Exposition d’art Aborigène “Quintessence” - Aboriginal art from Australia
En association with NINUKU ARTS.
A la galerie Aboriginal Signature Estrangin : 101 rue Jules Besme, 1081 Bruxelles.
Vernissage sur RDV le mardi 24 octobre de 11h à 21h30.
A 20h - discours du directeur de la galerie et drink.
RSVP - réserver votre visite
Ensuite la galerie vous reçoit sur RDV, du mercredi 25 octobre au samedi 18 novembre 2023, du mardi au samedi, de 11h à 19h : vous pouvez également réserver votre visite dés à présent dans notre agenda ici.
Quintessence
La galerie Aboriginal Signature Estrangin est fière de vous présenter l’exposition «Quintessence », réunissant 35 œuvres réalisées par 15 artistes indigènes d’Australie, comme un hommage aux hommes et femmes du Western Desert dont la voix n’a pas été écoutée il y a quelques jours encore lors du dernier référendum en Australie.
Et pourtant cette voix rare, connectée à la terre, est un trésor vivant arrivé comme par miracle jusqu’à nous à travers les milliers d’années.
Cette voix porte en étendard que la culture est l’essence même de la vie, à tous les étages de la famille et de la communauté, comme vecteur de sens, comme élément nourricier où puiser la force de continuer son parcours.
David Miller - Wati Ngintaka Tjukurpa - 152 x 152 cm - 23-156 - © Photo Aboriginal Signature Estrangin Gallery with the courtesy of the artist and Ninuku Arts.
Cette voix souligne combien l’essence de la vie consiste à transmettre, pour continuer de grandir individuellement et tous ensemble sous la mélopée du Tjukurpa ou Temps du Rêve.
Cette culture est l’ossature qui permet de donner du sens au quotidien dans des territoires immenses et souvent épurés où souffle le vent dans le silence du minéral. Cette culture est le ciment de leur société qui permet aux jeunes de souhaiter continuer à vivre dans ces lieux si éloignés.
Leur voix à tous résonne depuis si longtemps avec une extraordinaire résilience, et transmet une autre façon d’habiter la terre et de lire le livre des ancêtres dessiné dans le paysage et dans leurs peintures présentes ici à Bruxelles.
Leur voix se consacre à la transmission de la plus ancienne mémoire de notre terre, dans un cycle continu, qui permet à l’esprit de grandir en savoir et sagesse au fil des générations, face aux enjeux du monde.
Angela Watson - Mamu Story - 168 x 168 cm - 22-497 © Photo Aboriginal Signature Estrangin Gallery with the courtesy of the artist and Ninuku Arts.
Durant cet hiver austral (en juillet et Août 2023), je repartais à nouveau à la rencontre des peuples indigènes de cette vaste île-continent, dans une sorte de quête, en apprentissage, en suivant seul sur 6000 km en 4x4 les pistes fermées au public et soumises aux autorisations des conseils Aborigènes.
Quand j’arrivais à Kalka au centre d’art de Ninuku, un des plus éloignés d’Australie, à la frontière des trois états dans le désert rouge, les lieux étaient encore habités par le souvenir des artistes qui nous ont quittés il y a peu et à qui nous rendons hommage dans cette exposition comme Harry Tjutjuna (1929- dec) – grand homme médecin, Sandy Brumby (autour de 1940) – Grand initié et cow boy du bush, Jimmy Donegan (1950-2020) – chasseur et grand maître de cérémonies - dont la fille Margaret Donegan reprend ici le flambeau.
La quintessence de sa vie consiste à transmettre le flambeau de la connaissance, comme pour l’artiste Nyayati Stanley Young (1949) qui ne peint plus aujourd’hui mais dont nous présentons deux dernières œuvres, avec son travail de mémoire qui se poursuit ici avec audace chez sa petite fille Cassaria Young Hogan.
En 2022, une peinture Ngintaka Wati de l’artiste David Miller (1951), fut projetée sur l’Opéra de Sydney dans le cadre des commémorations de l’Australia Day, célébrant une histoire importante qui traverse le territoire de son père. Ici ses trois œuvres présentées à Bruxelles manifestent son importance politique et rituelle au sein de la communauté avec une expression artistique portée par les signes, remarquable et signifiante, comme le faisait les hommes anciens.
Harry Tjutjuna - Wanka Spider man dreaming - 139.5 x 110 cm - 0910 © Photo Aboriginal Signature Estrangin Gallery with the courtesy of the artist and Ninuku Arts.
