Artiste : Rachael Mipantjiti Lionel

Titre de l'œuvre : Dust Storm

Format : 176 × 124,5 cm

Provenance et certificat : centre d'art d'Ernabella

Référence de cette peinture d'art Aborigène : 129-25

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Explanations of this Aboriginal art painting :

Rachael comes from the third generation of Lionel women painting at Ernabella Arts. Rachael draws inspiration for her paintings from the stories and messages she receives through her dreams. This painting is a dream she has about a dust storm. She was out in the desert and could see the dust storm rolling towards her.

Her artworks are in the prestigious following collections :
Artbank, 2018
Museum And Art Gallery Of The Northern Territory, 2016
National Museum Of Australia, 2016

Artiste : Rachael Mipantjiti Lionel

Titre de l'œuvre : Kapi Wankanya

Format : 181 × 122 cm

Provenance et certificat : centre d'art d'Ernabella

Référence de cette peinture d'art Aborigène : 414-25

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Explanations of this Aboriginal art painting :

Rachael comes from the third generation of Lionel women painting at Ernabella Arts. Rachael draws inspiration for her paintings from the stories and messages she receives through her dreams. This painting is a dream she has about a dust storm. She was out in the desert and could see the dust storm rolling towards her.

Her artworks are in the prestigious following collections :
Artbank, 2018
Museum And Art Gallery Of The Northern Territory, 2016
National Museum Of Australia, 2016

Artiste : Langaliki Lewis

Titre : Tali / Sand dune

Format : 175 x 124 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 110-24

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Explication sur cette œuvre :

Painting by Langaliki Lewis (1973). For the Pitjantjatjara people living in the desert, knowledge of their water sources was critical to their survival.

This is a depiction of the artists' country. The different colours and designs represent variations in the landscape.

This resulted in an intimate understanding of the landscape which continues today. Deep familiarity with the topography of their country and the way rain would interact with the land ensured constant sources of water could be found. 'Tjukula' means rock-holes, which are found with surprising frequency in the Musgrave ranges.

Between visits, Anangu (people) would use rocks and spinifex construction to guard these from spoilage by animals and, particularly in more recent times, from feral and stock animals, cattle, camels, horses and donkeys.

Artiste : Pepai Jangala Carroll (1950-2021)

Titre de l'œuvre : Yumari

Format : 180 x 170 cm

Provenance et certificat : centre d'art d'Ernabella

Référence de cette peinture d'art Aborigène : 87-21

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Explanations of this Aboriginal painting :

Yumari literally means mother in law in Luritja, the language of Pepai's father. A site named Yumari is located west of Walungurru or Kintore (NT) and east of Kiwirrkurra (WA). Pepai visited this site for the first time on a recent trip back to his custodial country in April 2017, having left this region as a 19 year old after his parents passed away. Pepai has spent the last 40 years living and working in Ernabella. On the trip he travelled with fellow Ernabella artist Derek Jungarrayi Thompson to visit sites between Kintore, Kiwirrkurra and Lake Mackay (Wilkinkarra). "I went to that place Kiwirrkurra and I was returning and we came half way to see my father’s country, to see my father’s and grandmother’s country and the big rock hole, it’s really long. I was looking at it and after seeing it I thought, well, I might paint this one. The name of the place is Yumari. That place Yumari. I’m painting that one now."

The artworks of the artist could be find in the following prestigious collections :

Araluen Arts Centre, 2015
Araluen Arts Centre, 2020
Art Gallery Of New South Wales 2018
Art Gallery Of South Australia, 2011, 2015, 2016
Artbank, 2011
Artbank, 2018
Ballarat Regional Gallery, 2020
Charles Darwin University, 2011
Harriet & Richard England, 2010, 2014
National Gallery Of Victoria, 2013, 2015
Parliament House Collection, Canberra
Fondation Opale, Suisse

Artiste : Mukayi Baker

Titre de l'œuvre : Piltati

Format : 200 x 120 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 519-22

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Explication sur cette œuvre :

