artworks by the artists in the following prestigious collections :
Queensland Art Gallery | Gallery of Modern Art

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Angkaliya Curtis

Titre de l'œuvre : Cave hill - Ancestral country

Format : 151 x 122 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture : 18-254

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Explications pour cette peinture Aborigène :

Ngayuku mitaku ngurangka (this is the country I have inherited from my husband) a wonderful place called Cave Hill. Cave Hill is an important site for the Seven Sisters dreaming story. When you come here you can see in the rock formations the story of seven sisters as they ran from Wati Nyiru (the cheeky man). The sisters hid in the darkness of the big cave and the oldest sister used her wana (digging stick) to make a hole to escape through the back of the cave, you can still see the scratching marks she made. Cave Hill ta tjukurla tjuta ngaranyi. There is a lot of water here too, many rock holes and connecting creeks and water courses. The abundance of water, food and tjurkupa makes Cave Hill a precious place. My husband Billynya and I travelled on a camel from the mission in Ernabella to this magical home.

Collections
Artbank, Australian Government National Contemporary Art Rental
Australian National University, Canberra,
Australian Capital Territory.
Deakin University, Melbourne, Victoria.
Flinders University, Adelaide, South Australia.
Harriett And Richard England Collection, Sydney, New South Wales
Lagerberg-Swift Collection, Perth, Western Australia
Marshall Collection, Adelaide, South Australia
Museum And Art Gallery Of Northern Territory.
National Gallery Of Australia, Canberra, Australian Capital Territory
National Gallery Of Victoria, Melbourne, Victoria.
Queensland Art Gallery, Brisbane,
The Beat Knoblacuch Collection, Switzerland.
The Lepley Collection, Perth, Western Australia.
The Parliament House Collection, Canberra,
University Of Canberra, Australian Capital Territory
W & V Mcgeoch, Melbourne, Victoria
The Sims Dickson Collection

Artiste : Angkaliya Curtis

Titre de l'œuvre : Cave hill - Ancestral country

Format : 243 x 126 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture : 19-070

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Explications pour cette peinture Aborigène :

Angkaliya was born in 1928 at Miti in the South Australian Pitjantjatjara Lands. When she was small she travelled with her mother to Watarru (her mother's country). The family spent time at Ernabella mission and cattle station properties exchanging animal skins (dingoes and rabbits) for flour and sugar. She married and lived at the Ernabella where she worked in the craftroom spinning wool and making rugs. In the 1960's she moved closer to her traditional homeland when the community of Amata began. She used to live and works at Nyapari Community. Angkaliya lived a semi nomadic lifestyle often walking long distances in the desertwhere traditional knowledge of the country, its water holes and food supplies are vital to survival. She learned from her mother and grandmother the secrets of the land and aquired an intimate understanding of the environment and the ancestoral creation stories associated with it.

Ngayuku mitaku ngurangka (this is the country I have inherited from my husband) a wonderful place called Cave Hill. Cave Hill is an important site for the Seven Sisters dreaming story. When you come here you can see in the rock formations the story of seven sisters as they ran from Wati Nyiru (the cheeky man). The sisters hid in the darkness of the big cave and the oldest sister used her wana (digging stick) to make a hole to escape through the back of the cave, you can still see the scratching marks she made. Cave Hill ta tjukurla tjuta ngaranyi. There is a lot of water here too, many rock holes and connecting creeks and water courses. The abundance of water, food and tjurkupa makes Cave Hill a precious place. My husband Billynya and I travelled on a camel from the mission in Ernabella to this magical home.

Collections
Artbank, Australian Government National Contemporary Art Rental
Australian National University, Canberra,
Australian Capital Territory.
Deakin University, Melbourne, Victoria.
Flinders University, Adelaide, South Australia.
Harriett And Richard England Collection, Sydney, New South Wales
Lagerberg-Swift Collection, Perth, Western Australia
Marshall Collection, Adelaide, South Australia
Museum And Art Gallery Of Northern Territory.
National Gallery Of Australia, Canberra, Australian Capital Territory
National Gallery Of Victoria, Melbourne, Victoria.
Queensland Art Gallery, Brisbane,
The Beat Knoblacuch Collection, Switzerland.
The Lepley Collection, Perth, Western Australia.
The Parliament House Collection, Canberra,
University Of Canberra, Australian Capital Territory
W & V Mcgeoch, Melbourne, Victoria
The Sims Dickson Collection

Artiste : Iyawi Wikilyiri

Titre de l'œuvre : Punu Tjuta

Format : 200 x 120 cm

Provenance et certificat : centre d'art aborigene de Tjungu Palya

Référence de cette peinture d'art indigène d’Australie : 13-365

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Explications pour cette œuvre :

Iyawi (1945) was born in the bush near Ernabella in the Anangu Pitjantjatjara Yankunytjatjara Lands c1945. She attended the mission school at Ernabella before finding employment in the craft room, where traditional spinning skills were combined with new techniques to develop a small scale carpet making industry. Iyawi's mother was a Yankunytjatjara women from Ernabella and her father was a Pitjantjatjara man from Pukara. Iyawi now lives in Nyapari with her husband Ginger Wikilyiri. 

