Artiste : Noli Rictor

Titre de l'œuvre : Kamanti

Format : 290 x 200 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 21-349

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Explications pour cette œuvre :

Noli has depicted the significant site of Kamanti situated in the north of traditional Spinifex lands. This site holds s the Wati Kutjara Tjukurpa (Two Men Creation Line) and is an epic narrative following the movement of a father and son water serpent who traverse the Spinifex Lands on ceremonial business. Noli depicts country he was born into and which formed his religious upbringing. The arid but spiritual environment was the birthplace of the creation beings who shaped the landscape as they moved through it. They left indelible physical reminders of their power in the form of creeks or rocky ridges or a type of tree.

But mostly they left their place of abode or the life giving sought after source of precious water, in some form of catchment. This water source is the embodiment of survival within the remote desert extremes with the sites being venerated as such and usually guarded by beings who shifted through the realms. They are the characters who dramatise the landscape and give rise to the formations through their movements. They leave behind a mapped moral landscape that holds an elaborate oral religion of song and performance that still permeates Noli's daily life.

Artiste : Noli Rictor

Titre de l'œuvre : Kuru Ala

Format : 137 x 90 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-320

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Explications pour cette œuvre :

Noli has depicted the significant site of Kuru Ala situated in the north of traditional Spinifex Lands. This site forms part of the Kungkarankalpa Tjukurpa or Seven Sister's Creation Line that follows a group of women as they traverse the country evading the pursuit of a lustful older man, Nyiru. Nyiru has metamorphic powers of transformation and changes into different flora and fauna to trick the women.

These are creation beings and as such shape the landscape as they move through it. At Kuru Ala there is the physical reminders of their presence in the form of monolithic rock formations depicting the characters. From Kuru Ala the women chase a Kuniya (Carpet Python) through Tjukaltjara to the site of Kulyuru.

Noli has depicted the red rocky outcrops of Kuru Ala and the Palka-Palka creek which crosses just to the south.

Artiste : Noli Rictor

Titre de l'œuvre : Kamanti

Format : 200 x 137 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 19-403

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Explications pour cette œuvre :

Noli has depicted the significant site of Kamanti situated in the north of traditional Spinifex lands. This site holds s the Wati Kutjara Tjukurpa (Two Men Creation Line) and is an epic narrative following the movement of a father and son water serpent who traverse the Spinifex Lands on ceremonial business. Noli depicts country he was born into and which formed his religious upbringing. The arid but spiritual environment was the birthplace of the creation beings who shaped the landscape as they moved through it. They left indelible physical reminders of their power in the form of creeks or rocky ridges or a type of tree.

But mostly they left their place of abode or the life giving sought after source of precious water, in some form of catchment. This water source is the embodiment of survival within the remote desert extremes with the sites being venerated as such and usually guarded by beings who shifted through the realms. They are the characters who dramatise the landscape and give rise to the formations through their movements. They leave behind a mapped moral landscape that holds an elaborate oral religion of song and performance that still permeates Noli's daily life.

Artiste : Noli Rictor

Titre de l'œuvre : Kupanya

Format : 200 x 137 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-122

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Explications pour cette œuvre :

Noli has depicted the significant site of Kupanya and country that forms part of the Wa􀆟 Kutjara Tjukurpa (Two Men Creation Line). Wati􀆟Mulamaru munu Wati􀆟Tinka, the Black-nosed Monitor man and the Sand Goanna man. It is here at Kupunya that the Two Men interact with the Wati Punyu (A small desert marsupial). Karu pulkana, a big creek flows a􀅌er rain as this is rocky country. This is my brother Damien's place. There is a cave here and another not far, where Damien was born.

The Two Men are crea􀆟on beings and as such had the power to transform the landscape and themselves. They left behind a mapped environment that holds an oral religion full of drama and intrigue, that is played out in sacred song and performance. They traversed vast tracts of country from Spinifex lands all the way up to Blackstone in the Ngaanyatjarra Lands.

Artiste : Noli Rictor

Titre de l'œuvre : Manutju

Format : 137 x 140 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 18-154

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Explications pour cette œuvre :

Here he has painted the significant site of Mamutju located in the northern part of the Spinifex Lands and encompassing the area known as Palka Palka.

Noli states it is a large area of salt lakes, plains and rocky outcrops and also several rockholes. Noli traversed this area as a boy with his family.

Noli depicts country he was born into and which formed his religious upbringing. The arid but spiritual environment was the birthplace of the creation beings who shaped the landscape as they moved through it. They left indelible physical reminders of their power in the form of creeks or rocky ridges or a type of tree.

But mostly they left their place of abode or the life giving sought after source of precious water, in some form of catchment. This water source is the embodiment of survival within the remote desert extremes with the sites being venerated as such and usually guarded by beings who shifted through the realms. They are the characters who dramatise the landscape and give rise to the formations through their movements. They leave behind a mapped moral landscape that holds an elaborate oral religion of song and performance that still permeates Noli's daily life.

Artiste : Noli Rictor

Titre de l'œuvre : Kulimara

Format : 200 x 137 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-267

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Explications pour cette œuvre :

This is my place Kulimara. Tjilpu Tjuta Tjukurpa (Wa􀆟 Nyii-Nyii Creation Line). I was born there. Apu tjukutjuku (small rocky outcrops) and is this side of Kuru Ala. This is my place.

Noli Rictor draws on a long childhood spent walking the myriad song paths and hun􀆟ng tracks that make up Spinifex Country. Noli moved across vast distances with his immediate family who were the last group to be living a nomadic existence in the Great Victoria Desert of Western Australia and did not move into a sedentary community life until 1986.

Here Noli depicts country associated with the Wa􀆟 Nyii-Nyii Tjukurpa (Zebra Finch Men Creation Line). This is an immense narrative that follows a group of powerful bird men who travel south to the Nullabor coast to stop the rising seas. They use their spears to form great barriers in holding back the seas. These characters are crea􀆟on beings who shaped the narrative within the landscape as they journeyed through it, leaving indelible physical reminders of their power and presence.

Artiste : Tjaruwa Woods

Titre de l'œuvre : Yampil

Format : 200 x 137 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 19-421

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Explications pour cette œuvre :

Tjaruwa (1954) paints with a knowledge and a devotion to the country that formed her. She was a young woman when she and her immediate family 'walked in' from the Great Victoria Desert in the remote east of Western Australia. This was deemed inhospitable country by the encroaching 'new world' and perceived as so vast and uninhabited, that it made the ideal site to detonate and observe the new wave of nuclear explosions conducted as part of the British Atomic Testing during the 1950's.

Tjaruwa and her family were there, living, breathing, hunting, walking over the soft red carpet of sand, learning the paths of the creation beings who shaped this landscape and made the moral world possible. She slept under a vast expanse by campfire and drank water from tree roots. She learnt the fine art of survival in an arid but spiritual world and how to navigate an environment full of meaning. Tjaruwa paints like she breathes, an almost innate required constant. As she depicts the significant site of Kamanti, she is well aware of the creation manifestation of the Wati Kutjara (Two Men Creation Line) and that these Two Men still reside in the well-formed water cavities that penetrate deep into middle earth. She knows with all her learned experience that these Two Men are to be feared but treated with reverence all the same, for they can travel underground as the enormous water serpents that they are, or walk the landscape in the form of mortal men. And as she sings the sites onto the two dimensional plane, let us appreciate through the panoramic composition that comes from a lifetime of breathing in this country.

Tjaruwa was born in 1954 outside the Spinifex Determination Area at Warutjara, the place of Minyma Tjilkamata - the Echidna Woman, near the current community of Jamieson (Manta Maru) within the Ngaanyatjarra Lands. Except for possession of a few pieces of iron, fashioned into implements and tin bowls Tjaruwa lived traditionally until the winter of 1986 when her family group of seven was located in northern Spinifex by a group of Spinifex people making a sortie into country to re-visit important Men’s sites after some 25 years of absence. Tjaruwa came in with a small son on her hip and camped with her family firstly at Yakatunya, 90 kilometres south of Tjuntjuntjara, joined the moving camp which accompanied the construction of a road, 300 kilometres through the length of the Spinifex Lands, before settling permanently at Tjuntjuntjara in 1989. Tjaruwa was adjudged to be about 32 years old in 1986 and was given the birth date 1/7/1954. At this point in time (2014),Tjaruwa’s family remains the last Aboriginal group in the country to make first contact with contemporary Australia.

It is difficult to even imagine the changes Tjaruwa was to encounter living in her new world. She had acquired an extended network of kin to establish relationships with, the daily activity of hunting and gathering was essentially replaced by the community store and water was abundant.

Tjaruwa’s immediate priority was to care for her mother and uncle living in their new circumstances and it was not until her mother passed away that she took up an interest in painting. At first she tended to paint as she observed other women painting and then the accumulated experience of her other life and her mother’s stories/designs poured out and Tjaruwa’s unique Spinifex perspective was translated with spectacular style and technique on to canvas.

Tjaruwa has painted her homeland of Yampil, an area in northern Spinifex. This is sandhill country, with Spinifex and Mulga trees and very sparse water deposits usually in the form of rockholes, which are quite small or soak water which you have to dig for. To survive in the Western Desert area it is essential to know where to find the water and this knowledge has been passed down over thousands of years from generation to generation. Tjaruwa has painted the rockholes of Kamanti􀆟, Waltjipi, Pur Purnya, Kapi Wiratjara and Tjiwara.

Her artworks are in the following prestigious collections :

Art Gallery Of South Australia, Adelaide Sa (Women’s Collaborative)
National Gallery Of Australia, Canberra
National Gallery Of Victoria, Melbourne Vic (Women’s Collaborative)
Richard And Harriet England Collection
Seattle Art Museum, Seattle Usa (Women’s Collaborative)
The British Museum, London, England.(Womens Collaborative)
The Corrigan Collection, Australia
The Lepley Collection, Perth, Western Australia.
The Sims Dickson Collection, Nsw
Parliament House Art Collection, Canberra, Act (Womens Collaborative)
W. & V. Mcgeoch Collection, Melbourne, Vic.
The Berndt Collection, University Of Western Australia.

Artiste : Tjaruwa Woods

Titre de l'œuvre : Anumarapiti 

Format : 233 x 197 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 13234 

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Explications pour cette œuvre :

Tjaruwa (1954) paints with a knowledge and a devotion to the country that formed her. She was a young woman when she and her immediate family 'walked in' from the Great Victoria Desert in the remote east of Western Australia. This was deemed inhospitable country by the encroaching 'new world' and perceived as so vast and uninhabited, that it made the ideal site to detonate and observe the new wave of nuclear explosions conducted as part of the British Atomic Testing during the 1950's.

Tjaruwa and her family were there, living, breathing, hunting, walking over the soft red carpet of sand, learning the paths of the creation beings who shaped this landscape and made the moral world possible. She slept under a vast expanse by campfire and drank water from tree roots. She learnt the fine art of survival in an arid but spiritual world and how to navigate an environment full of meaning. Tjaruwa paints like she breathes, an almost innate required constant. As she depicts the significant site of Kamanti, she is well aware of the creation manifestation of the Wati Kutjara (Two Men Creation Line) and that these Two Men still reside in the well-formed water cavities that penetrate deep into middle earth. She knows with all her learned experience that these Two Men are to be feared but treated with reverence all the same, for they can travel underground as the enormous water serpents that they are, or walk the landscape in the form of mortal men. And as she sings the sites onto the two dimensional plane, let us appreciate through the panoramic composition that comes from a lifetime of breathing in this country.