There were two sisters who married two brothers and they all lived together. One day the women went wandering and they went such a long way that they forgot about their husbands. Back at the camp, the two husbands were thinking, 'Where are our wives?' and they decided to go looking for them. One brother said to the other, 'What should we become to go looking for them?' and the other brother said 'Why don't we become Rainbow Serpents?' And they travelled in the sky looking down for their wives. Finally they see them hunting for carpet snakes and they put something in the hole where the women were digging. The women find it and then dig another hole and once again the men have put something in there. And this is how the men lure the women back to Piltati where the men make the sisters transform into Wanampi, swallow them and keep them in their throats. All four of them live together in the waterhole and still live there today.

Artiste : Pepai Jangala Carroll (1950-2021)

Titre de l'œuvre : Ilpili

Format : 198 x 150 cm

Provenance et certificat : centre d'art d'Ernabella

Référence de cette peinture d'art Aborigène : 140-21

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Explanations of this Aboriginal painting :

Ilpili is near Kintore on the way to Mount Leibig and Papunya. This is a minimya kutjarra (two women) story.

Two women are sitting down at a rock hole telling stories. A wati (man) was sitting down behind a puli (boulder) watching the women. This is part of the Seven Sisters story. In April 2017, on a recent journey back to that country, Pepai visited this site and the rock hole.

The artworks of the artist could be find in the following prestigious collections :

Araluen Arts Centre, 2015
Araluen Arts Centre, 2020
Art Gallery Of New South Wales 2018
Art Gallery Of South Australia, 2011, 2015, 2016
Artbank, 2011
Artbank, 2018
Ballarat Regional Gallery, 2020
Charles Darwin University, 2011
Harriet & Richard England, 2010, 2014
National Gallery Of Victoria, 2013, 2015
Parliament House Collection, Canberra
Fondation Opale, Suisse

Artiste : Mukayi Baker

Titre de l'œuvre : Piltati

Format : 180 x 99 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 607-22

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Explication sur cette œuvre :

There were two sisters who married two brothers and they all lived together. One day the women went wandering and they went such a long way that they forgot about their husbands. Back at the camp, the two husbands were thinking, 'Where are our wives?' and they decided to go looking for them. One brother said to the other, 'What should we become to go looking for them?' and the other brother said 'Why don't we become Rainbow Serpents?' And they travelled in the sky looking down for their wives. Finally they see them hunting for carpet snakes and they put something in the hole where the women were digging. The women find it and then dig another hole and once again the men have put something in there. And this is how the men lure the women back to Piltati where the men make the sisters transform into Wanampi, swallow them and keep them in their throats. All four of them live together in the waterhole and still live there today.

Artiste : Atipalku Intjalki (1955)

Titre de l'œuvre : Tjukurpa Mulayangu

Format : 150 x 90 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 603-22

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Explication sur cette œuvre :

Tjukurpa Mulayangu is a men’s law place. They made this place and campsite. Mulayangu made this place. Over in the west is the other side of Amata which is my father’s country. This is a sacred place called Tankalanya. This is all I can say.

Artiste : Langaliki Lewis

Titre : Tali / Sand dune

Format : 149 x 89 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 511-22

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Explication sur cette œuvre :

Painting by Langaliki Lewis (1973). For the Pitjantjatjara people living in the desert, knowledge of their water sources was critical to their survival.

This is a depiction of the artists' country. The different colours and designs represent variations in the landscape.This resulted in an intimate understanding of the landscape which continues today.

This design is inspired by the red sand dunes that are found throughout the central desert. There is a large red sand dune near Ernabella named Wamikata which is a popular place for looking for maku (witchetty grubs) and for teaching Milpatjunanyi (telling stories in the sand) to children.

Artiste : Atipalku Intjalki (1955)

Titre de l'œuvre : Tjukurpa Mulayangu

Format : 179 x 98 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 495-22

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Explication sur cette œuvre :

Tjukurpa Mulayangu is a men’s law place. They made this place and campsite. Mulayangu made this place. Over in the west is the other side of Amata which is my father’s country. This is a sacred place called Tankalanya. This is all I can say.