Iyawi Wikilyiri paints here Punu tjuta (many trees) at a place called Ngarutjara, near Ernabella. The trees grow near water. Tjuna-tjuna (many reeds) It's the same country as the Wanampi (Water snake). Can be dangerous country. Apu kulupa tjuta (many small boulders and rocks). Wiltja (shade structure) built by the people making camp. The women use the tree roots to make the wana (digging stick) that they use for digging for food.

The artworks of the artist could be find in the following prestigious collections :
Araluen Art Collection, Department Of Natural Resources, Environment, The Arts
Artbank, Australian Government National
Harriet And Richard England Collection
Voituron Collection - Belgique
National Gallery Of Australia, Canberra, Australia
University Of Queensland Art Museum, Brisbane, Qld
Bertrand Estrangin collection - France - Belgique

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya

Artiste : Iyawi Wikilyiri

Titre de l'œuvre : Pukara

Format : 199 x 124 cm

Provenance et certificat : centre d'art aborigene de Tjungu Palya

Référence de cette peinture d'art indigène d’Australie : 10244

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Explications pour cette œuvre :

Iyawi was born in the bush near Ernabella in the Anangu Pitjantjatjara Yankunytjatjara Lands c1945. She attended the mission school at Ernabella before finding employment in the craft room, where traditional spinning skills were combined with new techniques to develop a small scale carpet making industry. Iyawi's mother was a Yankunytjatjara women from Ernabella and her father was a Pitjantjatjara man from Pukara. Iyawi now lives in Nyapari with her husband Ginger Wikilyiri. 

Iyawi Wikilyiri paints Pukara, an important Tjukurpa for Wati Kutjara, the two serpent men. These wanampi's are involved in creating landmarks across vast tracts of the desert from Pukara in the tri state border region of Western Australia. South Australia and the Northern Territory to the Western Australian coast.

Wati Kutjara Tjukurpa ( the creation story for the two serpent men). The two wanampi, father and his son travel from rockhole to rockhole in country around Wingellina. The father travelled away to another country and left his son behind at the rockhole Pukara. The people living there didn't like the son. They thought that the son was sneaking around their camps at night while they slept and stealing their food. They thought he looked strange and could not be trusted. When the son grew up he came back to Pukara and ate all the people there. Tjuratja tjuta (lots of sweet nectar) grows at Pukara. Kaliny-kalinypa (honey grevillea). The flowers can be sucked for the sweet honey like nectar or soaked in water to make a sweet drink.

The artworks of the artist could be find in the following prestigious collections :
Araluen Art Collection, Department Of Natural Resources, Environment, The Arts
Artbank, Australian Government National
Harriet And Richard England Collection
Voituron Collection - Belgique
National Gallery Of Australia, Canberra, Australia
University Of Queensland Art Museum, Brisbane, Qld
Bertrand Estrangin collection - France - Belgique

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya

Artiste : Iyawi Wikilyiri

Titre de l'œuvre : Pukara

Format : 152 x 100 cm

Provenance et certificat : centre d'art aborigene de Tjungu Palya

Référence de cette peinture d'art indigène d’Australie : 13-370

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Iyawi was born in the bush near Ernabella in the Anangu Pitjantjatjara Yankunytjatjara Lands c1945. She attended the mission school at Ernabella before finding employment in the craft room, where traditional spinning skills were combined with new techniques to develop a small scale carpet making industry. Iyawi's mother was a Yankunytjatjara women from Ernabella and her father was a Pitjantjatjara man from Pukara. Iyawi now lives in Nyapari with her husband Ginger Wikilyiri. 

Iyawi Wikilyiri paints Pukara, an important Tjukurpa for Wati Kutjara, the two serpent men. These wanampi's are involved in creating landmarks across vast tracts of the desert from Pukara in the tri state border region of Western Australia. South Australia and the Northern Territory to the Western Australian coast.Wati Kutjara Tjukurpa ( the creation story for the two serpent men). The two wanampi, father and his son travel from rockhole to rockhole in country around Wingellina. The father travelled away to another country and left his son behind at the rockhole Pukara. The people living there didn't like the son. They thought that the son was sneaking around their camps at night while they slept and stealing their food. They thought he looked strange and could not be trusted. When the son grew up he came back to Pukara and ate all the people there. Tjuratja tjuta (lots of sweet nectar) grows at Pukara. Kaliny-kalinypa (honey grevillea). The flowers can be sucked for the sweet honey like nectar or soaked in water to make a sweet drink.

