As the daughter of artist Kathrin Sharp and Aboriginal activist, poet, healer, musician and Yuin Elder Bobby McLeod, Niah's works tell of stories passed down and unique to her history.

Interview with Niah Juella McLeod

Do you remember the first time you picked up the brush and started painting?

What inspired you to become an artist?

Can you tell us about your artworks?

 

Can you tell us about your favourite dreaming that you paint?

When you are painting, what are you thinking of?

How do you paint? Do you have an easel; do you have canvas on the floor or wall?

 

“When I’m not painting, you can find me…”

“If I wasn’t an artist, I would be a…”

Welcome to our second exhibition in the ‘defining tradition’ exhibition series. In this show, we’re celebrating the trailblazing artists who pursued an adventurous use of colour. 

article | related videos | exhibition catalogue | online exhibition

Our inaugural ‘defining tradition’ exhibition in January, titled ‘the first wave & its disciples’, focused on the genesis of the western desert art movement at Papunya in 1971, when senior men essentially invented a new art form. We presented artists that have remained the faithful disciples of the muted colour palettes and powerful expression of Tjukurrpa (Dreaming) as first set down by those pioneers of western desert art. 

For many visitors to the gallery, the natural ochre pigments on display are what they had considered ‘traditional’ or the quintessential colours of Aboriginal art. Our second exhibition, ‘the colourists’, unveils that in experimenting with acrylics in Papunya in the 1970s, another great tradition was ignited - the use of bright colour.

As we completed hanging ‘the colourists’ exhibition, we couldn’t help but feel that the space was brighter, lighter and felt more uplifting. Our eyes were dancing around the space as we followed the sensuous pinks and reds found in Tommy Watson’s artworks, travelled across the dynamic lines of colour in Judy Watson Napangardi’s work, and felt the raw power in Lorna Fencer’s ‘Warna (Snake)’.

Before we delve deeper and discuss some of the fantastic artworks on display, we need to take a moment and debunk the notion that there’s none of this vibrant colour occurring naturally in the Australian landscape; that these artworks are somehow not an accurate or ‘authentic’ depiction of the Australian landscape. As I leave the urban jungle of Sydney - with its hazy air and restricted colour palette - and head to the ‘red centre’ of Alice Springs, the difference in colour is immense. The clean air, the bright Australian light and sensational contrasting colours sends my colour perception off the scale and everything is more intense. The mineral rich earth and stone also reflects a multitude of colours - making sunrise and sunset an incredibly magical time of the day. Everything does just seem more rich and vibrant in this special part of the world, with many landscape photographers commenting they have rarely seen the intensity of natural colour as found in our own backyard.

And then there is that magical time of the year, when for a few weeks the desert is blanketed with wildflowers. As far as the eye can see, there are vibrant splashes of blue, purple, yellow, along with more subtle pastel hues. It can be argued that many of the artists represented in this show are simply painting with colours they have experienced on Country. For me, this is perfectly typified by Polly Ngale’s gorgeous piece titled ‘Bush Plum’. Polly Ngale belongs to the oldest living generation of Utopia women and is considered one of the most accomplished painters to have worked there during the past twenty years. Polly’s artistic career began in the late 1970s when she, like many of the women in Utopia, began working with silk batik before venturing into works on canvas[1].

Most of Polly Ngale's paintings are centred around the 'Bush Plum'(or Conkerberry tree) and range from extremely fine dotting techniques with either interspersed colours or areas of varying colours and depth all blending together across the canvas. Through extensive over-dotting, she builds up layers of colour, blending or separate, to give a wealth of different and very attractive paint effects.

The Bush Plum - which is central to many of the works of artists’ of the Utopia community - provides an important food source for the Anmatyerre people and is frequently featured in the Women's dreaming stories. The fruits are harvested by shaking the trees until they fall to the ground but the fruits, although already quite sweet, need to be soaked in water to soften and plump them up for eating. The Bush Plum tree flowers in Spring and many of Polly's paintings have a distinctly Springtime air to them - one can readily sense a host of blossoms in her works.

Alternatively, some artists have used an adventurous colour palette to capture the energy or emotion of a site or Tjukurrpa (Dreaming). Lockhart River artist Samantha Hobson has an incredible ability to capture the colour and intensity of a moment and transform its radiant energy into an emotional charge pulsating through the artwork. Her Great Barrier Reef Series captures the jewel like quality of this pristine natural wonder, with bold splashes of paint conjuring those twinkling seconds a wave breaks. Her Series leaves the viewer feeling energised, much like a dip in the fresh saltwater.  Art historian Sally Butler perfectly explains Samantha Hobson’s work as “close to abstract expressionism, but there is always something that keeps it in touch with visible reality. This is because her art is about seeing the world, not a way of imagining it”. 