Artiste : Renita Stanley

Titre de l'œuvre : Minyma Kutjara Wingellina

Format : 97 x 97 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 612-22

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Explication sur cette œuvre :

This is the story of the older sister going a long way to get her younger sister and bring her back. They went through many places on the way, but I will only talk about a short bit of their journey at Wingellina. Two women who both came from up high and stayed awhile. They both could see that Docker River was close.

And as they were sitting there they performed ceremony, inma. After they both threw away their weapons, they threw them away. Their head-rings, they threw away their head-rings. Then they got up and left. They went to another place, a hollow called Kantarangkutjara and then they travelled on to Docker River. The story of their travels after Docker River belongs to the Docker River people and others in distant country. My part of the story is short.

Artiste : Yanyi Dunn

Titre de l'œuvre : Tjukula/Waterholes

Format : 149 x 80 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 631-22

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Explication sur cette œuvre :

Tjukurpa Mulayangu is a men’s law place. They made this place and campsite. Mulayangu made this place. Over in the west is the other side of Amata which is my father’s country. This is a sacred place called Tankalanya. This is all I can say.

Artiste : Atipalku Intjalki (1955)

Titre de l'œuvre : Piltati

Format : 150 x 81 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 634-22

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Explication sur cette œuvre :

There were two sisters who married two brothers and they all lived together. One day the women went wandering and they went such a long way that they forgot about their husbands. Back at the camp, the two husbands were thinking, 'Where are our wives?' and they decided to go looking for them. One brother said to the other, 'What should we become to go looking for them?' and the other brother said 'Why don't we become Rainbow Serpents?' And they travelled in the sky looking down for their wives. Finally they see them hunting for carpet snakes and they put something in the hole where the women were digging. The women find it and then dig another hole and once again the men have put something in there. And this is how the men lure the women back to Piltati where the men make the sisters transform into Wanampi, swallow them and keep .them in their throats. All four of them live together in the waterhole and still live there today.

Artiste : Carlene Thompson (1950)

Titre de l'œuvre : Kalaya ngura

Format : 150 x 100 cm

Provenance et certificat : centre d'art d'Ernabella

Référence de cette peinture d'art Aborigène : 637-22

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Explanations of this Aboriginal painting :

Emu Country. This painting depicts Carlene's family's country, near Kanypi in the Western APY Lands. It is the country of the emu, meaning the emu (kalaya) is the ancestral being who formed that part of the country.
That Kalaya travelled from Kanpi to Watarru. It is very typical for the Kalaya to have many children, like Carlene, who had six children.

Her artworks are in the prestigious following collections :
Goulburn Regional Art Gallery, 2016
Queensland Art Gallery, Brisbane, Qld

Awards :
2019 National Aboriginal and Torres Strait Islander Art Award, Finalist
2019 Australia Council for the Art: Art project for individuals recipient
2018 Quick Response Grant Country Arts SA: Contact, Connection and Conversation
2018 National Aboriginal and Torres Strait Islander Art Award, Finalist
2016 Finalist (collaborative), National Aboriginal and Torres Strait Islander Art Award

Artiste : Pepai Jangala Carroll (1950-2021)

Titre de l'œuvre : Walungurru

Format : 280 x 175 cm

Provenance et certificat : centre d'art d'Ernabella

Référence de cette peinture d'art Aborigène : 508-20

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Explanations of this Aboriginal painting :

Pepai's father comes from sand-dune country near Kintore in the Northern Territory. This place is called Walungurru."The Wanampi is looking for that man. He did the wrong thing and he is running into sand hill country. The Wanampi made that road and he brought the water with him. There was no water here before, but it is still there now."