The artworks of the artist could be find in the following prestigious collections :
Araluen Art Collection, Department Of Natural Resources, Environment, The Arts
Artbank, Australian Government National
Harriet And Richard England Collection
Voituron Collection - Belgique
National Gallery Of Australia, Canberra, Australia
University Of Queensland Art Museum, Brisbane, Qld
Bertrand Estrangin collection - France - Belgique

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya

Artiste : Theresa Baker

Titre de l'œuvre : Minyma Malilunya - Dreaming Time stories

Format : 150 x 90 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 17-249

Enquiry / Demander le prix de l'œuvre

Explications pour cette peinture Aborigène :

This is the country for Malilu. She is a creation being from the Tjukurpa (Dreamtime). Minyma Malilu nyinanyi wana ngka munu piti (the woman Malilu is siting with her digging stick and collecting bowl). She has been dancing, performing Inma important ceremonial dancing for this country and she has left her dancing tracks behind in the sand. Malilu was a crippled woman and her two daughters had run off to get married, leaving her to fend for herself. It was very hard for her to collect bush foods and water because she had to drag her leg as she walked. Through much effort she collected

kampurarpa, wiriny-wirinypa, tawalpa munu mai kutjupa-kutjupa ( desert rasins, bush tomatoes, berries and many different kinds of wild foods).

Teresa spent much of her youth with her grandfather Jimmy Baker, learning about the country and the sacred stories associated with it. Today she works full-time at Murputja school and is passing on the knowledge she learned to the next generation. She continues her teacher training with annual courses and cares for 5 children, still finding time to paint in school holidays and evenings.

While Teresas paintings have qualities reminiscent of her late grandfather Jimmy Baker (her teacher and mentor), she has found her own individual way of mark-making and using iconography. Like her grandfather, she utilises the power of negative space, which paired with her own self-taught understanding of nuance in the use of colour, create dramatic effects in her paintings.

Collections
Artbank, Australian Government National
Levi And Kaplan Collection, Seattle, Usa
Thomas Vroom Collection, Netherlands
University Of Qld Art Museum, St Lucia, Queensland
W & V Mcgeoch, Melbourne, Victoria
Monash University, Melbourne, Victoria

Artiste : Teresa Baker

Titre de l'œuvre : Minyma Malilunya - Dreaming Time stories

Format : 120 x 92 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-255

Enquiry / Demander le prix de l'œuvre

Explications pour cette peinture Aborigène :

This is the country for Malilu. She is a creation being from the Tjukurpa (Dreamtime). Minyma Malilu nyinanyi wana ngka munu piti (the woman Malilu is siting with her digging stick and collecting bowl). She has been dancing, performing Inma important ceremonial dancing for this country and she has left her dancing tracks behind in the sand. Malilu was a crippled woman and her two daughters had run off to get married, leaving her to fend for herself. It was very hard for her to collect bush foods and water because she had to drag her leg as she walked. Through much effort she collected

kampurarpa, wiriny-wirinypa, tawalpa munu mai kutjupa-kutjupa ( desert rasins, bush tomatoes, berries and many different kinds of wild foods).

Teresa spent much of her youth with her grandfather Jimmy Baker, learning about the country and the sacred stories associated with it. Today she works full-time at Murputja school and is passing on the knowledge she learned to the next generation. She continues her teacher training with annual courses and cares for 5 children, still finding time to paint in school holidays and evenings.

While Teresas paintings have qualities reminiscent of her late grandfather Jimmy Baker (her teacher and mentor), she has found her own individual way of mark-making and using iconography. Like her grandfather, she utilises the power of negative space, which paired with her own self-taught understanding of nuance in the use of colour, create dramatic effects in her paintings.

Collections
Artbank, Australian Government National
Levi And Kaplan Collection, Seattle, Usa
Thomas Vroom Collection, Netherlands
University Of Qld Art Museum, St Lucia, Queensland
W & V Mcgeoch, Melbourne, Victoria
Monash University, Melbourne, Victoria

Artiste : Ginger Wikilyiri

Titre de l'œuvre : Kunamata - Dreaming Time stories

Format : 200 x 150 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 20-129

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Explications pour cette œuvre :

Ginger was born at Kunamata a rock hole south of Nyapari in 1930. His father had three wives. Wingu Tingima is the daughter of the first wife and Ginger the son of the second. Ginger is a senior law man and has cultural responsibilities for both Kunamata and Piltati.
His passion for landmanagement and horticulture has taken him to Israel where he learnt about arid land techniques and Mutijulu where he worked for many years as a ranger for Uluru-KAta Tjuta National Park.