Chez Angkaliya Nelson (1969), nous partons sur le chemin des Seven sisters, une des histoires les plus fameuses du Temps de la Création (Tjukurpa), ici traitée de façon exceptionnelle dans l’épure des formes, à travers les vibrations des dunes et lignes, ponctuées par des agglomérats de points blancs stratégiquement posés et symbolisant la présence des ancêtres créateurs qui ont laissé leurs traces dans le territoire à travers les fissures dans les roches, et cavités, puis sous la forme de la constellation des Pléiades.
Le génie des 15 artistes de Ninuku - au sein de cette exposition sélectionnée in situ dans leur territoire - et plus généralement des peuples Aborigènes d’Australie, s’illustre dans l’action de favoriser le rayonnement de leur culture à l’aide de supports artistiques comme les peintures. Chaque œuvre devient ainsi comme un témoin de la cristallisation d’une culture orale et immatérielle. Chaque peinture accrochée aux cimaises des musées du monde, élève comme un monument à leur pensée et à leur voix.
Chaque peinture devient ainsi un invitation à aimer la terre et à écouter enfin leurs messages.
Nous nous réjouissons de vous accueillir au sein de la galerie à Bruxelles, dans notre espace de 250 m2 tout entier dédié à ces grands et petits trésors du bout du monde.
Bertrand Estrangin
Directeur de la galerie
Angkaliya Nelson - Kungkarangkalpa (Seven Sisters Story) - 183 x 122 cm - 22-500 © Photo Aboriginal Signature Estrangin Gallery with the courtesy of the artist and Ninuku Arts.
Découvrez les peintures disponibles à Bruxelles durant l’exposition :
Artiste : Angkaliya Nelson
Titre de l'œuvre : Kungkarangkalpa (Seven Sisters Story)
Format : 122 x 91 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 22-286
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Explications pour cette œuvre :
This is a major Tjukurpa for Irrunytju (Wingellina) and across the central Australian deserts. The seven sisters travelled from Kaliwarra to Wannan in Western Australia, stopping at significant sites and rockholes including Kuru Ala, a sacred place for women. They encountered a lustful man named Wati Nyiru, who chased them around the desert. Some of the details of this Tjukurpa (Dreaming story) are sacred and can’t be repeated.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Angkaliya Nelson
Titre de l'œuvre : Kungkarangkalpa (Seven Sisters Story)
Format : 101 x 76 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 22-410
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Explications pour cette œuvre :
This is a major Tjukurpa for Irrunytju (Wingellina) and across the central Australian deserts. The seven sisters travelled from Kaliwarra to Wannan in Western Australia, stopping at significant sites and rockholes including Kuru Ala, a sacred place for women. They encountered a lustful man named Wati Nyiru, who chased them around the desert. Some of the details of this Tjukurpa (Dreaming story) are sacred and can’t be repeated.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Angkaliya Nelson
Titre de l'œuvre : Kungkarangkalpa (Seven Sisters Story)
Format : 122 x 91 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 23-029
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Explications pour cette œuvre :
This is a major Tjukurpa for Irrunytju (Wingellina) and across the central Australian deserts. The seven sisters travelled from Kaliwarra to Wannan in Western Australia, stopping at significant sites and rockholes including Kuru Ala, a sacred place for women. They encountered a lustful man named Wati Nyiru, who chased them around the desert. Some of the details of this Tjukurpa (Dreaming story) are sacred and can’t be repeated.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Nyayati Stanley Young
Titre de l'œuvre : Patilpa Tjukurpa
Format : 101 x 91 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 23-188
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Explications pour cette œuvre :
This is the dreamtime story of Patilpa (Port Lincoln ringneck parrot) that lives in the country around Pipalytjara. Wati Minu (a man called Minu) came from the west to Pipalytjara, he was a rainmaker. He hunted all the waru (black footed wallaby) and he got lots. The Patilpa people were hungry and went and stole all the fat Mala, leaving the skinny one's for Minu. Minu was angry at this and he made clouds and thunder. All the Patilpa were hiding in a cave, but the rain came and washed them all away. They became Chrysoprase a bright green rock that you can find in the hills surrounding Pipalyatjara.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Nyayati Stanley Young
Titre de l'œuvre : Patilpa Tjukurpa
Format : 122 x 91 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 22-368
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Explications pour cette œuvre :
This is the dreamtime story of Patilpa (Port Lincoln ringneck parrot) that lives in the country around Pipalytjara. Wati Minu (a man called Minu) came from the west to Pipalytjara, he was a rainmaker. He hunted all the waru (black footed wallaby) and he got lots. The Patilpa people were hungry and went and stole all the fat Mala, leaving the skinny one's for Minu. Minu was angry at this and he made clouds and thunder. All the Patilpa were hiding in a cave, but the rain came and washed them all away. They became Chrysoprase a bright green rock that you can find in the hills surrounding Pipalyatjara.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Sandy Brumby