The artworks of the artist could be find in the following prestigious collections :

Araluen Arts Centre, 2015
Araluen Arts Centre, 2020
Art Gallery Of New South Wales 2018
Art Gallery Of South Australia, 2011, 2015, 2016
Artbank, 2011
Artbank, 2018
Ballarat Regional Gallery, 2020
Charles Darwin University, 2011
Harriet & Richard England, 2010, 2014
National Gallery Of Victoria, 2013, 2015
Parliament House Collection, Canberra
Fondation Opale, Suisse

Artiste : Pepai Jangala Carroll (1950-2021)

Titre de l'œuvre : Yumari

Format : 170 x 160 cm

Provenance et certificat : centre d'art d'Ernabella

Référence de cette peinture d'art Aborigène : 13-21

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Explanations of this Aboriginal painting :

Yumari literally means mother in law in Luritja, the language of Pepai's father. A site named Yumari is located west of Walungurru or Kintore (NT) and east of Kiwirrkurra (WA). Pepai visited this site for the first time on a recent trip back to his custodial country in April 2017, having left this region as a 19 year old after his parents passed away. Pepai has spent the last 40 years living and working in Ernabella. On the trip he travelled with fellow Ernabella artist Derek Jungarrayi Thompson to visit sites between Kintore, Kiwirrkurra and Lake Mackay (Wilkinkarra). "I went to that place Kiwirrkurra and I was returning and we came half way to see my father’s country, to see my father’s and grandmother’s country and the big rock hole, it’s really long. I was looking at it and after seeing it I thought, well, I might paint this one. The name of the place is Yumari. That place Yumari. I’m painting that one now."

The artworks of the artist could be find in the following prestigious collections :

Araluen Arts Centre, 2015
Araluen Arts Centre, 2020
Art Gallery Of New South Wales 2018
Art Gallery Of South Australia, 2011, 2015, 2016
Artbank, 2011
Artbank, 2018
Ballarat Regional Gallery, 2020
Charles Darwin University, 2011
Harriet & Richard England, 2010, 2014
National Gallery Of Victoria, 2013, 2015
Parliament House Collection, Canberra
Fondation Opale, Suisse

Artiste : Pepai Jangala Carroll (1950-2021)

Titre de l'œuvre : Ilpili

Format : 200 x 153 cm

Provenance et certificat : centre d'art d'Ernabella

Référence de cette peinture d'art Aborigène : 560-20

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Explanations of this Aboriginal painting :

Ilpili is near Kintore on the way to Mount Leibig and Papunya. This is a minimya kutjarra (two women) story.

Two women are sitting down at a rock hole telling stories. A wati (man) was sitting down behind a puli (boulder) watching the women. This is part of the Seven Sisters story. In April 2017, on a recent journey back to that country, Pepai visited this site and the rock hole.

The artworks of the artist could be find in the following prestigious collections :

Araluen Arts Centre, 2015
Araluen Arts Centre, 2020
Art Gallery Of New South Wales 2018
Art Gallery Of South Australia, 2011, 2015, 2016
Artbank, 2011
Artbank, 2018
Ballarat Regional Gallery, 2020
Charles Darwin University, 2011
Harriet & Richard England, 2010, 2014
National Gallery Of Victoria, 2013, 2015
Parliament House Collection, Canberra
Fondation Opale, Suisse

Artiste : Rachael Mipantjiti Lionel

Titre de l'œuvre : Kapi Wankanya

Format : 180 x 120 cm

Provenance et certificat : centre d'art d'Ernabella

Référence de cette peinture d'art Aborigène : 390-21

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Explanations of this Aboriginal art painting :

Rachael comes from the third generation of Lionel women painting at Ernabella Arts. Rachael draws inspiration for her paintings from the stories and messages she receives through her dreams. Kapi Wankanya represents one of these dreams and tells a story of living water, sacred water. In the context of the dream, Rachael speaks of the sensation of floating in water and also feeling its healing force inside her body. “Kapi Wankanya is a powerful water story."