Tjaruwa was born in 1954 outside the Spinifex Determination Area at Warutjara, the place of Minyma Tjilkamata - the Echidna Woman, near the current community of Jamieson (Manta Maru) within the Ngaanyatjarra Lands. Except for possession of a few pieces of iron, fashioned into implements and tin bowls Tjaruwa lived traditionally until the winter of 1986 when her family group of seven was located in northern Spinifex by a group of Spinifex people making a sortie into country to re-visit important Men’s sites after some 25 years of absence. Tjaruwa came in with a small son on her hip and camped with her family firstly at Yakatunya, 90 kilometres south of Tjuntjuntjara, joined the moving camp which accompanied the construction of a road, 300 kilometres through the length of the Spinifex Lands, before settling permanently at Tjuntjuntjara in 1989. Tjaruwa was adjudged to be about 32 years old in 1986 and was given the birth date 1/7/1954. At this point in time (2014),Tjaruwa’s family remains the last Aboriginal group in the country to make first contact with contemporary Australia.

It is difficult to even imagine the changes Tjaruwa was to encounter living in her new world. She had acquired an extended network of kin to establish relationships with, the daily activity of hunting and gathering was essentially replaced by the community store and water was abundant.

Tjaruwa’s immediate priority was to care for her mother and uncle living in their new circumstances and it was not until her mother passed away that she took up an interest in painting. At first she tended to paint as she observed other women painting and then the accumulated experience of her other life and her mother’s stories/designs poured out and Tjaruwa’s unique Spinifex perspective was translated with spectacular style and technique on to canvas.

In this painting : Nyangatja ngura ini Anumarapi􀆟 ka Kuru Ala munkara ka Pukara munkara ka iriti Anangula tjina ankupai ngura winki. This site is called Anumarapiti it is beyond Kuru Ala and Pukara. We would walk all around this country when I was young. This painting is showing the country around where Tjaruwa Woods was born and grew up. Her family were the last people to emerge from the Great Victoria Desert in 1986 where she maintained a traditional hunter gatherer lifestyle until the wider Spinifex group decided to "bring them in." Water sources are a precious resource in the desert and feature strongly in the Tjukurpa and thus the paintings of the Spinifex artists. These stories of Creation beings with magical powers forming country as the lived their lives criss cross over the desert landscape. These beings are alive in the country today. Wanampis (mythical water serpents) still guard the water holes. Anangu know to approach such places with reverance according to cultural law.

Her artworks are in the following prestigious collections :

Art Gallery Of South Australia, Adelaide Sa (Women’s Collaborative)
National Gallery Of Australia, Canberra
National Gallery Of Victoria, Melbourne Vic (Women’s Collaborative)
Richard And Harriet England Collection
Seattle Art Museum, Seattle Usa (Women’s Collaborative)
The British Museum, London, England.(Womens Collaborative)
The Corrigan Collection, Australia
The Lepley Collection, Perth, Western Australia.
The Sims Dickson Collection, Nsw
Parliament House Art Collection, Canberra, Act (Womens Collaborative)
W. & V. Mcgeoch Collection, Melbourne, Vic.
The Berndt Collection, University Of Western Australia.

Artiste : Tjaruwa Woods

Titre de l'œuvre : Ngura Wirunya

Format : 137 x 110 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 14231 

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Tjaruwa (1954) paints with a knowledge and a devotion to the country that formed her. She was a young woman when she and her immediate family 'walked in' from the Great Victoria Desert in the remote east of Western Australia. This was deemed inhospitable country by the encroaching 'new world' and perceived as so vast and uninhabited, that it made the ideal site to detonate and observe the new wave of nuclear explosions conducted as part of the British Atomic Testing during the 1950's.

Tjaruwa and her family were there, living, breathing, hunting, walking over the soft red carpet of sand, learning the paths of the creation beings who shaped this landscape and made the moral world possible. She slept under a vast expanse by campfire and drank water from tree roots. She learnt the fine art of survival in an arid but spiritual world and how to navigate an environment full of meaning. Tjaruwa paints like she breathes, an almost innate required constant. As she depicts the significant site of Kamanti, she is well aware of the creation manifestation of the Wati Kutjara (Two Men Creation Line) and that these Two Men still reside in the well-formed water cavities that penetrate deep into middle earth. She knows with all her learned experience that these Two Men are to be feared but treated with reverence all the same, for they can travel underground as the enormous water serpents that they are, or walk the landscape in the form of mortal men. And as she sings the sites onto the two dimensional plane, let us appreciate through the panoramic composition that comes from a lifetime of breathing in this country.

Tjaruwa was born in 1954 outside the Spinifex Determination Area at Warutjara, the place of Minyma Tjilkamata - the Echidna Woman, near the current community of Jamieson (Manta Maru) within the Ngaanyatjarra Lands. Except for possession of a few pieces of iron, fashioned into implements and tin bowls Tjaruwa lived traditionally until the winter of 1986 when her family group of seven was located in northern Spinifex by a group of Spinifex people making a sortie into country to re-visit important Men’s sites after some 25 years of absence. Tjaruwa came in with a small son on her hip and camped with her family firstly at Yakatunya, 90 kilometres south of Tjuntjuntjara, joined the moving camp which accompanied the construction of a road, 300 kilometres through the length of the Spinifex Lands, before settling permanently at Tjuntjuntjara in 1989. Tjaruwa was adjudged to be about 32 years old in 1986 and was given the birth date 1/7/1954. At this point in time (2014),Tjaruwa’s family remains the last Aboriginal group in the country to make first contact with contemporary Australia.

It is difficult to even imagine the changes Tjaruwa was to encounter living in her new world. She had acquired an extended network of kin to establish relationships with, the daily activity of hunting and gathering was essentially replaced by the community store and water was abundant.

Tjaruwa’s immediate priority was to care for her mother and uncle living in their new circumstances and it was not until her mother passed away that she took up an interest in painting. At first she tended to paint as she observed other women painting and then the accumulated experience of her other life and her mother’s stories/designs poured out and Tjaruwa’s unique Spinifex perspective was translated with spectacular style and technique on to canvas.

In this painting Tjaruwa specifically mentions the sites of Yampil, Tjutatjipi, Wyara, Tjapin, Kamanti and Pirulungka. These are places Tjaruwa travelled around as a young girl with her family. She used to live then at Tjuntjuntjara. 

Her artworks are in the following prestigious collections :

Art Gallery Of South Australia, Adelaide Sa (Women’s Collaborative)
National Gallery Of Australia, Canberra
National Gallery Of Victoria, Melbourne Vic (Women’s Collaborative)
Richard And Harriet England Collection
Seattle Art Museum, Seattle Usa (Women’s Collaborative)
The British Museum, London, England.(Womens Collaborative)
The Corrigan Collection, Australia
The Lepley Collection, Perth, Western Australia.
The Sims Dickson Collection, Nsw
Parliament House Art Collection, Canberra, Act (Womens Collaborative)
W. & V. Mcgeoch Collection, Melbourne, Vic.
The Berndt Collection, University Of Western Australia.

Artiste : Mick Rictor

Titre de l'œuvre : Pila Nguru

Format : 110 x 85 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 18-54

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Explications pour cette œuvre :

Mick Rictor (1957) was around thirty years of age when he walked into modern civilisation for the first time from deep in the heart of the Great Victoria Desert in1986. A very remote and special place holding true wilderness character, like Mick himself. Other Anangu (Aboriginal people) refer to Mick as a wild man, ferocious like the old men used to be before people were softened by modern living.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin's 'The Thinker' for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual 'dots' that build up sometimes as a single colour, sometimes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred water holes and their ‘wanampi’ serpent guardians and 'mamu tjina' or scorer footprints from the Tjukurpa.

Mick was born at Kulpinya situated south of the significant site of Miramiratjara in the Great Victoria Desert sometime around 1956. This puts him in close proximity to the British Atomic Testing at Emu Fields and Maralinga during the '50s and '60s. Mick and his immediate family were living a nomadic life in and around traditional Spinifex Country up until 1986 when the family was located by relatives searching the area and taken to a then small settlement of Yakadunya and later Coonana. Mick is the eldest sibling of four with his other three siblings Ian and Noli Rictor and Tjaruwa Woods already established artists.

He started painting in 2016 and has a natural aesthetic with a painterly quality about his work.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse, leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin’s The Thinker for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual ‘dots’ that build up some􀆟mes as a single colour, some􀆟mes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred waterholes and their wanampi (serpent guardians) and mamu tjina(sorcerer’s footprints) from the Tjukurpa.

His artworks are in the following prestigious collections :

Museum And Art Gallery Of The Northern Territory, Darwin, Australia.
Art Gallery Of South Australia, Adelaide, South Australia
Artbank, Australian Government Collection. Australia.
Araluen Gallery, Alice Springs, Northern Territory.
Charles Darwin University Art Collection, Darwin,Northern Territory
Richard And Harriett Collection, Australia
Arthur Roe Collection, Australia
The Sims Dickson Collection, Nsw

Artiste : Mick Rictor

Titre de l'œuvre : untitled

Format : 200 x 137 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 20-117

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Mick Rictor (1957) was around thirty years of age when he walked into modern civilisation for the first time from deep in the heart of the Great Victoria Desert in1986. A very remote and special place holding true wilderness character, like Mick himself. Other Anangu (Aboriginal people) refer to Mick as a wild man, ferocious like the old men used to be before people were softened by modern living.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin's 'The Thinker' for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual 'dots' that build up sometimes as a single colour, sometimes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred water holes and their ‘wanampi’ serpent guardians and 'mamu tjina' or scorer footprints from the Tjukurpa.

Mick was born at Kulpinya situated south of the significant site of Miramiratjara in the Great Victoria Desert sometime around 1956. This puts him in close proximity to the British Atomic Testing at Emu Fields and Maralinga during the '50s and '60s. Mick and his immediate family were living a nomadic life in and around traditional Spinifex Country up until 1986 when the family was located by relatives searching the area and taken to a then small settlement of Yakadunya and later Coonana. Mick is the eldest sibling of four with his other three siblings Ian and Noli Rictor and Tjaruwa Woods already established artists.

He started painting in 2016 and has a natural aesthetic with a painterly quality about his work.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse, leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin’s The Thinker for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual ‘dots’ that build up some􀆟mes as a single colour, some􀆟mes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred waterholes and their wanampi (serpent guardians) and mamu tjina(sorcerer’s footprints) from the Tjukurpa.

His artworks are in the following prestigious collections :

Museum And Art Gallery Of The Northern Territory, Darwin, Australia.
Art Gallery Of South Australia, Adelaide, South Australia
Artbank, Australian Government Collection. Australia.
Araluen Gallery, Alice Springs, Northern Territory.
Charles Darwin University Art Collection, Darwin,Northern Territory
Richard And Harriett Collection, Australia
Arthur Roe Collection, Australia
The Sims Dickson Collection, Nsw

Artiste : Mick Rictor

Titre de l'œuvre : untitled

Format : 110 x 85 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 17-214

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Mick Rictor (1957) was around thirty years of age when he walked into modern civilisation for the first time from deep in the heart of the Great Victoria Desert in1986. A very remote and special place holding true wilderness character, like Mick himself. Other Anangu (Aboriginal people) refer to Mick as a wild man, ferocious like the old men used to be before people were softened by modern living.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin's 'The Thinker' for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual 'dots' that build up sometimes as a single colour, sometimes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred water holes and their ‘wanampi’ serpent guardians and 'mamu tjina' or scorer footprints from the Tjukurpa.