Another fantastic example of colour being used to express an emotion is Betty Mbitjana’s ‘Awelye’ - in this artwork Betty depicts the designs that the women would paint on their bodies, and the dancing tracks which are made in the sand during the women's awelye ceremony. Betty has chosen an array of bright, bold colours.  For me, this is the happiest artwork of the entire exhibition. If feels as if Betty is expressing the joy and celebration that occurs during the awelye ceremony. Betty’s artworks have a fantastic sense of greeting, and have a very uplifting effect in any area where they hang.

Another interesting item to consider when viewing ‘the colourists’ exhibition is how the artist has applied colour to the canvas. It is well known that the late Kudditji Kngwarreye would sing while he painted, as if to infuse the paint with his songlines and stories of Country. In the case of Judy Watson Napangardi, her brush was loaded with original and vital colour which she shuffled across the canvas, never losing connection between the brush and canvas. Interestingly, it is said that the ancestral women danced across country, and Warlpiri women of today channel their ancestors when they dance in ceremony, shuffling through the sand, never losing connection to Country. The method in which the paint has been applied could also imply a deep, ancient tradition. 

Judy Watson Napangardi was one of the trailblazing artists at Yuendumu, who cemented Warlukurlangu Art Centre’s reputation for their bold use of colour through an unrestricted palette[2]. Another early distinctive feature was the use of very traditional iconography. As explained by Warlukurlangu Art Centre, “the artists painted Jukurrpa (dreaming story), ensuring appropriate Warlpiri relationships of kirda (owners) and kurdugurlu (guardians) were followed and the images reflected the social and cultural obligations present in ceremonies and day-to-day life in the community. The kurawarri, the iconographic elements of a painting that held the story, were painted first and scrutinized by others for their adherence to Jukurrpa. The dotting that filled the canvases was less important, and many artists developed varying styles of application and experimented with different colours while maintaining a consistency in their presentation of kuruwarri”.

Nowadays, the paintings tell the story of the artists’ connection to their country, the features of the landscape, the plants and animals that are found there and the creation story that occurred in the Dreamtime. These stories are still very relevant to the artists today. Artists have their own particular styles or palettes, and constantly experiment and vary their paintings, so the works are constantly evolving.

As I walk through ‘the colourists’ exhibition, I also love how the art captures a sense of the artists personality - none more so than the incomparable Lorna Fencer Napurrula. We have created our own Lorna Fencer Photo Page to give you some insight into the persona of the artist and I think help to put her bold and uncompromising artwork into context.

Whilst many of the trailblazing artists featured in the show are no longer with us, it is heartening to see the next generation taking up the brush. In this exhibition alone we have artworks by the great Minnie Pwerle, her daughters Betty Mbitjana and Barbara Weir, and granddaughter Charmaine Pwerle (Barbara Weir’s daughter).

Coming away from ‘defining tradition | the colourist’ exhibition, I realise that no artist can work in a vacuum. We are all influenced by what we see around us. Painters are influenced by what other painters did before them. The colours we see and use, the effects in nature we try to convey, the things which inspire us and make us want to paint; all these reactions are conditioned by the traditions we respect and the influences and conventions we absorb - many of them unconsciously.

I encourage you all to see this monumental display of artworks and get some colour into your life!

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Defining Tradition | the first wave and & its disciples
19 january - 17 february 2019

article | related videos | exhibition catalogue | online exhibition

This year, we thought we’d try something different with our exhibition schedule. Don’t worry, the stellar solo shows and hugely popular artist in residence programs will still appear in the 2019 calendar, but we also wanted to provide our art-loving clients with some more weighty exhibitions to help contextualise the 2,0+ artworks stored in our gallery. So, starting in January 2019 we’ll kick off a series of exhibitions exploring the notion of ‘tradition’ in Aboriginal Art [1].

Aboriginal art is clearly in a category of its own and whilst it may be tempting to use modern art criteria to assess the works, Aboriginal art does not fit neatly into the mould of art in the Western sense. The world’s oldest living culture is organic and constantly evolving. So too is its art. And after over 40 years of employing non-indigenous media, the history of contemporary Indigenous art in Australia is marked by stories of great artists who have inspired other close or extended kin to follow their direction, resulting in a number of distinct schools, lineages or ‘traditions’.

The first wave & its disciples will present artists that have remained faithful disciples of the muted colour palettes and powerful expression of Tjukurrpa (Dreaming) as first set down by the pioneers of western desert art, those present in the remote community of Papunya in 1971.

So – where to begin our ‘defining tradition’ exhibition series? For us the answer was quite clear, as we are fortunate enough to have this exceptional piece by one of the founding Papunya Tula artists hanging in our gallery:

 Johnny Warangkula Tjupurrula 'Water Dreaming Kalipinypa' JWJG0001 122 x 211cm

Johnny Warangkula Tjupurrula was part of the Old Pintupi [2] when Geoff Bardon arrived in Papunya and was one of eight men in the first Papunya consignments to the Stuart Art Centre in 1971.