Her artworks are in the prestigious following collections :
- Artbank, 2018
- Museum And Art Gallery Of The Northern Territory, 2016
- National Museum Of Australia, 2016
- Private collections

Artiste : Alison Lionel

Titre de l'œuvre : Likara (bark)

Format : 180 x 100 cm

Provenance et certificat : centre d'art d'Ernabella

Référence de cette peinture d'art Aborigène : 389-21

Vendue

Explanations of this Aboriginal painting :

Tree story. A depiction of the bark of the trees in the Ernabella creek

Artiste : Janice Stanley

Titre de l'œuvre : Pantu (Salt lake)

Format : 120 x 120 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 421-21

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Explication sur cette œuvre :

Painting by the artist Janice Stanley (1987).

Janice Stanley is the third generation of Stanley women to create artwork at Ernabella Arts. She is an early career painter and ceramic artist showing greatpromise.Her grandmother is founding artist and traditional healer Tjariya Stanley and her aunts are senior artists, Alison Milyika Carroll and Renita Stanley.Janice is part of a group of young women leading the Ernabella ceramics studio, despite only commencing work in late 2015. She has been exhibitedaround Australia and internationally, in Darwin, Alice Springs, Broome, Sydney and Brussels.

A very significant tjurkurpa (story) to Anangu is Kungkarangkalpa (Seven Sisters) which is an extensive creation story relating to the Pleiades constellation. The story traverses Australia taking different forms, but local women are privy to the part of the story which takes place in the country near Ernabella. In her paintings Janice is depicting a salt lake near Attila (Mt Connor), a landmark in the Seven Sisters story.

The artworks of the artist are in the following collections :
Australian Embassy in Zagreb
Private collection

Artiste : Janice Stanley

Titre de l'œuvre : Pantu (Salt lake)

Format : 120 x 120 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 409-21

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Explication sur cette œuvre :

Painting by the artist Janice Stanley (1987).

Janice Stanley is the third generation of Stanley women to create artwork at Ernabella Arts. She is an early career painter and ceramic artist showing greatpromise.Her grandmother is founding artist and traditional healer Tjariya Stanley and her aunts are senior artists, Alison Milyika Carroll and Renita Stanley.Janice is part of a group of young women leading the Ernabella ceramics studio, despite only commencing work in late 2015. She has been exhibitedaround Australia and internationally, in Darwin, Alice Springs, Broome, Sydney and Brussels.

A very significant tjurkurpa (story) to Anangu is Kungkarangkalpa (Seven Sisters) which is an extensive creation story relating to the Pleiades constellation. The story traverses Australia taking different forms, but local women are privy to the part of the story which takes place in the country near Ernabella. In her paintings Janice is depicting a salt lake near Attila (Mt Connor), a landmark in the Seven Sisters story.

The artworks of the artist are in the following collections :
Australian Embassy in Zagreb
Private collection

Artiste : Janice Stanley

Titre de l'œuvre : Pantu (Salt lake)

Format : 150 x 150 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 417-21

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Explication sur cette œuvre :

Painting by the artist Janice Stanley (1987).

Janice Stanley is the third generation of Stanley women to create artwork at Ernabella Arts. She is an early career painter and ceramic artist showing greatpromise.Her grandmother is founding artist and traditional healer Tjariya Stanley and her aunts are senior artists, Alison Milyika Carroll and Renita Stanley.Janice is part of a group of young women leading the Ernabella ceramics studio, despite only commencing work in late 2015. She has been exhibitedaround Australia and internationally, in Darwin, Alice Springs, Broome, Sydney and Brussels.

A very significant tjurkurpa (story) to Anangu is Kungkarangkalpa (Seven Sisters) which is an extensive creation story relating to the Pleiades constellation. The story traverses Australia taking different forms, but local women are privy to the part of the story which takes place in the country near Ernabella. In her paintings Janice is depicting a salt lake near Attila (Mt Connor), a landmark in the Seven Sisters story.

The artworks of the artist are in the following collections :
Australian Embassy in Zagreb
Private collection

Artiste : Langaliki Lewis

Titre : Tjukula/Waterholes

Format : 170 x 100 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 284-21

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Explication sur cette œuvre :

Painting by Langaliki Lewis (1973). For the Pitjantjatjara people living in the desert, knowledge of their water sources was critical to their survival.