Mick was born at Kulpinya situated south of the significant site of Miramiratjara in the Great Victoria Desert sometime around 1956. This puts him in close proximity to the British Atomic Testing at Emu Fields and Maralinga during the '50s and '60s. Mick and his immediate family were living a nomadic life in and around traditional Spinifex Country up until 1986 when the family was located by relatives searching the area and taken to a then small settlement of Yakadunya and later Coonana. Mick is the eldest sibling of four with his other three siblings Ian and Noli Rictor and Tjaruwa Woods already established artists.

He started painting in 2016 and has a natural aesthetic with a painterly quality about his work.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse, leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin’s The Thinker for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual ‘dots’ that build up some􀆟mes as a single colour, some􀆟mes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred waterholes and their wanampi (serpent guardians) and mamu tjina(sorcerer’s footprints) from the Tjukurpa.

His artworks are in the following prestigious collections :

Museum And Art Gallery Of The Northern Territory, Darwin, Australia.
Art Gallery Of South Australia, Adelaide, South Australia
Artbank, Australian Government Collection. Australia.
Araluen Gallery, Alice Springs, Northern Territory.
Charles Darwin University Art Collection, Darwin,Northern Territory
Richard And Harriett Collection, Australia
Arthur Roe Collection, Australia
The Sims Dickson Collection, Nsw

Artiste : Tjaruwa Woods

Titre de l'œuvre : Papara

Format : 110 x 85 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 19-422

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Tjaruwa (1954) paints with a knowledge and a devotion to the country that formed her. She was a young woman when she and her immediate family 'walked in' from the Great Victoria Desert in the remote east of Western Australia. This was deemed inhospitable country by the encroaching 'new world' and perceived as so vast and uninhabited, that it made the ideal site to detonate and observe the new wave of nuclear explosions conducted as part of the British Atomic Testing during the 1950's.

Tjaruwa and her family were there, living, breathing, hunting, walking over the soft red carpet of sand, learning the paths of the creation beings who shaped this landscape and made the moral world possible. She slept under a vast expanse by campfire and drank water from tree roots. She learnt the fine art of survival in an arid but spiritual world and how to navigate an environment full of meaning. Tjaruwa paints like she breathes, an almost innate required constant. As she depicts the significant site of Kamanti, she is well aware of the creation manifestation of the Wati Kutjara (Two Men Creation Line) and that these Two Men still reside in the well-formed water cavities that penetrate deep into middle earth. She knows with all her learned experience that these Two Men are to be feared but treated with reverence all the same, for they can travel underground as the enormous water serpents that they are, or walk the landscape in the form of mortal men. And as she sings the sites onto the two dimensional plane, let us appreciate through the panoramic composition that comes from a lifetime of breathing in this country.

Tjaruwa was born in 1954 outside the Spinifex Determination Area at Warutjara, the place of Minyma Tjilkamata - the Echidna Woman, near the current community of Jamieson (Manta Maru) within the Ngaanyatjarra Lands. Except for possession of a few pieces of iron, fashioned into implements and tin bowls Tjaruwa lived traditionally until the winter of 1986 when her family group of seven was located in northern Spinifex by a group of Spinifex people making a sortie into country to re-visit important Men’s sites after some 25 years of absence. Tjaruwa came in with a small son on her hip and camped with her family firstly at Yakatunya, 90 kilometres south of Tjuntjuntjara, joined the moving camp which accompanied the construction of a road, 300 kilometres through the length of the Spinifex Lands, before settling permanently at Tjuntjuntjara in 1989. Tjaruwa was adjudged to be about 32 years old in 1986 and was given the birth date 1/7/1954. At this point in time (2014),Tjaruwa’s family remains the last Aboriginal group in the country to make first contact with contemporary Australia.

It is difficult to even imagine the changes Tjaruwa was to encounter living in her new world. She had acquired an extended network of kin to establish relationships with, the daily activity of hunting and gathering was essentially replaced by the community store and water was abundant.

Tjaruwa’s immediate priority was to care for her mother and uncle living in their new circumstances and it was not until her mother passed away that she took up an interest in painting. At first she tended to paint as she observed other women painting and then the accumulated experience of her other life and her mother’s stories/designs poured out and Tjaruwa’s unique Spinifex perspective was translated with spectacular style and technique on to canvas.

In this painting Tjaruwa has painted an area in the northern part of the Spinifex lands when she lived until the 1980's. She has an intimate knowledge of country and is expressed here by the numerous rockholes and travelling tracks in the area in which she was born and grew up. Many areas in Spinifex area are known as "miil-miilpa" (sacred) where only general details can be openly discussed. These Tjukurpa (Dreaming) sites hold the stories of the Creator Beings whose activies transformed the country. These 'Beings' possess supernatural powers and can be malevolent so great care must be taken not to offend them.

Her artworks are in the following prestigious collections :

Art Gallery Of South Australia, Adelaide Sa (Women’s Collaborative)
National Gallery Of Australia, Canberra
National Gallery Of Victoria, Melbourne Vic (Women’s Collaborative)
Richard And Harriet England Collection
Seattle Art Museum, Seattle Usa (Women’s Collaborative)
The British Museum, London, England.(Womens Collaborative)
The Corrigan Collection, Australia
The Lepley Collection, Perth, Western Australia.
The Sims Dickson Collection, Nsw
Parliament House Art Collection, Canberra, Act (Womens Collaborative)
W. & V. Mcgeoch Collection, Melbourne, Vic.
The Berndt Collection, University Of Western Australia.

Artiste : Tjaruwa Woods

Titre de l'œuvre : Waratata 

Format : 108 x 90 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 13214 

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Tjaruwa (1954) paints with a knowledge and a devotion to the country that formed her. She was a young woman when she and her immediate family 'walked in' from the Great Victoria Desert in the remote east of Western Australia. This was deemed inhospitable country by the encroaching 'new world' and perceived as so vast and uninhabited, that it made the ideal site to detonate and observe the new wave of nuclear explosions conducted as part of the British Atomic Testing during the 1950's.

Tjaruwa and her family were there, living, breathing, hunting, walking over the soft red carpet of sand, learning the paths of the creation beings who shaped this landscape and made the moral world possible. She slept under a vast expanse by campfire and drank water from tree roots. She learnt the fine art of survival in an arid but spiritual world and how to navigate an environment full of meaning. Tjaruwa paints like she breathes, an almost innate required constant. As she depicts the significant site of Kamanti, she is well aware of the creation manifestation of the Wati Kutjara (Two Men Creation Line) and that these Two Men still reside in the well-formed water cavities that penetrate deep into middle earth. She knows with all her learned experience that these Two Men are to be feared but treated with reverence all the same, for they can travel underground as the enormous water serpents that they are, or walk the landscape in the form of mortal men. And as she sings the sites onto the two dimensional plane, let us appreciate through the panoramic composition that comes from a lifetime of breathing in this country.

Tjaruwa was born in 1954 outside the Spinifex Determination Area at Warutjara, the place of Minyma Tjilkamata - the Echidna Woman, near the current community of Jamieson (Manta Maru) within the Ngaanyatjarra Lands. Except for possession of a few pieces of iron, fashioned into implements and tin bowls Tjaruwa lived traditionally until the winter of 1986 when her family group of seven was located in northern Spinifex by a group of Spinifex people making a sortie into country to re-visit important Men’s sites after some 25 years of absence. Tjaruwa came in with a small son on her hip and camped with her family firstly at Yakatunya, 90 kilometres south of Tjuntjuntjara, joined the moving camp which accompanied the construction of a road, 300 kilometres through the length of the Spinifex Lands, before settling permanently at Tjuntjuntjara in 1989. Tjaruwa was adjudged to be about 32 years old in 1986 and was given the birth date 1/7/1954. At this point in time (2014),Tjaruwa’s family remains the last Aboriginal group in the country to make first contact with contemporary Australia.

It is difficult to even imagine the changes Tjaruwa was to encounter living in her new world. She had acquired an extended network of kin to establish relationships with, the daily activity of hunting and gathering was essentially replaced by the community store and water was abundant.

Tjaruwa’s immediate priority was to care for her mother and uncle living in their new circumstances and it was not until her mother passed away that she took up an interest in painting. At first she tended to paint as she observed other women painting and then the accumulated experience of her other life and her mother’s stories/designs poured out and Tjaruwa’s unique Spinifex perspective was translated with spectacular style and technique on to canvas.

Nyangatja minyma kutju nyinanyi ka Minyma Tjilkamata nyinanyi ka kapi Waratata ka nyangatja ngura ngayuku nyuntjungku ngayulu iti􀆟mantangka nyarinyi ka paluru mapitja ka minyma kutjupangku ngayulu makati􀆟. This painting is depicting the place of the echidna women from the time of creation. This place is called Waratata and she is sitting down here.

Her artworks are in the following prestigious collections :

Art Gallery Of South Australia, Adelaide Sa (Women’s Collaborative)
National Gallery Of Australia, Canberra
National Gallery Of Victoria, Melbourne Vic (Women’s Collaborative)
Richard And Harriet England Collection
Seattle Art Museum, Seattle Usa (Women’s Collaborative)
The British Museum, London, England.(Womens Collaborative)
The Corrigan Collection, Australia
The Lepley Collection, Perth, Western Australia.
The Sims Dickson Collection, Nsw
Parliament House Art Collection, Canberra, Act (Womens Collaborative)
W. & V. Mcgeoch Collection, Melbourne, Vic.
The Berndt Collection, University Of Western Australia.

Artiste : Tjaruwa Woods

Titre de l'œuvre : Watani 

Format : 137 x 110 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 14071 

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Tjaruwa (1954) paints with a knowledge and a devotion to the country that formed her. She was a young woman when she and her immediate family 'walked in' from the Great Victoria Desert in the remote east of Western Australia. This was deemed inhospitable country by the encroaching 'new world' and perceived as so vast and uninhabited, that it made the ideal site to detonate and observe the new wave of nuclear explosions conducted as part of the British Atomic Testing during the 1950's.

Tjaruwa and her family were there, living, breathing, hunting, walking over the soft red carpet of sand, learning the paths of the creation beings who shaped this landscape and made the moral world possible. She slept under a vast expanse by campfire and drank water from tree roots. She learnt the fine art of survival in an arid but spiritual world and how to navigate an environment full of meaning. Tjaruwa paints like she breathes, an almost innate required constant. As she depicts the significant site of Kamanti, she is well aware of the creation manifestation of the Wati Kutjara (Two Men Creation Line) and that these Two Men still reside in the well-formed water cavities that penetrate deep into middle earth. She knows with all her learned experience that these Two Men are to be feared but treated with reverence all the same, for they can travel underground as the enormous water serpents that they are, or walk the landscape in the form of mortal men. And as she sings the sites onto the two dimensional plane, let us appreciate through the panoramic composition that comes from a lifetime of breathing in this country.

Tjaruwa was born in 1954 outside the Spinifex Determination Area at Warutjara, the place of Minyma Tjilkamata - the Echidna Woman, near the current community of Jamieson (Manta Maru) within the Ngaanyatjarra Lands. Except for possession of a few pieces of iron, fashioned into implements and tin bowls Tjaruwa lived traditionally until the winter of 1986 when her family group of seven was located in northern Spinifex by a group of Spinifex people making a sortie into country to re-visit important Men’s sites after some 25 years of absence. Tjaruwa came in with a small son on her hip and camped with her family firstly at Yakatunya, 90 kilometres south of Tjuntjuntjara, joined the moving camp which accompanied the construction of a road, 300 kilometres through the length of the Spinifex Lands, before settling permanently at Tjuntjuntjara in 1989. Tjaruwa was adjudged to be about 32 years old in 1986 and was given the birth date 1/7/1954. At this point in time (2014),Tjaruwa’s family remains the last Aboriginal group in the country to make first contact with contemporary Australia.