Kunamata, this is my ngura (homeland). There are many different plants, animals and landforms at Kunamata. There is karu pulka (a big creek) that runs from the apu (rocky hills). Itjulu is on the other side and apu tjuta (rocky hills) are everywhere with different manta (ground) and different punu (trees). There is Ili (natitie fig) growing at Kunamata and underneath is Minkulpa Tjuta (lots of native tobacco). Kunamata is a very special place for my family.

The snake is panakura (desert death adder). Each day he ventures out to the cave to paint sacred designs on the cave walls, before returning home again. His home is in the sand hills close to Kunamata. Sometimes I also paint two Liru's (snakes) kunga and wati (female and male), coming from Kunamata. Along the way they hunt for mingkiri (mice) at night.

In my paintings you will sometimes see the mingkiri tracks. They are going out collecting food and water and returning to their cave. The mingkiri always hide underground in their warren. Meanwhile, during the daytime, that tjalku (bilby) was looking for tjala (honey ant) inside the tjala's nest. Walawuru (eagle) was waiting for him to appear out in the open. Eventually tjalku did so and walawuru eats him. This country where this story is, is called Ilpin. There are sand hills, rock holes and rock boulders. This country is sacred country.

You can find artworks by the artists in the following prestigious collections :
Araluen Art Collection, Department Of Natural Resources, Environment,
Art Gallery Of South Australia, Adelaide,
Artbank, Australian Government National
Australian National University, Canberra,
Deakin University, Melbourne, Victoria.
Dr. Ian Bernadt Collection, Perth,
Flinders University, Adelaide, South Australia.
Lagerberg-Swift Collection, Perth, Western
Macquarie Bank
National Gallery Of Australia, Canberra,
Australian Capital Territory
National Gallery Of Victoria, Melbourne,
The Beat Knoblacuch Collection, Switzerland.
The Corrigan Collection, Sydney, 
The Lepley Collection, Perth, Western
The Marshall Collection, Adelaide, South
The Merenda Collection, Perth, Western
The Parliament House Collection, Canberra,
University Of Canberra, Australian Capital Territory
W & V Mcgeoch, Melbourne, Victoria
The Collection Of Berengere Primat, Geneva
The Kennedy Collection, Sydney, Nsw

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Ginger Wikilyiri

Titre de l'œuvre : Piltati - Dreaming Time stories

Format : 150 x 100 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 12047

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Ginger was born at Kunamata a rock hole south of Nyapari in 1930. His father had three wives. Wingu Tingima is the daughter of the first wife and Ginger the son of the second. Ginger is a senior law man and has cultural responsibilities for both Kunamata and Piltati.
His passion for landmanagement and horticulture has taken him to Israel where he learnt about arid land techniques and Mutijulu where he worked for many years as a ranger for Uluru-KAta Tjuta National Park.

This artworks refers to a Tjurkurpa as a love story. This is a story about two brothers and two sisters. The two 'watis' (brothers) - two water snakes, are at the Piltati rockhole waiting for two sisters.

The 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.

You can find artworks by the artists in the following prestigious collections :
Araluen Art Collection, Department Of Natural Resources, Environment,
Art Gallery Of South Australia, Adelaide,
Artbank, Australian Government National
Australian National University, Canberra,
Deakin University, Melbourne, Victoria.
Dr. Ian Bernadt Collection, Perth,
Flinders University, Adelaide, South Australia.
Lagerberg-Swift Collection, Perth, Western
Macquarie Bank
National Gallery Of Australia, Canberra,
Australian Capital Territory
National Gallery Of Victoria, Melbourne,
The Beat Knoblacuch Collection, Switzerland.
The Corrigan Collection, Sydney, 
The Lepley Collection, Perth, Western
The Marshall Collection, Adelaide, South
The Merenda Collection, Perth, Western
The Parliament House Collection, Canberra,
University Of Canberra, Australian Capital Territory
W & V Mcgeoch, Melbourne, Victoria
The Collection Of Berengere Primat, Geneva
The Kennedy Collection, Sydney, Nsw

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Keith Stevens

Titre de l'œuvre : Piltati - Dreaming Time stories

Format : 100 x 90 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 17-255

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Keith Stevens is a senior Pitjantjatjara man born in the far north of SA at Granite Downs station where his parents were working in the 1940's. Following in his parents footsteps he was mustering at an early age and had no schooling until moving to Ernabella mission. Keith's family would travel for weekends to their traditional homelands of Piltati and Iwarrawarra.

Keith's father eventually sat down with his family close to Piltati creek at what is now Nyapari Community. Keith is a respected senior man in traditional law and a strong community leader. "Today Keith is a man of both worlds. A highly respected traditional law man and a skilled painter of the Tjukurpa in the modern medium of acrylics. His careful application of thick rich colour in intricate patterning creates a three dimensional moulded topography of the Piltati plateau and gully.

This artworks refers to a Tjurkurpa as a love story. This is a story about two brothers and two sisters. The two 'watis' (brothers) - two water snakes, are at the Piltati rockhole waiting for two sisters.