This resulted in an intimate understanding of the landscape which continues today. Deep familiarity with the topography of their country and the way rain would interact with the land ensured constant sources of water could be found. 'Tjukula' means rock-holes, which are found with surprising frequency in the Musgrave ranges.

Between visits, Anangu (people) would use rocks and spinifex construction to guard these from spoilage by animals and, particularly in more recent times, from feral and stock animals, cattle, camels, horses and donkeys.

Artiste : Elizabeth Dunn (1973)

Titre de l'œuvre : Piltati, Elizabeth Dunn's story

Format : 150 x 120 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 418-21

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Explication sur cette œuvre :

Two brothers were married to two sisters and they all lived together. One day the two men go out hunting, looking for malu (kangaroo). They travel everywhere and find nothing. They start to worry. “What are we going to do, there is no meat on this land? One brother says, “maybe we should turn into something?”. They start to think about what they should turn into.

“Maybe firewood?”“No, the firewood burns.”

“Maybe emu or a bird?”.

“No, people eat them.”

They do a lot of talking and decide they should turn into Wanampi (rainbow serpents). A lot of smoke starts to come out of the ground, it is very scary and then the men become Wanampi. They travel into the land, towards a rockhole.

Meanwhile, the two women are waiting for their husbands to return from their hunting trip. They wait a very long time. They keep going on with their lives, collecting bush tucker, waiting…but the men never come back. So, they decide to set out to find their husbands. One day, they come across a hole in the ground. They start digging. Digging, digging, digging, they follow the tunnel inside the ground. They are so frantically digging they accidently hit one of the Wanampi in the back. The Wanampi chase the ladies and eat one of them, one women gets away.

Now, the Wanampi still live in the waterhole called Piltati. The Wanampi still live their today and provide rain for the bush tucker to grow and provide meat on the land. Piltati is Elizabeth’s great-grandfathers country and her dreaming story.

Awards
2018 Winner, Indigenous Award, Port Hacking Potter Group 50th National Pottery Competition 2018
2018 Quick Response Grant Country Arts SA: Contact, Connection and Conversation
2018 National Aboriginal and Torres Strait Islander Art Award, Finalist

Collections
National Museum Of Australia, 2016

Artiste : Elizabeth Dunn (1973)

Titre de l'œuvre : Piltati, Elizabeth Dunn's story

Format : 150 x 100 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 355-21

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Explication sur cette œuvre :

Two brothers were married to two sisters and they all lived together. One day the two men go out hunting, looking for malu (kangaroo). They travel everywhere and find nothing. They start to worry. “What are we going to do, there is no meat on this land? One brother says, “maybe we should turn into something?”. They start to think about what they should turn into.

“Maybe firewood?”“No, the firewood burns.”

“Maybe emu or a bird?”.

“No, people eat them.”

They do a lot of talking and decide they should turn into Wanampi (rainbow serpents). A lot of smoke starts to come out of the ground, it is very scary and then the men become Wanampi. They travel into the land, towards a rockhole.

Meanwhile, the two women are waiting for their husbands to return from their hunting trip. They wait a very long time. They keep going on with their lives, collecting bush tucker, waiting…but the men never come back. So, they decide to set out to find their husbands. One day, they come across a hole in the ground. They start digging. Digging, digging, digging, they follow the tunnel inside the ground. They are so frantically digging they accidently hit one of the Wanampi in the back. The Wanampi chase the ladies and eat one of them, one women gets away.

Now, the Wanampi still live in the waterhole called Piltati. The Wanampi still live their today and provide rain for the bush tucker to grow and provide meat on the land. Piltati is Elizabeth’s great-grandfathers country and her dreaming story.