It is difficult to even imagine the changes Tjaruwa was to encounter living in her new world. She had acquired an extended network of kin to establish relationships with, the daily activity of hunting and gathering was essentially replaced by the community store and water was abundant.

Tjaruwa’s immediate priority was to care for her mother and uncle living in their new circumstances and it was not until her mother passed away that she took up an interest in painting. At first she tended to paint as she observed other women painting and then the accumulated experience of her other life and her mother’s stories/designs poured out and Tjaruwa’s unique Spinifex perspective was translated with spectacular style and technique on to canvas.

In this painting Tjaruwa Woods has painted Watani, an area in the northern section of the Spinifex Lands. It is sand hill country, with Spinifex and Mulga trees and very sparse water deposits usually in the form of rockholes which are quite small or soak water which you have to dig for. Tjanpi or Spinifex grasses were used to filter the water for drinking. To survive in this Western Desert area it is essential to know where to find the water and this knowledge has been passed down over thousands of years from genera􀆟on to generation. In the Tjukurpa the Emu Creator Beings possess great creative powers. They created numerous topographical features in the landscape as they passed through this area.

Her artworks are in the following prestigious collections :

Art Gallery Of South Australia, Adelaide Sa (Women’s Collaborative)
National Gallery Of Australia, Canberra
National Gallery Of Victoria, Melbourne Vic (Women’s Collaborative)
Richard And Harriet England Collection
Seattle Art Museum, Seattle Usa (Women’s Collaborative)
The British Museum, London, England.(Womens Collaborative)
The Corrigan Collection, Australia
The Lepley Collection, Perth, Western Australia.
The Sims Dickson Collection, Nsw
Parliament House Art Collection, Canberra, Act (Womens Collaborative)
W. & V. Mcgeoch Collection, Melbourne, Vic.
The Berndt Collection, University Of Western Australia.

Artiste : Mick Rictor

Titre de l'œuvre : untitled

Format : 110 x 85 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 19-352

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Mick Rictor (1957) was around thirty years of age when he walked into modern civilisation for the first time from deep in the heart of the Great Victoria Desert in1986. A very remote and special place holding true wilderness character, like Mick himself. Other Anangu (Aboriginal people) refer to Mick as a wild man, ferocious like the old men used to be before people were softened by modern living.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin's 'The Thinker' for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual 'dots' that build up sometimes as a single colour, sometimes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred water holes and their ‘wanampi’ serpent guardians and 'mamu tjina' or scorer footprints from the Tjukurpa.

Mick was born at Kulpinya situated south of the significant site of Miramiratjara in the Great Victoria Desert sometime around 1956. This puts him in close proximity to the British Atomic Testing at Emu Fields and Maralinga during the '50s and '60s. Mick and his immediate family were living a nomadic life in and around traditional Spinifex Country up until 1986 when the family was located by relatives searching the area and taken to a then small settlement of Yakadunya and later Coonana. Mick is the eldest sibling of four with his other three siblings Ian and Noli Rictor and Tjaruwa Woods already established artists.

He started painting in 2016 and has a natural aesthetic with a painterly quality about his work.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse, leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin’s The Thinker for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual ‘dots’ that build up some􀆟mes as a single colour, some􀆟mes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred waterholes and their wanampi (serpent guardians) and mamu tjina(sorcerer’s footprints) from the Tjukurpa.

His artworks are in the following prestigious collections :

Museum And Art Gallery Of The Northern Territory, Darwin, Australia.
Art Gallery Of South Australia, Adelaide, South Australia
Artbank, Australian Government Collection. Australia.
Araluen Gallery, Alice Springs, Northern Territory.
Charles Darwin University Art Collection, Darwin,Northern Territory
Richard And Harriett Collection, Australia
Arthur Roe Collection, Australia
The Sims Dickson Collection, Nsw

Artiste : Mick Rictor

Titre de l'œuvre : untitled

Format : 137 x 90 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-205

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Mick Rictor (1957) was around thirty years of age when he walked into modern civilisation for the first time from deep in the heart of the Great Victoria Desert in1986. A very remote and special place holding true wilderness character, like Mick himself. Other Anangu (Aboriginal people) refer to Mick as a wild man, ferocious like the old men used to be before people were softened by modern living.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin's 'The Thinker' for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual 'dots' that build up sometimes as a single colour, sometimes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred water holes and their ‘wanampi’ serpent guardians and 'mamu tjina' or scorer footprints from the Tjukurpa.

Mick was born at Kulpinya situated south of the significant site of Miramiratjara in the Great Victoria Desert sometime around 1956. This puts him in close proximity to the British Atomic Testing at Emu Fields and Maralinga during the '50s and '60s. Mick and his immediate family were living a nomadic life in and around traditional Spinifex Country up until 1986 when the family was located by relatives searching the area and taken to a then small settlement of Yakadunya and later Coonana. Mick is the eldest sibling of four with his other three siblings Ian and Noli Rictor and Tjaruwa Woods already established artists.

He started painting in 2016 and has a natural aesthetic with a painterly quality about his work.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse, leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin’s The Thinker for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual ‘dots’ that build up some􀆟mes as a single colour, some􀆟mes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred waterholes and their wanampi (serpent guardians) and mamu tjina(sorcerer’s footprints) from the Tjukurpa.

His artworks are in the following prestigious collections :

Museum And Art Gallery Of The Northern Territory, Darwin, Australia.
Art Gallery Of South Australia, Adelaide, South Australia
Artbank, Australian Government Collection. Australia.
Araluen Gallery, Alice Springs, Northern Territory.
Charles Darwin University Art Collection, Darwin,Northern Territory
Richard And Harriett Collection, Australia
Arthur Roe Collection, Australia
The Sims Dickson Collection, Nsw

Artiste : Mick Rictor

Titre de l'œuvre : untitled

Format : 95 x 85 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 19-365

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Mick Rictor (1957) was around thirty years of age when he walked into modern civilisation for the first time from deep in the heart of the Great Victoria Desert in1986. A very remote and special place holding true wilderness character, like Mick himself. Other Anangu (Aboriginal people) refer to Mick as a wild man, ferocious like the old men used to be before people were softened by modern living.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin's 'The Thinker' for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual 'dots' that build up sometimes as a single colour, sometimes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred water holes and their ‘wanampi’ serpent guardians and 'mamu tjina' or scorer footprints from the Tjukurpa.

Mick was born at Kulpinya situated south of the significant site of Miramiratjara in the Great Victoria Desert sometime around 1956. This puts him in close proximity to the British Atomic Testing at Emu Fields and Maralinga during the '50s and '60s. Mick and his immediate family were living a nomadic life in and around traditional Spinifex Country up until 1986 when the family was located by relatives searching the area and taken to a then small settlement of Yakadunya and later Coonana. Mick is the eldest sibling of four with his other three siblings Ian and Noli Rictor and Tjaruwa Woods already established artists.

He started painting in 2016 and has a natural aesthetic with a painterly quality about his work.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse, leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin’s The Thinker for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual ‘dots’ that build up some􀆟mes as a single colour, some􀆟mes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred waterholes and their wanampi (serpent guardians) and mamu tjina(sorcerer’s footprints) from the Tjukurpa.

His artworks are in the following prestigious collections :

Museum And Art Gallery Of The Northern Territory, Darwin, Australia.
Art Gallery Of South Australia, Adelaide, South Australia
Artbank, Australian Government Collection. Australia.
Araluen Gallery, Alice Springs, Northern Territory.
Charles Darwin University Art Collection, Darwin,Northern Territory
Richard And Harriett Collection, Australia
Arthur Roe Collection, Australia
The Sims Dickson Collection, Nsw

Artiste : Mick Rictor

Titre de l'œuvre : untitled

Format : 137 x 110 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-206

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Mick Rictor (1957) was around thirty years of age when he walked into modern civilisation for the first time from deep in the heart of the Great Victoria Desert in1986. A very remote and special place holding true wilderness character, like Mick himself. Other Anangu (Aboriginal people) refer to Mick as a wild man, ferocious like the old men used to be before people were softened by modern living.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin's 'The Thinker' for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual 'dots' that build up sometimes as a single colour, sometimes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred water holes and their ‘wanampi’ serpent guardians and 'mamu tjina' or scorer footprints from the Tjukurpa.

Mick was born at Kulpinya situated south of the significant site of Miramiratjara in the Great Victoria Desert sometime around 1956. This puts him in close proximity to the British Atomic Testing at Emu Fields and Maralinga during the '50s and '60s. Mick and his immediate family were living a nomadic life in and around traditional Spinifex Country up until 1986 when the family was located by relatives searching the area and taken to a then small settlement of Yakadunya and later Coonana. Mick is the eldest sibling of four with his other three siblings Ian and Noli Rictor and Tjaruwa Woods already established artists.

He started painting in 2016 and has a natural aesthetic with a painterly quality about his work.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse, leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin’s The Thinker for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual ‘dots’ that build up some􀆟mes as a single colour, some􀆟mes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred waterholes and their wanampi (serpent guardians) and mamu tjina(sorcerer’s footprints) from the Tjukurpa.

His artworks are in the following prestigious collections :

Museum And Art Gallery Of The Northern Territory, Darwin, Australia.
Art Gallery Of South Australia, Adelaide, South Australia
Artbank, Australian Government Collection. Australia.
Araluen Gallery, Alice Springs, Northern Territory.
Charles Darwin University Art Collection, Darwin,Northern Territory
Richard And Harriett Collection, Australia
Arthur Roe Collection, Australia
The Sims Dickson Collection, Nsw

Artiste : Mick Rictor

Titre de l'œuvre : untitled

Format : 137 x 90 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-348

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Mick Rictor (1957) was around thirty years of age when he walked into modern civilisation for the first time from deep in the heart of the Great Victoria Desert in1986. A very remote and special place holding true wilderness character, like Mick himself. Other Anangu (Aboriginal people) refer to Mick as a wild man, ferocious like the old men used to be before people were softened by modern living.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin's 'The Thinker' for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual 'dots' that build up sometimes as a single colour, sometimes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred water holes and their ‘wanampi’ serpent guardians and 'mamu tjina' or scorer footprints from the Tjukurpa.

Mick was born at Kulpinya situated south of the significant site of Miramiratjara in the Great Victoria Desert sometime around 1956. This puts him in close proximity to the British Atomic Testing at Emu Fields and Maralinga during the '50s and '60s. Mick and his immediate family were living a nomadic life in and around traditional Spinifex Country up until 1986 when the family was located by relatives searching the area and taken to a then small settlement of Yakadunya and later Coonana. Mick is the eldest sibling of four with his other three siblings Ian and Noli Rictor and Tjaruwa Woods already established artists.

He started painting in 2016 and has a natural aesthetic with a painterly quality about his work.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse, leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin’s The Thinker for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual ‘dots’ that build up some􀆟mes as a single colour, some􀆟mes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred waterholes and their wanampi (serpent guardians) and mamu tjina(sorcerer’s footprints) from the Tjukurpa.