Titre de l'œuvre : Victory Downs
Format : 76,5 x 76,5 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 13356
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Explications pour cette œuvre :
This is a story about my father’s country, Victory Downs, near Amata community. Lots of women were at this site collecting kampurapa (bush tomatoes). A man came along and asked the women for the mai (food) but the women didn’t give him any. So the man had no mai. After the man left, the women fed all the mai to the tjitji (children) until they were full. The man came back again and the group travelled together to Pangkupiri, which is near Tjukurla and close to the country where Sandy Brumby’s mother was born.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Harry Tjutjuna
Titre de l'œuvre : Wanka Spider man dreaming
Format : 139.5 x 110 cm
Provenance et certificat : centre d'art aborigène de Ninuku Arts
Référence de cette toile aborigène : 0910
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Explications pour cette peinture d'art Aborigène :
Wanka Kutjara, Minymaku Watiku (This is two spiders a man and a woman). "This is a big spider man. Wati paluru Ngankari (A male healer, traditional doctor). He is a powerful man. When rain comes he hides in his nest. He is a clever man. At night time he changes colour. His name is Wanka, spider. That's the story. Minyma wanka tjuta, these are all the women and children for this man (around him). I am the spider man, ngankari (healer, traditional doctor).
Artiste : Sandy Brumby
Titre de l'œuvre : Kulitja
Format : 168 x 153 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 12137
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Explications pour cette œuvre :
This story is about a place called Kulitja, in Yankunytjatjara country close to Victory Downs in the Northern Territory. There are many rockholes at this site and it is the home of a Wati Wanampi (male water serpent). He is looking around for kuka (meat) and mai (bushtucker) such as kampurarpa (bush tomato) and wayanu (quandong). One day, another water serpent comes to this place. The wati wanampi fights him and he runs away. After that, the Wati Wanampi eats the food, curls up and goes to sleep, forming a large rockhole that is still there today. This is the home of the Wati Wanampi (male water serpent).
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Jimmy Yanyatjari Donegan
Titre de l'œuvre : Dingo Dreaming
Format : 101.6 x 50.8 cm
Provenance et certificat : centre d'art aborigène de Ninuku Arts
Référence de cette toile aborigène : 19-585
Explications pour cette peinture d'art Aborigène :
Dingo Dreaming shows the life of the Dingo family. The puppies playing and waiting or the return of the father. The mother is watching them, while the father is hunting kangaroos to feed the family.
Artiste : Angkaliya Nelson
Titre de l'œuvre : Kungkarangkalpa (Seven Sisters Story)
Format : 122 x 91 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 22-287
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Explications pour cette œuvre :
This is a major Tjukurpa for Irrunytju (Wingellina) and across the central Australian deserts. The seven sisters travelled from Kaliwarra to Wannan in Western Australia, stopping at significant sites and rockholes including Kuru Ala, a sacred place for women. They encountered a lustful man named Wati Nyiru, who chased them around the desert. Some of the details of this Tjukurpa (Dreaming story) are sacred and can’t be repeated.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Angkaliya Nelson
Titre de l'œuvre : Kungkarangkalpa (Seven Sisters Story)
Format : 122 x 91 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 22-500
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Explications pour cette œuvre :
This is a major Tjukurpa for Irrunytju (Wingellina) and across the central Australian deserts. The seven sisters travelled from Kaliwarra to Wannan in Western Australia, stopping at significant sites and rockholes including Kuru Ala, a sacred place for women. They encountered a lustful man named Wati Nyiru, who chased them around the desert. Some of the details of this Tjukurpa (Dreaming story) are sacred and can’t be repeated.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Angkaliya Nelson
Titre de l'œuvre : Kungkarangkalpa (Seven Sisters Story)
Format : 122 x 91 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 22-416
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Explications pour cette œuvre :
This is a major Tjukurpa for Irrunytju (Wingellina) and across the central Australian deserts. The seven sisters travelled from Kaliwarra to Wannan in Western Australia, stopping at significant sites and rockholes including Kuru Ala, a sacred place for women. They encountered a lustful man named Wati Nyiru, who chased them around the desert. Some of the details of this Tjukurpa (Dreaming story) are sacred and can’t be repeated.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Angkaliya Nelson
Titre de l'œuvre : Kungkarangkalpa (Seven Sisters Story)
Format : 122 x 91 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 23-81