Awards
2018 Winner, Indigenous Award, Port Hacking Potter Group 50th National Pottery Competition 2018
2018 Quick Response Grant Country Arts SA: Contact, Connection and Conversation
2018 National Aboriginal and Torres Strait Islander Art Award, Finalist

Collections
National Museum Of Australia, 2016

Artiste : Renita Stanley

Titre de l'œuvre : Minyma Kutjara Wingellina

Format : 100 x 75 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 426-21

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Explication sur cette œuvre :

This is the story of the older sister going a long way to get her younger sister and bring her back. They went through many places on the way, but I will only talk about a short bit of their journey at Wingellina. Two women who both came from up high and stayed awhile. They both could see that Docker River was close.

And as they were sitting there they performed ceremony, inma. After they both threw away their weapons, they threw them away. Their head-rings, they threw away their head-rings. Then they got up and left. They went to another place, a hollow called Kantarangkutjara and then they travelled on to Docker River. The story of their travels after Docker River belongs to the Docker River people and others in distant country. My part of the story is short.

Artiste : Carlene Thompson (1950)

Titre de l'œuvre : Kalaya ngura

Format : 170 x 100 cm

Provenance et certificat : centre d'art d'Ernabella

Référence de cette peinture d'art Aborigène : 280-21

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Explanations of this Aboriginal painting :

Emu Country. This painting depicts Carlene's family's country, near Kanypi in the Western APY Lands. It is the country of the emu, meaning the emu (kalaya) is the ancestral being who formed that part of the country.
That Kalaya travelled from Kanpi to Watarru. It is very typical for the Kalaya to have many children, like Carlene, who had six children.

Her artworks are in the prestigious following collections :
Goulburn Regional Art Gallery, 2016
Queensland Art Gallery, Brisbane, Qld

Awards :
2019 National Aboriginal and Torres Strait Islander Art Award, Finalist
2019 Australia Council for the Art: Art project for individuals recipient
2018 Quick Response Grant Country Arts SA: Contact, Connection and Conversation
2018 National Aboriginal and Torres Strait Islander Art Award, Finalist
2016 Finalist (collaborative), National Aboriginal and Torres Strait Islander Art Award

Artiste : Renita Stanley

Titre de l'œuvre : Minyma Kutjara Wingellina

Format : 99 x 67 cm

Provenance et certificat : centre d'art aborigène d’Ernabella

Référence de cette peinture aborigène : 338-21

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Explication sur cette œuvre :

This is the story of the older sister going a long way to get her younger sister and bring her back. They went through many places on the way, but I will only talk about a short bit of their journey at Wingellina. Two women who both came from up high and stayed awhile. They both could see that Docker River was close.

And as they were sitting there they performed ceremony, inma. After they both threw away their weapons, they threw them away. Their head-rings, they threw away their head-rings. Then they got up and left. They went to another place, a hollow called Kantarangkutjara and then they travelled on to Docker River. The story of their travels after Docker River belongs to the Docker River people and others in distant country. My part of the story is short.

Artiste : Carlene Thompson (1950)

Titre de l'œuvre : Kalaya ngura

Format : 150 x 100 cm

Provenance et certificat : centre d'art d'Ernabella

Référence de cette peinture d'art Aborigène : 407-21

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Explanations of this Aboriginal painting :

Emu Country. This painting depicts Carlene's family's country, near Kanypi in the Western APY Lands. It is the country of the emu, meaning the emu (kalaya) is the ancestral being who formed that part of the country.
That Kalaya travelled from Kanpi to Watarru. It is very typical for the Kalaya to have many children, like Carlene, who had six children.

Her artworks are in the prestigious following collections :
Goulburn Regional Art Gallery, 2016
Queensland Art Gallery, Brisbane, Qld

Awards :
2019 National Aboriginal and Torres Strait Islander Art Award, Finalist
2019 Australia Council for the Art: Art project for individuals recipient
2018 Quick Response Grant Country Arts SA: Contact, Connection and Conversation
2018 National Aboriginal and Torres Strait Islander Art Award, Finalist
2016 Finalist (collaborative), National Aboriginal and Torres Strait Islander Art Award