His artworks are in the following prestigious collections :

Museum And Art Gallery Of The Northern Territory, Darwin, Australia.
Art Gallery Of South Australia, Adelaide, South Australia
Artbank, Australian Government Collection. Australia.
Araluen Gallery, Alice Springs, Northern Territory.
Charles Darwin University Art Collection, Darwin,Northern Territory
Richard And Harriett Collection, Australia
Arthur Roe Collection, Australia
The Sims Dickson Collection, Nsw

Artiste : Mick Rictor

Titre de l'œuvre : untitled

Format : 110 x 85 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-347

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Mick Rictor (1957) was around thirty years of age when he walked into modern civilisation for the first time from deep in the heart of the Great Victoria Desert in1986. A very remote and special place holding true wilderness character, like Mick himself. Other Anangu (Aboriginal people) refer to Mick as a wild man, ferocious like the old men used to be before people were softened by modern living.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin's 'The Thinker' for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual 'dots' that build up sometimes as a single colour, sometimes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred water holes and their ‘wanampi’ serpent guardians and 'mamu tjina' or scorer footprints from the Tjukurpa.

Mick was born at Kulpinya situated south of the significant site of Miramiratjara in the Great Victoria Desert sometime around 1956. This puts him in close proximity to the British Atomic Testing at Emu Fields and Maralinga during the '50s and '60s. Mick and his immediate family were living a nomadic life in and around traditional Spinifex Country up until 1986 when the family was located by relatives searching the area and taken to a then small settlement of Yakadunya and later Coonana. Mick is the eldest sibling of four with his other three siblings Ian and Noli Rictor and Tjaruwa Woods already established artists.

He started painting in 2016 and has a natural aesthetic with a painterly quality about his work.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse, leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin’s The Thinker for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual ‘dots’ that build up some􀆟mes as a single colour, some􀆟mes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred waterholes and their wanampi (serpent guardians) and mamu tjina(sorcerer’s footprints) from the Tjukurpa.

His artworks are in the following prestigious collections :

Museum And Art Gallery Of The Northern Territory, Darwin, Australia.
Art Gallery Of South Australia, Adelaide, South Australia
Artbank, Australian Government Collection. Australia.
Araluen Gallery, Alice Springs, Northern Territory.
Charles Darwin University Art Collection, Darwin,Northern Territory
Richard And Harriett Collection, Australia
Arthur Roe Collection, Australia
The Sims Dickson Collection, Nsw

Artiste : Mick Rictor

Titre de l'œuvre : untitled

Format : 110 x 85 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-349

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Mick Rictor (1957) was around thirty years of age when he walked into modern civilisation for the first time from deep in the heart of the Great Victoria Desert in1986. A very remote and special place holding true wilderness character, like Mick himself. Other Anangu (Aboriginal people) refer to Mick as a wild man, ferocious like the old men used to be before people were softened by modern living.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin's 'The Thinker' for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual 'dots' that build up sometimes as a single colour, sometimes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred water holes and their ‘wanampi’ serpent guardians and 'mamu tjina' or scorer footprints from the Tjukurpa.

Mick was born at Kulpinya situated south of the significant site of Miramiratjara in the Great Victoria Desert sometime around 1956. This puts him in close proximity to the British Atomic Testing at Emu Fields and Maralinga during the '50s and '60s. Mick and his immediate family were living a nomadic life in and around traditional Spinifex Country up until 1986 when the family was located by relatives searching the area and taken to a then small settlement of Yakadunya and later Coonana. Mick is the eldest sibling of four with his other three siblings Ian and Noli Rictor and Tjaruwa Woods already established artists.

He started painting in 2016 and has a natural aesthetic with a painterly quality about his work.

Mick Rictor gives us freedom to contemplate. His compositions are both painterly and sparse, leaving form and space intertwined and suspended. He is not quick to paint and peruses the blank canvas with hand on chin like Rodin’s The Thinker for a long period before selecting colour and brush to begin. But still it is a slow rhythmic placement of individual ‘dots’ that build up some􀆟mes as a single colour, some􀆟mes as multiple colours, one blanketing the other. His works reference the landscapes and changing colours of the Spinifex Country, the sweeping plains nestled in between parallel lines of sand dunes, the red rocky granite outcrops on the northern boundary, the sacred waterholes and their wanampi (serpent guardians) and mamu tjina(sorcerer’s footprints) from the Tjukurpa.

His artworks are in the following prestigious collections :

Museum And Art Gallery Of The Northern Territory, Darwin, Australia.
Art Gallery Of South Australia, Adelaide, South Australia
Artbank, Australian Government Collection. Australia.
Araluen Gallery, Alice Springs, Northern Territory.
Charles Darwin University Art Collection, Darwin,Northern Territory
Richard And Harriett Collection, Australia
Arthur Roe Collection, Australia
The Sims Dickson Collection, Nsw

Artiste : Ian Rictor

Titre de l'œuvre : Tuwan Dreaming Time story

Format : 137 x 200 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-175 

Enquiry / Demander le prix de l'œuvre

Explications pour cette œuvre :

Ian Rictor (1960) paints with a quiet reverence for the country that he depicts, from his relatively recent nomadic movements over the endless interior that makes up Spinifex Lands. Ian walked from water source to food source and beyond, this was a cultural and family existence for survival in an arid land before his family were found and 'brought in' by relatives in 1986: making them the last known hunter gatherer in Australia.

Ian's compositions center on the life affirming sites he depicts and each are multi layered with meaning. Many are surrounded with secrecy and only surface details can be recorded.

Here he paints the significant site Tuwan situated in the heart of traditional Spinifex Country. It is at Tuwan, the Tjulpu Tjuta Tjukurpa (Many Birds Creation Line) manifests. This is an epic narrative following the journey of a group of Zebra Finch people as they journey south to save the world from rising seas. They use their spears to create giant ramparts to hold the sea back. These characters described are creation beings with the power of transformation, not just of themselves but the landscape they moved through. They left indelible physical reminders in a mapped environment and wrapped it in song and dance for all to follow.

His artworks are in the following prestigious collection :
Collection Prince Stefan Of Liechtenstein, Embassy Of Liechtenstein In Germany. (Mens Collaborate)
National Gallery Of Australia, Canberra, Act (Mens Collaborative)
Seattle Art Museum, Seattle, Usa. (Mens Collaborative)
The Aboriginal Art Museum, Utrecht
The British Museum, London. (Mens Collaborative)
The Corrigan Collection, Australia (Mens Collaborative)
Wagner And Owen Collection, Usa.
W. & V. Mcgeoch Collection, Melbourne, Vic. (Mens Collaborative)
Art Gallery Of South Australia, Adelaide, South Australia (Mens Collaborative)

Artiste : Ian Rictor

Titre de l'œuvre : Tuwan Dreaming Time story

Format : 137 x 90 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-141

Enquiry / Demander le prix de l'œuvre

Explications pour cette œuvre :

Ian Rictor (1960) paints with a quiet reverence for the country that he depicts, from his relatively recent nomadic movements over the endless interior that makes up Spinifex Lands. Ian walked from water source to food source and beyond, this was a cultural and family existence for survival in an arid land before his family were found and 'brought in' by relatives in 1986: making them the last known hunter gatherer in Australia.

Ian's compositions center on the life affirming sites he depicts and each are multi layered with meaning. Many are surrounded with secrecy and only surface details can be recorded.

Here he paints the significant site Tuwan situated in the heart of traditional Spinifex Country. It is at Tuwan, the Tjulpu Tjuta Tjukurpa (Many Birds Creation Line) manifests. This is an epic narrative following the journey of a group of Zebra Finch people as they journey south to save the world from rising seas. They use their spears to create giant ramparts to hold the sea back. These characters described are creation beings with the power of transformation, not just of themselves but the landscape they moved through. They left indelible physical reminders in a mapped environment and wrapped it in song and dance for all to follow.

His artworks are in the following prestigious collection :
Collection Prince Stefan Of Liechtenstein, Embassy Of Liechtenstein In Germany. (Mens Collaborate)
National Gallery Of Australia, Canberra, Act (Mens Collaborative)
Seattle Art Museum, Seattle, Usa. (Mens Collaborative)
The Aboriginal Art Museum, Utrecht
The British Museum, London. (Mens Collaborative)
The Corrigan Collection, Australia (Mens Collaborative)
Wagner And Owen Collection, Usa.
W. & V. Mcgeoch Collection, Melbourne, Vic. (Mens Collaborative)
Art Gallery Of South Australia, Adelaide, South Australia (Mens Collaborative)

Artiste : Ian Rictor

Titre de l'œuvre : Tuwan Dreaming Time story

Format : 137 x 90 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-110

Enquiry / Demander le prix de l'œuvre

Explications pour cette œuvre :

Ian Rictor (1960) paints with a quiet reverence for the country that he depicts, from his relatively recent nomadic movements over the endless interior that makes up Spinifex Lands. Ian walked from water source to food source and beyond, this was a cultural and family existence for survival in an arid land before his family were found and 'brought in' by relatives in 1986: making them the last known hunter gatherer in Australia.

Ian's compositions center on the life affirming sites he depicts and each are multi layered with meaning. Many are surrounded with secrecy and only surface details can be recorded.

Here he paints the significant site Tuwan situated in the heart of traditional Spinifex Country. It is at Tuwan, the Tjulpu Tjuta Tjukurpa (Many Birds Creation Line) manifests. This is an epic narrative following the journey of a group of Zebra Finch people as they journey south to save the world from rising seas. They use their spears to create giant ramparts to hold the sea back. These characters described are creation beings with the power of transformation, not just of themselves but the landscape they moved through. They left indelible physical reminders in a mapped environment and wrapped it in song and dance for all to follow.

His artworks are in the following prestigious collection :
Collection Prince Stefan Of Liechtenstein, Embassy Of Liechtenstein In Germany. (Mens Collaborate)
National Gallery Of Australia, Canberra, Act (Mens Collaborative)
Seattle Art Museum, Seattle, Usa. (Mens Collaborative)
The Aboriginal Art Museum, Utrecht
The British Museum, London. (Mens Collaborative)
The Corrigan Collection, Australia (Mens Collaborative)
Wagner And Owen Collection, Usa.
W. & V. Mcgeoch Collection, Melbourne, Vic. (Mens Collaborative)
Art Gallery Of South Australia, Adelaide, South Australia (Mens Collaborative)

Artiste : Ian Rictor

Titre de l'œuvre : Tuwan Dreaming Time story

Format : 137 x 90 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-80 

Enquiry / Demander le prix de l'œuvre

Explications pour cette œuvre :

Ian Rictor (1960) paints with a quiet reverence for the country that he depicts, from his relatively recent nomadic movements over the endless interior that makes up Spinifex Lands. Ian walked from water source to food source and beyond, this was a cultural and family existence for survival in an arid land before his family were found and 'brought in' by relatives in 1986: making them the last known hunter gatherer in Australia.

Ian's compositions center on the life affirming sites he depicts and each are multi layered with meaning. Many are surrounded with secrecy and only surface details can be recorded.

Here he paints the significant site Tuwan situated in the heart of traditional Spinifex Country. It is at Tuwan, the Tjulpu Tjuta Tjukurpa (Many Birds Creation Line) manifests. This is an epic narrative following the journey of a group of Zebra Finch people as they journey south to save the world from rising seas. They use their spears to create giant ramparts to hold the sea back. These characters described are creation beings with the power of transformation, not just of themselves but the landscape they moved through. They left indelible physical reminders in a mapped environment and wrapped it in song and dance for all to follow.