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Explications pour cette œuvre :
This is a major Tjukurpa for Irrunytju (Wingellina) and across the central Australian deserts. The seven sisters travelled from Kaliwarra to Wannan in Western Australia, stopping at significant sites and rockholes including Kuru Ala, a sacred place for women. They encountered a lustful man named Wati Nyiru, who chased them around the desert. Some of the details of this Tjukurpa (Dreaming story) are sacred and can’t be repeated.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : David Miller
Titre de l'œuvre : Wati Ngintaka Tjukurpa
Format : 102 x 76 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 23-191
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Explications pour cette œuvre :
This is a story about Wati Ngintaka Tjukurpa (perentie lizard man creation story). That Wati Ngintaka (lizard man) heard the clapping sound of a beautiful grinding stone - a traditional tool used for grinding mai (food). He wanted that stone for himself, so he travelled from Arang’nga a long way east towards Wayatina, looking for the stone. He spotted Anangu tjuta (lots of Aboriginal people) at a camp. Some of the people gave him mai (food) in the form of a seed cake, but it was dry and he didn’t like it. Then one lady gave him delicious food and he knew that it had been made with seeds ground on the special grinding stone. He spied the grinding stone and stole it, hiding it in under his tail. When they all went hunting the next day, Wati Ngintaka stayed in camp, saying he had sore feet. Once they were gone, it was safe and he left, stealing the grinding stone. All the people were angry with the Wati Ngintaka and chased him. When they caught him they felt all over his body to see where he was hiding the grinding stone, but couldn’t find it. Wati Ngintaka held up his arms and claimed he didn’t have it, but they saw he was hiding it, wipungka (in his tail). They speared the Wati Ngintaka and retrieved the grinding stone. He passed away at a place called Aran’nga in the Northern Territory. Ngaltutjara (poor thing).
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Yangi Yangi Fox
Titre de l'œuvre : Wati Ngintaka Tjukurpa
Format : 122 x 61 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 23-040
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Explications pour cette œuvre :
This is a story about Wati Ngintaka Tjukurpa (perentie lizard man creation story). That Wati Ngintaka (lizard man) heard the clapping sound of a beautiful grinding stone - a traditional tool used for grinding mai (food). He wanted that stone for himself, so he travelled from Arang’nga a long way east towards Wayatina, looking for the stone. He spotted Anangu tjuta (lots of Aboriginal people) at a camp. Some of the people gave him mai (food) in the form of a seed cake, but it was dry and he didn’t like it. Then one lady gave him delicious food and he knew that it had been made with seeds ground on the special grinding stone. He spied the grinding stone and stole it, hiding it in under his tail. When they all went hunting the next day, Wati Ngintaka stayed in camp, saying he had sore feet. Once they were gone, it was safe and he left, stealing the grinding stone. All the people were angry with the Wati Ngintaka and chased him. When they caught him they felt all over his body to see where he was hiding the grinding stone, but couldn’t find it. Wati Ngintaka held up his arms and claimed he didn’t have it, but they saw he was hiding it, wipungka (in his tail). They speared the Wati Ngintaka and retrieved the grinding stone. He passed away at a place called Aran’nga in the Northern Territory. Ngaltutjara (poor thing).
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : David Miller
Titre de l'œuvre : Wati Ngintaka Tjukurpa
Format : 91 x 61 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 23-069
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Explications pour cette œuvre :
This is a story about Wati Ngintaka Tjukurpa (perentie lizard man creation story). That Wati Ngintaka (lizard man) heard the clapping sound of a beautiful grinding stone - a traditional tool used for grinding mai (food). He wanted that stone for himself, so he travelled from Arang’nga a long way east towards Wayatina, looking for the stone. He spotted Anangu tjuta (lots of Aboriginal people) at a camp. Some of the people gave him mai (food) in the form of a seed cake, but it was dry and he didn’t like it. Then one lady gave him delicious food and he knew that it had been made with seeds ground on the special grinding stone. He spied the grinding stone and stole it, hiding it in under his tail. When they all went hunting the next day, Wati Ngintaka stayed in camp, saying he had sore feet. Once they were gone, it was safe and he left, stealing the grinding stone. All the people were angry with the Wati Ngintaka and chased him. When they caught him they felt all over his body to see where he was hiding the grinding stone, but couldn’t find it. Wati Ngintaka held up his arms and claimed he didn’t have it, but they saw he was hiding it, wipungka (in his tail). They speared the Wati Ngintaka and retrieved the grinding stone. He passed away at a place called Aran’nga in the Northern Territory. Ngaltutjara (poor thing).