The 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.

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Lance Peck

Titre de l'œuvre : North Pool

Format : 152 x 102 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-016

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Explications pour cette œuvre :

Lance Peck was born at Carnarvon, Western Australia, in 1975. He spent his early years in Manyjilyjarra country, 1,500 kilometres north of Perth. As a young boy he lived on sheep and cattle stations where his mother worked on the domestic staff. He attended school at Coolgardie, Western Australia, and subsequently worked as a stockhand, tracker and then in the mining industry at Wiluna, Western Australia. He was taught to paint at Tjungu Palya in the Western Desert.

His father is Nanda from Northhampton and his mother Indjibandi from Roebourne. He grew up in Wiluna, Western Australia and came to the Ngaanyatjarra and Pitjantjatjarra Lands as a young man. He lives in Kanpi with his wife and daughter.

His narratives relate to Kata Kata rockhole, Wati Kutjara (two snake man Dreaming), Kunarka waterhole (snake man ancestor and Lake Maitland), and Tjitji Wati Kutjara Dreaming.

This artwork refers to a North Pool just off the Canning Stock Route. When they use to drove cattle, they would to stop here and rest and drink. 

Nowadays people stop and camp here. We used to go and get yabbies here with the family. 

The main part of the painting is North Pool and along the edge of the creek bed is where the river red gums grow and off to side are thickets of bush. This is all in really sandy country.

You can find artworks by the artist in the following prestigious collections :
National Gallery of Victoria, Melbourne
Imago Mundi Collection
Paper artwork - National Gallery of Australia
Paper artwork - Murdock University
Private collections

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Marita Baker

Titre de l'œuvre : Malilu Tjukurpa

Format : 90 x 90 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-070

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Explications pour cette œuvre :

Marita Baker (1968) is a senior artist and director of the Tjungu Palya art centre.
She is the daughter of the artist Jimmy Baker, who is survived by his three children, Anton, Kay and Marita, all of whom are also artists in their own right and paint for Tjungu Palya.

This artwork refers to the country for Malilu. She is a creation being from the Tjukurpa (Dreamtime). Minyma Malilu nyinanyi wana ngka munu piti (the woman Malilu is siting with her digging stick and collecting bowl). She has been dancing, performing Inma important ceremonial dancing for this country and she has left her dancing tracks behind in the sand. Malilu was a crippled woman and her two daughters had run off to get married, leaving her to fend for herself. It was very hard for her to collect bush foods and water because she had to drag her leg as she walked. Through much effort she collected

kampurarpa, wiriny-wirinypa, tawalpa munu mai kutjupa-kutjupa ( desert rasins, bush tomatoes, berries and many different kinds of wild foods). Malilu dug out a cave in the earth, Katatjitj. It has asmall opening, but is a huge underground cave. She would hide her surplus food there for when she was hungry or too tired to go out hunting. She would make inma (ceremony) in the cave. This is my country close to Kanpi community.

You can find artworks by the artist in the following prestigious collections :
Collective artwork - Art Gallery of South Australia
Private collections

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Marita Baker

Titre de l'œuvre : Kalya Tjukurpa (Emu Dreaming)

Format : 91 x 91 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-245

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Explications pour cette œuvre :

Marita Baker (1968) is a senior artist and director of the Tjungu Palya art centre.
She is the daughter of the artist Jimmy Baker, who is survived by his three children, Anton, Kay and Marita, all of whom are also artists in their own right and paint for Tjungu Palya.

This artwork refers to the story for Kalaya (emu). The father emu hid all his children in the bush. He told the kipara (bush turkey man) that he had deliberately dropped his kids and then eaten them. He persuaded the kipara to do the same. The kipara only had one son. Ngaltutjara (poor thing!) When the kipara saw the emu chicks running around he was really angry. The kipara was throwing rocks at the kalaya. Where he chased him along throwing rocks a creek was formed. The kalaya was pikatjara (sick). The country where he was lying down vomiting is marked by a clay pan. Tjukurpa mulapa (this law is true).

You can find artworks by the artist in the following prestigious collections :
Collective artwork - Art Gallery of South Australia
Private collections

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Nellie Stewart

Titre de l'œuvre : Irrunytju

Format : 134 x 114 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : TPNS10387

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Explications pour cette peinture Aborigène :

Nellie Stewart (1930-2011) was born in the bush at Pipalyatjara, her father's country. Her mother is from Irrunytju. As a girl she attended school at Ernabella Mission and later worked in Alice Springs teaching Pitjantjatjara language with her husband. She began painting in 2007 when she moved to Nyapari with her family.