His artworks are in the following prestigious collection :
Collection Prince Stefan Of Liechtenstein, Embassy Of Liechtenstein In Germany. (Mens Collaborate)
National Gallery Of Australia, Canberra, Act (Mens Collaborative)
Seattle Art Museum, Seattle, Usa. (Mens Collaborative)
The Aboriginal Art Museum, Utrecht
The British Museum, London. (Mens Collaborative)
The Corrigan Collection, Australia (Mens Collaborative)
Wagner And Owen Collection, Usa.
W. & V. Mcgeoch Collection, Melbourne, Vic. (Mens Collaborative)
Art Gallery Of South Australia, Adelaide, South Australia (Mens Collaborative)

Artiste : Ian Rictor

Titre de l'œuvre : Tuwan Dreaming Time story

Format : 137 x 140 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-294 

Enquiry / Demander le prix de l'œuvre

Explications pour cette œuvre :

Ian Rictor (1960) paints with a quiet reverence for the country that he depicts, from his relatively recent nomadic movements over the endless interior that makes up Spinifex Lands. Ian walked from water source to food source and beyond, this was a cultural and family existence for survival in an arid land before his family were found and 'brought in' by relatives in 1986: making them the last known hunter gatherer in Australia.

Ian's compositions center on the life affirming sites he depicts and each are multi layered with meaning. Many are surrounded with secrecy and only surface details can be recorded.

Here he paints the significant site Tuwan situated in the heart of traditional Spinifex Country. It is at Tuwan, the Tjulpu Tjuta Tjukurpa (Many Birds Creation Line) manifests. This is an epic narrative following the journey of a group of Zebra Finch people as they journey south to save the world from rising seas. They use their spears to create giant ramparts to hold the sea back. These characters described are creation beings with the power of transformation, not just of themselves but the landscape they moved through. They left indelible physical reminders in a mapped environment and wrapped it in song and dance for all to follow.

His artworks are in the following prestigious collection :
Collection Prince Stefan Of Liechtenstein, Embassy Of Liechtenstein In Germany. (Mens Collaborate)
National Gallery Of Australia, Canberra, Act (Mens Collaborative)
Seattle Art Museum, Seattle, Usa. (Mens Collaborative)
The Aboriginal Art Museum, Utrecht
The British Museum, London. (Mens Collaborative)
The Corrigan Collection, Australia (Mens Collaborative)
Wagner And Owen Collection, Usa.
W. & V. Mcgeoch Collection, Melbourne, Vic. (Mens Collaborative)
Art Gallery Of South Australia, Adelaide, South Australia (Mens Collaborative)

Artiste : Ian Rictor

Titre de l'œuvre : Tuwan Dreaming Time story

Format : 200 x 137 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 19-451 

Enquiry / Demander le prix de l'œuvre

Explications pour cette œuvre :

Ian Rictor (1960) paints with a quiet reverence for the country that he depicts, from his relatively recent nomadic movements over the endless interior that makes up Spinifex Lands. Ian walked from water source to food source and beyond, this was a cultural and family existence for survival in an arid land before his family were found and 'brought in' by relatives in 1986: making them the last known hunter gatherer in Australia.

Ian's compositions center on the life affirming sites he depicts and each are multi layered with meaning. Many are surrounded with secrecy and only surface details can be recorded.

Here he paints the significant site Tuwan situated in the heart of traditional Spinifex Country. It is at Tuwan, the Tjulpu Tjuta Tjukurpa (Many Birds Creation Line) manifests. This is an epic narrative following the journey of a group of Zebra Finch people as they journey south to save the world from rising seas. They use their spears to create giant ramparts to hold the sea back. These characters described are creation beings with the power of transformation, not just of themselves but the landscape they moved through. They left indelible physical reminders in a mapped environment and wrapped it in song and dance for all to follow.

His artworks are in the following prestigious collection :
Collection Prince Stefan Of Liechtenstein, Embassy Of Liechtenstein In Germany. (Mens Collaborate)
National Gallery Of Australia, Canberra, Act (Mens Collaborative)
Seattle Art Museum, Seattle, Usa. (Mens Collaborative)
The Aboriginal Art Museum, Utrecht
The British Museum, London. (Mens Collaborative)
The Corrigan Collection, Australia (Mens Collaborative)
Wagner And Owen Collection, Usa.
W. & V. Mcgeoch Collection, Melbourne, Vic. (Mens Collaborative)
Art Gallery Of South Australia, Adelaide, South Australia (Mens Collaborative)

Artiste : Ian Rictor

Titre de l'œuvre : Tuwan Dreaming Time story

Format : 137 x 110 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-214 

Enquiry / Demander le prix de l'œuvre

Explications pour cette œuvre :

Ian Rictor (1960) paints with a quiet reverence for the country that he depicts, from his relatively recent nomadic movements over the endless interior that makes up Spinifex Lands. Ian walked from water source to food source and beyond, this was a cultural and family existence for survival in an arid land before his family were found and 'brought in' by relatives in 1986: making them the last known hunter gatherer in Australia.

Ian's compositions center on the life affirming sites he depicts and each are multi layered with meaning. Many are surrounded with secrecy and only surface details can be recorded.

Here he paints the significant site Tuwan situated in the heart of traditional Spinifex Country. It is at Tuwan, the Tjulpu Tjuta Tjukurpa (Many Birds Creation Line) manifests. This is an epic narrative following the journey of a group of Zebra Finch people as they journey south to save the world from rising seas. They use their spears to create giant ramparts to hold the sea back. These characters described are creation beings with the power of transformation, not just of themselves but the landscape they moved through. They left indelible physical reminders in a mapped environment and wrapped it in song and dance for all to follow.

His artworks are in the following prestigious collection :
Collection Prince Stefan Of Liechtenstein, Embassy Of Liechtenstein In Germany. (Mens Collaborate)
National Gallery Of Australia, Canberra, Act (Mens Collaborative)
Seattle Art Museum, Seattle, Usa. (Mens Collaborative)
The Aboriginal Art Museum, Utrecht
The British Museum, London. (Mens Collaborative)
The Corrigan Collection, Australia (Mens Collaborative)
Wagner And Owen Collection, Usa.
W. & V. Mcgeoch Collection, Melbourne, Vic. (Mens Collaborative)
Art Gallery Of South Australia, Adelaide, South Australia (Mens Collaborative)

Artiste : Ian Rictor

Titre de l'œuvre : Tuwan Dreaming Time story

Format : 110 x 95 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 22-303 

Enquiry / Demander le prix de l'œuvre

Explications pour cette œuvre :

Ian Rictor (1960) paints with a quiet reverence for the country that he depicts, from his relatively recent nomadic movements over the endless interior that makes up Spinifex Lands. Ian walked from water source to food source and beyond, this was a cultural and family existence for survival in an arid land before his family were found and 'brought in' by relatives in 1986: making them the last known hunter gatherer in Australia.

Ian's compositions center on the life affirming sites he depicts and each are multi layered with meaning. Many are surrounded with secrecy and only surface details can be recorded.

Here he paints the significant site Tuwan situated in the heart of traditional Spinifex Country. It is at Tuwan, the Tjulpu Tjuta Tjukurpa (Many Birds Creation Line) manifests. This is an epic narrative following the journey of a group of Zebra Finch people as they journey south to save the world from rising seas. They use their spears to create giant ramparts to hold the sea back. These characters described are creation beings with the power of transformation, not just of themselves but the landscape they moved through. They left indelible physical reminders in a mapped environment and wrapped it in song and dance for all to follow.

His artworks are in the following prestigious collection :
Collection Prince Stefan Of Liechtenstein, Embassy Of Liechtenstein In Germany. (Mens Collaborate)
National Gallery Of Australia, Canberra, Act (Mens Collaborative)
Seattle Art Museum, Seattle, Usa. (Mens Collaborative)
The Aboriginal Art Museum, Utrecht
The British Museum, London. (Mens Collaborative)
The Corrigan Collection, Australia (Mens Collaborative)
Wagner And Owen Collection, Usa.
W. & V. Mcgeoch Collection, Melbourne, Vic. (Mens Collaborative)
Art Gallery Of South Australia, Adelaide, South Australia (Mens Collaborative)

Artiste : Tjaruwa Woods

Titre de l'œuvre : Kamanti 

Format : 200 x 137 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 18-150 

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Tjaruwa (1954) paints with a knowledge and a devotion to the country that formed her. She was a young woman when she and her immediate family 'walked in' from the Great Victoria Desert in the remote east of Western Australia. This was deemed inhospitable country by the encroaching 'new world' and perceived as so vast and uninhabited, that it made the ideal site to detonate and observe the new wave of nuclear explosions conducted as part of the British Atomic Testing during the 1950's.

Tjaruwa and her family were there, living, breathing, hunting, walking over the soft red carpet of sand, learning the paths of the creation beings who shaped this landscape and made the moral world possible. She slept under a vast expanse by campfire and drank water from tree roots. She learnt the fine art of survival in an arid but spiritual world and how to navigate an environment full of meaning. Tjaruwa paints like she breathes, an almost innate required constant. As she depicts the significant site of Kamanti, she is well aware of the creation manifestation of the Wati Kutjara (Two Men Creation Line) and that these Two Men still reside in the well-formed water cavities that penetrate deep into middle earth. She knows with all her learned experience that these Two Men are to be feared but treated with reverence all the same, for they can travel underground as the enormous water serpents that they are, or walk the landscape in the form of mortal men. And as she sings the sites onto the two dimensional plane, let us appreciate through the panoramic composition that comes from a lifetime of breathing in this country.

Tjaruwa was born in 1954 outside the Spinifex Determination Area at Warutjara, the place of Minyma Tjilkamata - the Echidna Woman, near the current community of Jamieson (Manta Maru) within the Ngaanyatjarra Lands. Except for possession of a few pieces of iron, fashioned into implements and tin bowls Tjaruwa lived traditionally until the winter of 1986 when her family group of seven was located in northern Spinifex by a group of Spinifex people making a sortie into country to re-visit important Men’s sites after some 25 years of absence. Tjaruwa came in with a small son on her hip and camped with her family firstly at Yakatunya, 90 kilometres south of Tjuntjuntjara, joined the moving camp which accompanied the construction of a road, 300 kilometres through the length of the Spinifex Lands, before settling permanently at Tjuntjuntjara in 1989. Tjaruwa was adjudged to be about 32 years old in 1986 and was given the birth date 1/7/1954. At this point in time (2014),Tjaruwa’s family remains the last Aboriginal group in the country to make first contact with contemporary Australia.

It is difficult to even imagine the changes Tjaruwa was to encounter living in her new world. She had acquired an extended network of kin to establish relationships with, the daily activity of hunting and gathering was essentially replaced by the community store and water was abundant.

Tjaruwa’s immediate priority was to care for her mother and uncle living in their new circumstances and it was not until her mother passed away that she took up an interest in painting. At first she tended to paint as she observed other women painting and then the accumulated experience of her other life and her mother’s stories/designs poured out and Tjaruwa’s unique Spinifex perspective was translated with spectacular style and technique on to canvas.

Tjaruwa comes from an area of many sandhills and rock holes which is what she paints in this painting. Kamanti is a major rockhole and within this vicinity are the water holes and significant sites of Nyuman, Kuru Ala and Tuwan. This area also has the presence of the Seven Sisters Tjukurpa running through it, an epic song line which traverses the Western Desert. The circles represent the rockholes whilst the lines of colour show the many sandhills and travelling tracks. Water sources are a precious resource in the desert and feature strongly in the Tjukurpa and thus the paintings of the Spinifex artists. These stories of Creation beings with magical powers forming country as the lived their lives criss cross over the desert landscape. These beings are alive in the country today.