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Cassaria Young Hogan
Titre de l'œuvre : Bush trip
Format : 91 x 76 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 23-86
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Explications pour cette œuvre :
Cassaria paints her grandfathers country, Stanley Young's homeland Mamutjara (Western Australia) and Kunatjara (South Australia).
This is where she goes on bush trips with her Mother Aunty Carol Young and other family and children for bush foods Maku, Tjala, Tinka and to dig for Punu.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Margaret Donegan
Titre de l'œuvre : Wati Kutjara Wanampi by Margaret
Format : 91 x 61 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 23-92
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Explications pour cette œuvre :
Margaret is painting her father, the late Mr. Donegan's tjukurpa (Dreaming story) from an important site known as Pukara, south-west of Irrunytju (Wingellina community) in Western Australia. It is a story of Wati Kutjara Wanampi (two male water serpents) - a father and son - who are living at a waterhole. According to the story, Anangu tjuta (lots of people) went to that rockhole for the kapi (water), which is said to taste sweet. This upset the father and he told them to go back to their own country. Once the people left, the father and son travelled to Willuna, where they camped for weeks. They then return to Pukara. One day they were sleeping, but were awoken by a loud buzzing sound. The Minyma Punpunpa (the female flies) had been attracted to the honey grevillea plants found near the waterhole. It prompted the father and son to get up and go to collect the honey from the plants. It is there that the Wati Mututa (male black ants) appeared. They speared the son in his side. When the son started vomiting, he produced the seeds of all the different varieties of honey grevillea plants that are still found there today. They include kaliny-kalinypa, ultukunpa, piruwa and witjinti.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Rowena Nelson
Titre de l'œuvre : Wati Ngintaka Tjukurpa
Format : 61 x 92 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 23-100
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Explications pour cette œuvre :
Tjukurpa minyma ninu palampa tjitji kutjara (this is the dreamtime story about the bilby woman and her two little boys). This is the story for Kalka. That minyma ninu (bilby woman) and her family were eating all the maku (witchety grubs). There are a lot of different maku, tjilka-tjilka, punti, ngarkalya and kanturangu. She ate so much that there wre only ngingirpa left (little immature ones). The wati mututa (ant men) got really angry and they chased the bilby family, husband, wife and kids and speared them. They finished off close to Pipalytjara at Iririiriri.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Samuel Miller
Titre de l'œuvre : Ngayuku Ngura
Format : 101 x 76 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 23-116
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Explications pour cette œuvre :
Ngayuku Ngura means ‘My Place’. Samuel uses an extensive palee of colours to paint the country surrounding Kalka and Pipalyatjara. His paintings feature the various land formations from that area - rockholes, creeks and hills. His land is a sacred men’s rockhole, so sacred that the name is not allowed to be written down or spoken about.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Renae Fox
Titre de l'œuvre : Wati Ngintaka Tjukurpa
Format : 121 x 121 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 23-113
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Explications pour cette œuvre :
This is a story about Wati Ngintaka Tjukurpa (perentie lizard man creation story). That Wati Ngintaka (lizard man) heard the clapping sound of a beautiful grinding stone - a traditional tool used for grinding mai (food). He wanted that stone for himself, so he travelled from Arang’nga a long way east towards Wayatina, looking for the stone. He spotted Anangu tjuta (lots of Aboriginal people) at a camp. Some of the people gave him mai (food) in the form of a seed cake, but it was dry and he didn’t like it. Then one lady gave him delicious food and he knew that it had been made with seeds ground on the special grinding stone. He spied the grinding stone and stole it, hiding it in under his tail. When they all went hunting the next day, Wati Ngintaka stayed in camp, saying he had sore feet. Once they were gone, it was safe and he left, stealing the grinding stone. All the people were angry with the Wati Ngintaka and chased him. When they caught him they felt all over his body to see where he was hiding the grinding stone, but couldn’t find it. Wati Ngintaka held up his arms and claimed he didn’t have it, but they saw he was hiding it, wipungka (in his tail). They speared the Wati Ngintaka and retrieved the grinding stone. He passed away at a place called Aran’nga in the Northern Territory. Ngaltutjara (poor thing).