This painting is connected to the Minyma Tutjara Tjukurpa (The Two Sisters creation story). The two sisters were at Irrunytju and they made a wana (digging stick) which they used in their scared ceremonies and dancing. They performed the Inma (dancing) for some time and then headed to Ngurapila. Tjukurpa mulapa (this is a true story). Nyangatja ngayuku ngunytjuku ngura (this is my mother's country).

As stressed by the Dr Christine Nicholls : “Typically Nellie Stewart uses a technique of over-painting a dark background, using brushstrokes in ways that evoke ceremonial body painting designs onto dark skin. Stewart uses her brush in ways akin to women using their fingers to smear layers of paint onto the darker background, in preparation for women-only ceremonies (inma). The mark making, such an integral part of women's body painting, also plays a decisive role in Nellie Stewart's artwork”.

You can find artworks by the artist in the prestigious following collections :

National Gallery Victoria, Melbourne. VIC 
The Corrigan Collection, NSW 
Maroondah Art Gallery, Ringwood, Victoria 
Queensland Art Gallery, Brisbane, QLD 
Marchall Collection, Adelaide, SA 
Lagerburg-Swift Collection, Perth, WA 
W & V McGeoch Collection, Melbourne VIC 
Artbank, Australian Government National Contemporary Art

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Imitjala Pollard

Titre de l'œuvre : Imitjala Watarru

Format : 122 x 102 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-247

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Explications pour cette œuvre :

Imitjala Pollard is the daughter of the senior law woman Wipana Jimmy (dec). She born near the community of Ernabella, in 1963.
She was married at Ernabella and then followed her family group to the remote South Australia community of Watarru in the mid 1980s. At the time, her mother Wipana and other elders were setting up the Watarru homelands. Imitjala started painting in 1995. She is well known for her contribution to the collaborative artworks done by artists from the Watarru community as Beryl Jimmy, Tinpulya Mervin, and Wipana Jimmy. Together these women known as the 'Watarru Collaborative' depict Tjukurpa Dreaming Time stories.

Nyangatja Watarru (this is a place called Watarru). Watarru is our home. This is Anangu tjuta (many Anangu (people). Anangu tjuta are moving around, moving between waterholes and creeks, and looking for food. They go out in the daytime, looking around that country, looking through the bush. They look for food and bring what they find back to the kids at the camp. When the water finishes at one place, they move on to the next waterhole. If there’s no water, they keep walking until they find something. Knowing where to find the water is special knowledge. There is water in a lot of unlikely places. 

There are creeks, waterholes, rockholes, soakages and springs. Kapi wiru (good water) Nyangatja Watarru, this is a special place called Watarru. Watarru is my home. Anangu tjuta (people) are moving around, moving between waterholes and creeks, and looking for food. They search in the daytime, walking slowly and patiently around my country, trusting that they will find something to bring back to the children who are waiting at camp.

You can find artworks by the artist in the following prestigious collections :
Collaborative work - Art Gallery Of New South Wales, Sydney, New South Wales. 
Collaborative work - Usa Nevada Art Museum, Nevada, Usa 
Collaborative work - Peter Cooke Collection, London 
Collaborative work - South Australian Parliament, Sa

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Keahanie May Tunkin

Titre de l'œuvre : Kalya Tjukurpa (Emu Dreaming)

Format : 102 x 102 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-074

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Explications pour cette œuvre :

Keahanie May Tunkin is an artist within the Tjungu Palya art centre.

Keahanie has been learning and loving the Tjukuṟpa and painting her whole life, and it’s easy to understand why, with incredible ninti(smart) family members like Kay, Marita, Teresa and Kumanara (Jimmy) Baker.

On long car rides she loves explaining and singing the stories from the surrounding countryside (at least the parts that are public knowledge) as well as all your favourite pop songs from the 80’s and 90’s.

This artwork refers to the story for Kalaya (emu). The father emu hid all his children in the bush. He told the kipara (bush turkey man) that he had deliberately dropped his kids and then eaten them. He persuaded the kipara to do the same. The kipara only had one son. Ngaltutjara (poor thing!) When the kipara saw the emu chicks running around he was really angry. The kipara was throwing rocks at the kalaya. Where he chased him along throwing rocks a creek was formed. The kalaya was pikatjara (sick). The country where he was lying down vomiting is marked by a clay pan. Tjukurpa mulapa (this law is true).

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Nellie Stewart

Titre de l'œuvre : Irrunytju

Format : 122 x 78 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 10405

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Explications pour cette peinture Aborigène :

Nellie Stewart (1930-2011) was born in the bush at Pipalyatjara, her father's country. Her mother is from Irrunytju. As a girl she attended school at Ernabella Mission and later worked in Alice Springs teaching Pitjantjatjara language with her husband. She began painting in 2007 when she moved to Nyapari with her family.