Her artworks are in the following prestigious collections :

Art Gallery Of South Australia, Adelaide Sa (Women’s Collaborative)
National Gallery Of Australia, Canberra
National Gallery Of Victoria, Melbourne Vic (Women’s Collaborative)
Richard And Harriet England Collection
Seattle Art Museum, Seattle Usa (Women’s Collaborative)
The British Museum, London, England.(Womens Collaborative)
The Corrigan Collection, Australia
The Lepley Collection, Perth, Western Australia.
The Sims Dickson Collection, Nsw
Parliament House Art Collection, Canberra, Act (Womens Collaborative)
W. & V. Mcgeoch Collection, Melbourne, Vic.
The Berndt Collection, University Of Western Australia.

Artiste : Tjaruwa Woods

Titre de l'œuvre : Waratata 

Format : 136 x 90 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 13329 

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Tjaruwa (1954) paints with a knowledge and a devotion to the country that formed her. She was a young woman when she and her immediate family 'walked in' from the Great Victoria Desert in the remote east of Western Australia. This was deemed inhospitable country by the encroaching 'new world' and perceived as so vast and uninhabited, that it made the ideal site to detonate and observe the new wave of nuclear explosions conducted as part of the British Atomic Testing during the 1950's.

Tjaruwa and her family were there, living, breathing, hunting, walking over the soft red carpet of sand, learning the paths of the creation beings who shaped this landscape and made the moral world possible. She slept under a vast expanse by campfire and drank water from tree roots. She learnt the fine art of survival in an arid but spiritual world and how to navigate an environment full of meaning. Tjaruwa paints like she breathes, an almost innate required constant. As she depicts the significant site of Kamanti, she is well aware of the creation manifestation of the Wati Kutjara (Two Men Creation Line) and that these Two Men still reside in the well-formed water cavities that penetrate deep into middle earth. She knows with all her learned experience that these Two Men are to be feared but treated with reverence all the same, for they can travel underground as the enormous water serpents that they are, or walk the landscape in the form of mortal men. And as she sings the sites onto the two dimensional plane, let us appreciate through the panoramic composition that comes from a lifetime of breathing in this country.

Tjaruwa was born in 1954 outside the Spinifex Determination Area at Warutjara, the place of Minyma Tjilkamata - the Echidna Woman, near the current community of Jamieson (Manta Maru) within the Ngaanyatjarra Lands. Except for possession of a few pieces of iron, fashioned into implements and tin bowls Tjaruwa lived traditionally until the winter of 1986 when her family group of seven was located in northern Spinifex by a group of Spinifex people making a sortie into country to re-visit important Men’s sites after some 25 years of absence. Tjaruwa came in with a small son on her hip and camped with her family firstly at Yakatunya, 90 kilometres south of Tjuntjuntjara, joined the moving camp which accompanied the construction of a road, 300 kilometres through the length of the Spinifex Lands, before settling permanently at Tjuntjuntjara in 1989. Tjaruwa was adjudged to be about 32 years old in 1986 and was given the birth date 1/7/1954. At this point in time (2014),Tjaruwa’s family remains the last Aboriginal group in the country to make first contact with contemporary Australia.

It is difficult to even imagine the changes Tjaruwa was to encounter living in her new world. She had acquired an extended network of kin to establish relationships with, the daily activity of hunting and gathering was essentially replaced by the community store and water was abundant.

Tjaruwa’s immediate priority was to care for her mother and uncle living in their new circumstances and it was not until her mother passed away that she took up an interest in painting. At first she tended to paint as she observed other women painting and then the accumulated experience of her other life and her mother’s stories/designs poured out and Tjaruwa’s unique Spinifex perspective was translated with spectacular style and technique on to canvas.

Nyangatja minyma kutju nyinanyi ka Minyma Tjilkamata nyinanyi ka kapi Waratata ka nyangatja ngura ngayuku nyuntjungku ngayulu iti􀆟mantangka nyarinyi ka paluru mapitja ka minyma kutjupangku ngayulu makati􀆟. This painting is depicting the place of the echidna women from the time of creation. This place is called Waratata and she is sitting down here.

Her artworks are in the following prestigious collections :

Art Gallery Of South Australia, Adelaide Sa (Women’s Collaborative)
National Gallery Of Australia, Canberra
National Gallery Of Victoria, Melbourne Vic (Women’s Collaborative)
Richard And Harriet England Collection
Seattle Art Museum, Seattle Usa (Women’s Collaborative)
The British Museum, London, England.(Womens Collaborative)
The Corrigan Collection, Australia
The Lepley Collection, Perth, Western Australia.
The Sims Dickson Collection, Nsw
Parliament House Art Collection, Canberra, Act (Womens Collaborative)
W. & V. Mcgeoch Collection, Melbourne, Vic.
The Berndt Collection, University Of Western Australia.

Artiste : Tjaruwa Woods

Titre de l'œuvre : Kamanti 

Format : 200 x 137 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 18-139 

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Tjaruwa (1954) paints with a knowledge and a devotion to the country that formed her. She was a young woman when she and her immediate family 'walked in' from the Great Victoria Desert in the remote east of Western Australia. This was deemed inhospitable country by the encroaching 'new world' and perceived as so vast and uninhabited, that it made the ideal site to detonate and observe the new wave of nuclear explosions conducted as part of the British Atomic Testing during the 1950's.

Tjaruwa and her family were there, living, breathing, hunting, walking over the soft red carpet of sand, learning the paths of the creation beings who shaped this landscape and made the moral world possible. She slept under a vast expanse by campfire and drank water from tree roots. She learnt the fine art of survival in an arid but spiritual world and how to navigate an environment full of meaning. Tjaruwa paints like she breathes, an almost innate required constant. As she depicts the significant site of Kamanti, she is well aware of the creation manifestation of the Wati Kutjara (Two Men Creation Line) and that these Two Men still reside in the well-formed water cavities that penetrate deep into middle earth. She knows with all her learned experience that these Two Men are to be feared but treated with reverence all the same, for they can travel underground as the enormous water serpents that they are, or walk the landscape in the form of mortal men. And as she sings the sites onto the two dimensional plane, let us appreciate through the panoramic composition that comes from a lifetime of breathing in this country.

Tjaruwa was born in 1954 outside the Spinifex Determination Area at Warutjara, the place of Minyma Tjilkamata - the Echidna Woman, near the current community of Jamieson (Manta Maru) within the Ngaanyatjarra Lands. Except for possession of a few pieces of iron, fashioned into implements and tin bowls Tjaruwa lived traditionally until the winter of 1986 when her family group of seven was located in northern Spinifex by a group of Spinifex people making a sortie into country to re-visit important Men’s sites after some 25 years of absence. Tjaruwa came in with a small son on her hip and camped with her family firstly at Yakatunya, 90 kilometres south of Tjuntjuntjara, joined the moving camp which accompanied the construction of a road, 300 kilometres through the length of the Spinifex Lands, before settling permanently at Tjuntjuntjara in 1989. Tjaruwa was adjudged to be about 32 years old in 1986 and was given the birth date 1/7/1954. At this point in time (2014),Tjaruwa’s family remains the last Aboriginal group in the country to make first contact with contemporary Australia.

It is difficult to even imagine the changes Tjaruwa was to encounter living in her new world. She had acquired an extended network of kin to establish relationships with, the daily activity of hunting and gathering was essentially replaced by the community store and water was abundant.

Tjaruwa’s immediate priority was to care for her mother and uncle living in their new circumstances and it was not until her mother passed away that she took up an interest in painting. At first she tended to paint as she observed other women painting and then the accumulated experience of her other life and her mother’s stories/designs poured out and Tjaruwa’s unique Spinifex perspective was translated with spectacular style and technique on to canvas.

Tjaruwa comes from an area of many sandhills and rock holes which is what she paints in this painting. Kamanti is a major rockhole and within this vicinity are the water holes and significant sites of Nyuman, Kuru Ala and Tuwan. This area also has the presence of the Seven Sisters Tjukurpa running through it, an epic song line which traverses the Western Desert. The circles represent the rockholes whilst the lines of colour show the many sandhills and travelling tracks. Water sources are a precious resource in the desert and feature strongly in the Tjukurpa and thus the paintings of the Spinifex artists. These stories of Creation beings with magical powers forming country as the lived their lives criss cross over the desert landscape. These beings are alive in the country today.

Her artworks are in the following prestigious collections :

Art Gallery Of South Australia, Adelaide Sa (Women’s Collaborative)
National Gallery Of Australia, Canberra
National Gallery Of Victoria, Melbourne Vic (Women’s Collaborative)
Richard And Harriet England Collection
Seattle Art Museum, Seattle Usa (Women’s Collaborative)
The British Museum, London, England.(Womens Collaborative)
The Corrigan Collection, Australia
The Lepley Collection, Perth, Western Australia.
The Sims Dickson Collection, Nsw
Parliament House Art Collection, Canberra, Act (Womens Collaborative)
W. & V. Mcgeoch Collection, Melbourne, Vic.
The Berndt Collection, University Of Western Australia.

Artiste : Tjaruwa Woods

Titre de l'œuvre : Kapi 

Format : 95 x 85 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 19-224 

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Tjaruwa (1954) paints with a knowledge and a devotion to the country that formed her. She was a young woman when she and her immediate family 'walked in' from the Great Victoria Desert in the remote east of Western Australia. This was deemed inhospitable country by the encroaching 'new world' and perceived as so vast and uninhabited, that it made the ideal site to detonate and observe the new wave of nuclear explosions conducted as part of the British Atomic Testing during the 1950's.

Tjaruwa and her family were there, living, breathing, hunting, walking over the soft red carpet of sand, learning the paths of the creation beings who shaped this landscape and made the moral world possible. She slept under a vast expanse by campfire and drank water from tree roots. She learnt the fine art of survival in an arid but spiritual world and how to navigate an environment full of meaning. Tjaruwa paints like she breathes, an almost innate required constant. As she depicts the significant site of Kamanti, she is well aware of the creation manifestation of the Wati Kutjara (Two Men Creation Line) and that these Two Men still reside in the well-formed water cavities that penetrate deep into middle earth. She knows with all her learned experience that these Two Men are to be feared but treated with reverence all the same, for they can travel underground as the enormous water serpents that they are, or walk the landscape in the form of mortal men. And as she sings the sites onto the two dimensional plane, let us appreciate through the panoramic composition that comes from a lifetime of breathing in this country.

Tjaruwa was born in 1954 outside the Spinifex Determination Area at Warutjara, the place of Minyma Tjilkamata - the Echidna Woman, near the current community of Jamieson (Manta Maru) within the Ngaanyatjarra Lands. Except for possession of a few pieces of iron, fashioned into implements and tin bowls Tjaruwa lived traditionally until the winter of 1986 when her family group of seven was located in northern Spinifex by a group of Spinifex people making a sortie into country to re-visit important Men’s sites after some 25 years of absence. Tjaruwa came in with a small son on her hip and camped with her family firstly at Yakatunya, 90 kilometres south of Tjuntjuntjara, joined the moving camp which accompanied the construction of a road, 300 kilometres through the length of the Spinifex Lands, before settling permanently at Tjuntjuntjara in 1989. Tjaruwa was adjudged to be about 32 years old in 1986 and was given the birth date 1/7/1954. At this point in time (2014),Tjaruwa’s family remains the last Aboriginal group in the country to make first contact with contemporary Australia.

It is difficult to even imagine the changes Tjaruwa was to encounter living in her new world. She had acquired an extended network of kin to establish relationships with, the daily activity of hunting and gathering was essentially replaced by the community store and water was abundant.