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Samuel Miller
Titre de l'œuvre : Ngayuku Ngura
Format : 109 x 182 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 22-382
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Explications pour cette œuvre :
Ngayuku Ngura means ‘My Place’. Samuel uses an extensive palee of colours to paint the country surrounding Kalka and Pipalyatjara. His paintings feature the various land formations from that area - rockholes, creeks and hills. His land is a sacred men’s rockhole, so sacred that the name is not allowed to be written down or spoken about.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Angela Watson
Titre de l'œuvre : Mamu Story
Format : 168 x 168 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 22-497
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Explications pour cette œuvre :
Mamu is a rockhole site southwest of Pipalyatjara, about one hour. Alkuwari was travelling with her jamu (grandson) and her grandfather (also called jamu). They made a camp with fire and big wiltja. Alkuwari was worried that her grandson was going to harm her grandfather, and she needed to go hunting. So, she hid her grandfather on top of the wiltja and went. The boy put the waru (fire) inside the wiltja and burned the grandfather. Alkuwari saw the smoke and she ran and ran to the wiltja but the grandfather had died.
The jamu had run away so she went and got all her family to follow him, to kill him. They became the mamu and turned into the seven rockholes of Mamu.
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Janice Miller
Titre de l'œuvre : My country
Format : 61 x 91 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 23-204
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© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.
Artiste : Jennifer Connelly
Titre de l'œuvre : Kungkarangkalpa (Seven Sisters Story)
Format : 100 x 76 cm
Provenance et certificat : centre d'art aborigène de Ninuku Arts
Référence de cette toile aborigène : 23-197
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This is a major Tjukurpa for Irrunytju (Wingellina) and across the central Australian deserts. The seven sisters travelled from Kaliwarra to Wannan in Western Australia, stopping at significant sites and rockholes including Kuru Ala, a sacred place for women. They encountered a lustful man named Wati Nyiru, who chased them around the desert. Some of the details of this Tjukurpa (Dreaming story) are sacred and can’t be repeated.
© Photo Aboriginal Signature Estrangin Gallery with the courtesy of the artist and the Ninuku art centre
Artiste : Jennifer Connelly
Titre de l'œuvre : Kungkarangkalpa (Seven Sisters Story)
Format : 150 x 100 cm
Provenance et certificat : centre d'art aborigène de Ninuku Arts
Référence de cette toile aborigène : 23-198
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Explications pour cette œuvre :
This is a major Tjukurpa for Irrunytju (Wingellina) and across the central Australian deserts. The seven sisters travelled from Kaliwarra to Wannan in Western Australia, stopping at significant sites and rockholes including Kuru Ala, a sacred place for women. They encountered a lustful man named Wati Nyiru, who chased them around the desert. Some of the details of this Tjukurpa (Dreaming story) are sacred and can’t be repeated.
© Photo Aboriginal Signature Estrangin Gallery with the courtesy of the artist and the Ninuku art centre
Artiste : David Miller
Titre de l'œuvre : Wati Ngintaka Tjukurpa
Format : 152 x 152 cm
Provenance et certificat : centre d'art aborigène de Ninuku
Référence de cette peinture : 23-156
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This is a story about Wati Ngintaka Tjukurpa (perentie lizard man creation story). That Wati Ngintaka (lizard man) heard the clapping sound of a beautiful grinding stone - a traditional tool used for grinding mai (food). He wanted that stone for himself, so he travelled from Arang’nga a long way east towards Wayatina, looking for the stone. He spotted Anangu tjuta (lots of Aboriginal people) at a camp. Some of the people gave him mai (food) in the form of a seed cake, but it was dry and he didn’t like it. Then one lady gave him delicious food and he knew that it had been made with seeds ground on the special grinding stone. He spied the grinding stone and stole it, hiding it in under his tail. When they all went hunting the next day, Wati Ngintaka stayed in camp, saying he had sore feet. Once they were gone, it was safe and he left, stealing the grinding stone. All the people were angry with the Wati Ngintaka and chased him. When they caught him they felt all over his body to see where he was hiding the grinding stone, but couldn’t find it. Wati Ngintaka held up his arms and claimed he didn’t have it, but they saw he was hiding it, wipungka (in his tail). They speared the Wati Ngintaka and retrieved the grinding stone. He passed away at a place called Aran’nga in the Northern Territory. Ngaltutjara (poor thing).
© Photo : Aboriginal Signature Estrangin gallery with the courtesy of the artists and Ninuku.