This painting is connected to the Minyma Tutjara Tjukurpa (The Two Sisters creation story). The two sisters were at Irrunytju and they made a wana (digging stick) which they used in their scared ceremonies and dancing. They performed the Inma (dancing) for some time and then headed to Ngurapila. Tjukurpa mulapa (this is a true story). Nyangatja ngayuku ngunytjuku ngura (this is my mother's country).

As stressed by the Dr Christine Nicholls : “Typically Nellie Stewart uses a technique of over-painting a dark background, using brushstrokes in ways that evoke ceremonial body painting designs onto dark skin. Stewart uses her brush in ways akin to women using their fingers to smear layers of paint onto the darker background, in preparation for women-only ceremonies (inma). The mark making, such an integral part of women's body painting, also plays a decisive role in Nellie Stewart's artwork”.

You can find artworks by the artist in the prestigious following collections :

National Gallery Victoria, Melbourne. VIC 
The Corrigan Collection, NSW 
Maroondah Art Gallery, Ringwood, Victoria 
Queensland Art Gallery, Brisbane, QLD 
Marchall Collection, Adelaide, SA 
Lagerburg-Swift Collection, Perth, WA 
W & V McGeoch Collection, Melbourne VIC 
Artbank, Australian Government National Contemporary Art

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Kaye Baker

Titre de l'œuvre : Malilu munu Kalaya Dreaming stories

Format : 120 x 102 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-032

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Explications pour cette peinture d'art Aborigène :

Kaye was born at Ernabella c1955. She spent her early years at the mission before her family moved to Fregon community. At Fregon Kaye worked in the craft room. She moved to Kanpi, the traditional country of her father Jimmy Baker in the1980's and helped set up a small art and crafts room there. She worked, lived and worked closely with her father until his passing in 2010, caring for him in his last years when he was ill. She talks of their conversations about how to translate the stories of their homeland into works on canvas and the importance of continuing the tradition of painting as cultural maintenance. Kaye has adopted a style quite unlike Jimmy's, even though their stories are shared, and a style unique to the wider Indigneous art market. She is also a desert weaver and an expert carver.

“This painting evokes my country around Kanpi. This is the home and story for Malilu. She has been travelling all around collecting wild foods. She has gone into her cave, which is underground and is siting with here wana and wira (collecting bowl and digging stick). She has all the wild foods she's collected:; kampurarpa, kunakan􀀁, waka􀀁, and ngapari. Mai tjuta (lots of wild foods). This area is also home to the Kalaya (emu). There are rockholes and creek lines crossing over this place. The Kalaya mai (emu foods) are abundant. They are travelling around eating kampurarpa, ili, wayanu, kunakan􀀁, tjulpulpa and puli tjuta. All the small stones they gather from the creek bed and eat them too. Tjukurpa mulapa. This is important country with strong Dreaming. This is the story for that old man (Jimmy Baker), my father.

You can find artworks by the artists in the following prestigious collections :

Art Gallery of South Australia
Thomas Vroom Collection, Netherlands

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Keahanie May Tunkin

Titre de l'œuvre : Kalya Tjukurpa (Emu Dreaming)

Format : 122 x 92 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-187

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Keahanie May Tunkin is an artist within the Tjungu Palya art centre.

Keahanie has been learning and loving the Tjukuṟpa and painting her whole life, and it’s easy to understand why, with incredible ninti(smart) family members like Kay, Marita, Teresa and Kumanara (Jimmy) Baker.

On long car rides she loves explaining and singing the stories from the surrounding countryside (at least the parts that are public knowledge) as well as all your favourite pop songs from the 80’s and 90’s.

This artwork refers to the story for Kalaya (emu). The father emu hid all his children in the bush. He told the kipara (bush turkey man) that he had deliberately dropped his kids and then eaten them. He persuaded the kipara to do the same. The kipara only had one son. Ngaltutjara (poor thing!) When the kipara saw the emu chicks running around he was really angry. The kipara was throwing rocks at the kalaya. Where he chased him along throwing rocks a creek was formed. The kalaya was pikatjara (sick). The country where he was lying down vomiting is marked by a clay pan. Tjukurpa mulapa (this law is true).

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Marita Baker

Titre de l'œuvre : Malilu Tjukurpa

Format : 120 x 101 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-096

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Marita Baker (1968) is a senior artist and director of the Tjungu Palya art centre.
She is the daughter of the artist Jimmy Baker, who is survived by his three children, Anton, Kay and Marita, all of whom are also artists in their own right and paint for Tjungu Palya.