Tjaruwa’s immediate priority was to care for her mother and uncle living in their new circumstances and it was not until her mother passed away that she took up an interest in painting. At first she tended to paint as she observed other women painting and then the accumulated experience of her other life and her mother’s stories/designs poured out and Tjaruwa’s unique Spinifex perspective was translated with spectacular style and technique on to canvas.

Tjaruwa has painted here the area around which she was born and grew up. "Water sources are a precious resource in the desert and feature strongly in the Tjukurpa and thus the paintings of the Spinifex artists. These stories of Creation beings with magical powers forming country as the lived their lives criss cross over the desert landscape. These beings are alive in the country today. Wanampis (mythical water serpents) still guard the water holes. Anangu know to approach such places with reverence according to cultural law.

Her artworks are in the following prestigious collections :

Art Gallery Of South Australia, Adelaide Sa (Women’s Collaborative)
National Gallery Of Australia, Canberra
National Gallery Of Victoria, Melbourne Vic (Women’s Collaborative)
Richard And Harriet England Collection
Seattle Art Museum, Seattle Usa (Women’s Collaborative)
The British Museum, London, England.(Womens Collaborative)
The Corrigan Collection, Australia
The Lepley Collection, Perth, Western Australia.
The Sims Dickson Collection, Nsw
Parliament House Art Collection, Canberra, Act (Womens Collaborative)
W. & V. Mcgeoch Collection, Melbourne, Vic.
The Berndt Collection, University Of Western Australia.

Artiste : Tjaruwa Woods

Titre de l'œuvre : Kamanti 

Format : 110 x 85 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 17-239

Demander le prix de l'œuvre / Enquiry

Explications pour cette œuvre :

Tjaruwa (1954) paints with a knowledge and a devotion to the country that formed her. She was a young woman when she and her immediate family 'walked in' from the Great Victoria Desert in the remote east of Western Australia. This was deemed inhospitable country by the encroaching 'new world' and perceived as so vast and uninhabited, that it made the ideal site to detonate and observe the new wave of nuclear explosions conducted as part of the British Atomic Testing during the 1950's.

Tjaruwa and her family were there, living, breathing, hunting, walking over the soft red carpet of sand, learning the paths of the creation beings who shaped this landscape and made the moral world possible. She slept under a vast expanse by campfire and drank water from tree roots. She learnt the fine art of survival in an arid but spiritual world and how to navigate an environment full of meaning. Tjaruwa paints like she breathes, an almost innate required constant. As she depicts the significant site of Kamanti, she is well aware of the creation manifestation of the Wati Kutjara (Two Men Creation Line) and that these Two Men still reside in the well-formed water cavities that penetrate deep into middle earth. She knows with all her learned experience that these Two Men are to be feared but treated with reverence all the same, for they can travel underground as the enormous water serpents that they are, or walk the landscape in the form of mortal men. And as she sings the sites onto the two dimensional plane, let us appreciate through the panoramic composition that comes from a lifetime of breathing in this country.

Tjaruwa was born in 1954 outside the Spinifex Determination Area at Warutjara, the place of Minyma Tjilkamata - the Echidna Woman, near the current community of Jamieson (Manta Maru) within the Ngaanyatjarra Lands. Except for possession of a few pieces of iron, fashioned into implements and tin bowls Tjaruwa lived traditionally until the winter of 1986 when her family group of seven was located in northern Spinifex by a group of Spinifex people making a sortie into country to re-visit important Men’s sites after some 25 years of absence. Tjaruwa came in with a small son on her hip and camped with her family firstly at Yakatunya, 90 kilometres south of Tjuntjuntjara, joined the moving camp which accompanied the construction of a road, 300 kilometres through the length of the Spinifex Lands, before settling permanently at Tjuntjuntjara in 1989. Tjaruwa was adjudged to be about 32 years old in 1986 and was given the birth date 1/7/1954. At this point in time (2014),Tjaruwa’s family remains the last Aboriginal group in the country to make first contact with contemporary Australia.

It is difficult to even imagine the changes Tjaruwa was to encounter living in her new world. She had acquired an extended network of kin to establish relationships with, the daily activity of hunting and gathering was essentially replaced by the community store and water was abundant.

Tjaruwa’s immediate priority was to care for her mother and uncle living in their new circumstances and it was not until her mother passed away that she took up an interest in painting. At first she tended to paint as she observed other women painting and then the accumulated experience of her other life and her mother’s stories/designs poured out and Tjaruwa’s unique Spinifex perspective was translated with spectacular style and technique on to canvas.

Tjaruwa comes from an area of many sandhills and rock holes which is what she paints in this painting. Kamanti is a major rockhole and within this vicinity are the water holes and significant sites of Nyuman, Kuru Ala and Tuwan. This area also has the presence of the Seven Sisters Tjukurpa running through it, an epic song line which traverses the Western Desert. The circles represent the rockholes whilst the lines of colour show the many sandhills and travelling tracks. Water sources are a precious resource in the desert and feature strongly in the Tjukurpa and thus the paintings of the Spinifex artists. These stories of Creation beings with magical powers forming country as the lived their lives criss cross over the desert landscape. These beings are alive in the country today.

Her artworks are in the following prestigious collections :

Art Gallery Of South Australia, Adelaide Sa (Women’s Collaborative)
National Gallery Of Australia, Canberra
National Gallery Of Victoria, Melbourne Vic (Women’s Collaborative)
Richard And Harriet England Collection
Seattle Art Museum, Seattle Usa (Women’s Collaborative)
The British Museum, London, England.(Womens Collaborative)
The Corrigan Collection, Australia
The Lepley Collection, Perth, Western Australia.
The Sims Dickson Collection, Nsw
Parliament House Art Collection, Canberra, Act (Womens Collaborative)
W. & V. Mcgeoch Collection, Melbourne, Vic.
The Berndt Collection, University Of Western Australia.

Artiste : Ian Rictor

Titre de l'œuvre : Kamanti Dreaming Time story

Format : 137 x 140 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 21-126

Enquiry / Demander le prix de l'œuvre

Explications pour cette œuvre :

Ian Rictor (1960) paints with a quiet reverence for the country that he depicts, from his relatively recent nomadic movements over the endless interior that makes up Spinifex Lands. Ian walked from water source to food source and beyond, this was a cultural and family existence for survival in an arid land before his family were found and 'brought in' by relatives in 1986: making them the last known hunter gatherer in Australia.

Ian's compositions center on the life affirming sites he depicts and each are multi layered with meaning. Many are surrounded with secrecy and only surface details can be recorded.

Here, Ian depicts country associated with the Wati Kutjara Tjukurpa (Two Men Creation Line). This is an immense narrative that follows two Wanampi (Water Serpent), a father and son, as they traverse the Spinifex Lands on ceremonial business and the significant site of Kamanti situated in the heart of Spinifex country and where the two men stayed for a period. These characters are creation beings who shaped the narrative within the landscape as they journeyed through it, leaving indelible physical reminders of their power and presence.

His artworks are in the following prestigious collection :
Collection Prince Stefan Of Liechtenstein, Embassy Of Liechtenstein In Germany. (Mens Collaborate)
National Gallery Of Australia, Canberra, Act (Mens Collaborative)
Seattle Art Museum, Seattle, Usa. (Mens Collaborative)
The Aboriginal Art Museum, Utrecht
The British Museum, London. (Mens Collaborative)
The Corrigan Collection, Australia (Mens Collaborative)
Wagner And Owen Collection, Usa.
W. & V. Mcgeoch Collection, Melbourne, Vic. (Mens Collaborative)
Art Gallery Of South Australia, Adelaide, South Australia (Mens Collaborative)

Artiste : Ian Rictor

Titre de l'œuvre : Tuwan Dreaming Time story

Format : 200 x 137 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 19-182 

Enquiry / Demander le prix de l'œuvre

Explications pour cette œuvre :

Ian Rictor (1960) paints with a quiet reverence for the country that he depicts, from his relatively recent nomadic movements over the endless interior that makes up Spinifex Lands. Ian walked from water source to food source and beyond, this was a cultural and family existence for survival in an arid land before his family were found and 'brought in' by relatives in 1986: making them the last known hunter gatherer in Australia.

Ian's compositions center on the life affirming sites he depicts and each are multi layered with meaning. Many are surrounded with secrecy and only surface details can be recorded.

Here he paints the significant site Tuwan situated in the heart of traditional Spinifex Country. It is at Tuwan, the Tjulpu Tjuta Tjukurpa (Many Birds Creation Line) manifests. This is an epic narrative following the journey of a group of Zebra Finch people as they journey south to save the world from rising seas. They use their spears to create giant ramparts to hold the sea back. These characters described are creation beings with the power of transformation, not just of themselves but the landscape they moved through. They left indelible physical reminders in a mapped environment and wrapped it in song and dance for all to follow.

His artworks are in the following prestigious collection :
Collection Prince Stefan Of Liechtenstein, Embassy Of Liechtenstein In Germany. (Mens Collaborate)
National Gallery Of Australia, Canberra, Act (Mens Collaborative)
Seattle Art Museum, Seattle, Usa. (Mens Collaborative)
The Aboriginal Art Museum, Utrecht
The British Museum, London. (Mens Collaborative)
The Corrigan Collection, Australia (Mens Collaborative)
Wagner And Owen Collection, Usa.
W. & V. Mcgeoch Collection, Melbourne, Vic. (Mens Collaborative)
Art Gallery Of South Australia, Adelaide, South Australia (Mens Collaborative)

Artiste : Ian Rictor

Titre de l'œuvre : Tuwan Dreaming Time story

Format : 200 x 137 cm

Provenance et certificat : centre d'art aborigène du Spinifex Art Project

Référence de cette peinture : 19-450 

Enquiry / Demander le prix de l'œuvre

Explications pour cette œuvre :

Ian Rictor (1960) paints with a quiet reverence for the country that he depicts, from his relatively recent nomadic movements over the endless interior that makes up Spinifex Lands. Ian walked from water source to food source and beyond, this was a cultural and family existence for survival in an arid land before his family were found and 'brought in' by relatives in 1986: making them the last known hunter gatherer in Australia.

Ian's compositions center on the life affirming sites he depicts and each are multi layered with meaning. Many are surrounded with secrecy and only surface details can be recorded.

Here he paints the significant site Tuwan situated in the heart of traditional Spinifex Country. It is at Tuwan, the Tjulpu Tjuta Tjukurpa (Many Birds Creation Line) manifests. This is an epic narrative following the journey of a group of Zebra Finch people as they journey south to save the world from rising seas. They use their spears to create giant ramparts to hold the sea back. These characters described are creation beings with the power of transformation, not just of themselves but the landscape they moved through. They left indelible physical reminders in a mapped environment and wrapped it in song and dance for all to follow.

His artworks are in the following prestigious collection :
Collection Prince Stefan Of Liechtenstein, Embassy Of Liechtenstein In Germany. (Mens Collaborate)
National Gallery Of Australia, Canberra, Act (Mens Collaborative)
Seattle Art Museum, Seattle, Usa. (Mens Collaborative)
The Aboriginal Art Museum, Utrecht
The British Museum, London. (Mens Collaborative)
The Corrigan Collection, Australia (Mens Collaborative)
Wagner And Owen Collection, Usa.
W. & V. Mcgeoch Collection, Melbourne, Vic. (Mens Collaborative)
Art Gallery Of South Australia, Adelaide, South Australia (Mens Collaborative)