This artwork refers to the country for Malilu. She is a creation being from the Tjukurpa (Dreamtime). Minyma Malilu nyinanyi wana ngka munu piti (the woman Malilu is siting with her digging stick and collecting bowl). She has been dancing, performing Inma important ceremonial dancing for this country and she has left her dancing tracks behind in the sand. Malilu was a crippled woman and her two daughters had run off to get married, leaving her to fend for herself. It was very hard for her to collect bush foods and water because she had to drag her leg as she walked. Through much effort she collected

kampurarpa, wiriny-wirinypa, tawalpa munu mai kutjupa-kutjupa ( desert rasins, bush tomatoes, berries and many different kinds of wild foods). Malilu dug out a cave in the earth, Katatjitj. It has asmall opening, but is a huge underground cave. She would hide her surplus food there for when she was hungry or too tired to go out hunting. She would make inma (ceremony) in the cave. This is my country close to Kanpi community.

You can find artworks by the artist in the following prestigious collections :
Collective artwork - Art Gallery of South Australia
Private collections

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Clarisse Tunkin

Titre de l'œuvre : Malilu Tjukurpa

Format : 220 x 148 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-106

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Explications pour cette œuvre :

Clarise Tunkin (1993) is a Pitjantjatjara artist from a highly recognized family of artists. Her great-grandfather was Jimmy Baker (c.1915-2010) a foundation artist at Kanpi where his family were the traditional owners for the outstation and its lands. Clarise’s grandmother Kay Baker and mother Teresa Baker have continued the very strong artistic tradition of the family.

Clarise Tunkin is one of our youngest up and rising star at the Tjungu Palya art centre.

This artwork refers to the story about Minyma Malilu nyinanyi wana ngka munu piti (the woman Malilu is sitting with her digging stick and collecting bowl). This is the country for Malilu. She is a creation being from the Tjukurpa (Dreamtime). She has been dancing, performing Inma important ceremonial dancing for this country and she has left her dancing tracks behind in the sand.

You can find artworks by the artists in the following prestigious collections :
Monash University Collection, Melbourne

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Collaborative artwork by Imitjala Pollard & Marita Baker

Titre de l'œuvre : Watarru Wanampi Tjukurpa

Format : 205 x 120 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture aborigène : 23-062

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Explications pour cette œuvre :

Imitjala Pollard & Marita Baker did this amazing collaborative artwork depicting Tjukurpa Dreaming Time stories.

This painting is two stories, the Watarru Wanampi Tjurkurpa, and the Malilu Tjurkurpa. These stories are about neighbouring countries, and the friends Imitjala Pollard and Marita Baker painted each of their stories together.The Watarru Wanampi Tjurkurpa, painted by Imitjala Pollard, is the story of the Wanampi (large creation snake) that travels around Watarru, he's still there. As he travels he goes under and over the water holes, creating rivers as he goes. In the painting is also Malilu Tjurkurpa, painted by Marita baker, which is like a map, showing the landscape where Malilu travelled.

You can find artworks by the artist in the following prestigious collections :
Collaborative work - Art Gallery Of New South Wales, Sydney, New South Wales. 
Collaborative work - Usa Nevada Art Museum, Nevada, Usa 
Collaborative work - Peter Cooke Collection, London 
Collaborative work - South Australian Parliament, Sa

© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Tjungu Palya.

Artiste : Angkaliya Curtis

Titre de l'œuvre : Cave hill - Ancestral country

Format : 151 x 121 cm

Provenance et certificat : centre d'art aborigène de Tjungu Palya

Référence de cette peinture : 19-236

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Explications pour cette peinture Aborigène :

Ngayuku mitaku ngurangka (this is the country I have inherited from my husband) a wonderful place called Cave Hill. Cave Hill is an important site for the Seven Sisters dreaming story. When you come here you can see in the rock formations the story of seven sisters as they ran from Wati Nyiru (the cheeky man). The sisters hid in the darkness of the big cave and the oldest sister used her wana (digging stick) to make a hole to escape through the back of the cave, you can still see the scratching marks she made. Cave Hill ta tjukurla tjuta ngaranyi. There is a lot of water here too, many rock holes and connecting creeks and water courses. The abundance of water, food and tjurkupa makes Cave Hill a precious place. My husband Billynya and I travelled on a camel from the mission in Ernabella to this magical home.

Collections
Artbank, Australian Government National Contemporary Art Rental
Australian National University, Canberra,
Australian Capital Territory.
Deakin University, Melbourne, Victoria.
Flinders University, Adelaide, South Australia.
Harriett And Richard England Collection, Sydney, New South Wales
Lagerberg-Swift Collection, Perth, Western Australia
Marshall Collection, Adelaide, South Australia
Museum And Art Gallery Of Northern Territory.
National Gallery Of Australia, Canberra, Australian Capital Territory
National Gallery Of Victoria, Melbourne, Victoria.
Queensland Art Gallery, Brisbane,
The Beat Knoblacuch Collection, Switzerland.
The Lepley Collection, Perth, Western Australia.
The Parliament House Collection, Canberra,
University Of Canberra, Australian Capital Territory
W & V Mcgeoch, Melbourne, Victoria
The Sims Dickson Collection