Johnny rapidly developed a distinctive style of his own which came to be known as 'over-dotting'. He uses several layers of dots to depict his Dreamings, which consist of Water, Fire, Yam and Egret stories. Geoffrey Bardon labelled this stylistic layering effect as 'tremulous illusion' and in his book Papunya Tula: Art of the Western Desert, Bardon fondly recollects images of Johnny painting with an "intense level of intuitive concentration".

This piece was painted in 1999 and features the established imagery of Johnny's Dreamings overpainted to hide the secret and sacred elements. Where he was once known for his delicate and soft white dotting, he attacked the canvas to tell the story with great gusto. He jabbed large dots on to the surface and produced roundels and symbols for weapons with great sweeps of his arm and the brush.  After nearly 30 years of painting, and perhaps due to his failing health and eye-sight, Johnny painted with a new-found freedom, both in expression and in painting technique.

The combination of Tingari or Dreaming motifs used to describe the culture and country of these senior men formed the basis of the abstracted dot designs that both described and disguised some of the great creation narratives from their heritage.

Our exhibition title ‘the first wave & its disciples' references this first wave of artists who painted in such a manner, and the faithful disciples who have maintained their artistic traditions. Many of these disciples began their artistic practice by assisting family members to infill areas of the background of the paintings; a collaborative process which was instrumental in the development of future generations of painters. As male collaborators themselves became artists in their own right, the role of women as assistants began.

Johnny Yungut Tjupurrula's tutelage had obvious incarnations in his wife, Walangkura Napanagka's works. Johnny Yungut was an "integral part of the Papunya Tula Artists for his entire artistic career, as well as being a highly respected cultural figure within the Pintupi Community" [3]. Tracks and features of the land are outlined in solid black brushstrokes, followed by meticulous dot work in vivid orange red and yellow.

Returning to their traditional country during the homelands movement of the 1980s, Walangkura participated in the historic women's collaborative painting project in Kintore in 1994 that was initiated by the older women as a means of re-affirming their own spiritual and ancestral roots. The huge and colourful canvases that emerged from the women's camp were 'alive with the ritual excitement and narrative intensity of the occasion' (Johnson 2000: 197). Within a year, Papunya Tula Artists, now established at Kintore, had taken on many of these women as full-time artists, revitalising the company after the deaths of many of the original 'painting men'.

Walangkura Napanangka, 'Tjintjintjin' WNAS0004,138 x 138cm, Acrylic on Linen 

Walangkura's early works created from 1996 onward are characterised by masses of small markings and motifs covering large areas of canvas. Her favourite colour, a deep sandy orange predominates, accentuated against more sombre blacks and reds and dusky greens or yellows. More recent works show a gestural quality though still tightly packed with an intensity of geometric line work representing sand-hills. Like Johnny Yungut's, these dynamic compositions are singular in their vision and voice and now Walangkura’s eldest daughter, Debra Young Nakamarra, also creates works of unique energy and vigour.

The widow of Yala Yala Gibbs Tjungurrayi (a highly respected Pintupi elder who held significant knowledge of his countries Dreaming stories), Ningura Napurrula, first began to paint in her own right in 1995 in the second year of the Haasts Bluff/Kintore women’s painting project. Whilst Ningura’s art may appear looser and more tranquil, there is a strong narrative element to her paintings.

Ningura Napurrula 'Wirrulnga' NING0017 92 x 151cm, Acrylic on Linen

Her use of a limited palette emphasises the structural elements of her work and slight tonal variations of cream and white move the viewer’s eye around the surface of the paintings. Yala Yala Gibbs used a similar limited colour palette, in works such as Yawulyurru (1972, NGV Collection).  Ningura's paintings often relate to the rock-hole sites of Wirrulnga and Ngaminya, which are to the east of Kiwirrkurra. The site of Wirrulnga is associated with birth; at these sites women hair is spun to form nyimparra (hair-string skirts) which are worn during ceremony.

Yinarupa Nangala was a co-wife with, amongst others, Ningura Napurrula, of Yala Yala Gibbs. Yinarupa also started to paint in 1996. However, for some time she gained only moderate recognition for her works. This gradually changed in the late 2000s and by 2009 her austere style was finally recognised for what it is, classic Pintupi art at its best.

Yinarupa Nangala 'Untitled – YNAG0059', 150 x 209cm, Acrylic on Linen

She paints the country around Mukula and the women's ceremony associated with it. The story is passed down from her father's mother. The shapes in the painting represent the features of the country, as well as bush foods. Women are represented by the 'U' shapes and kampararpa berries are represented by the circles.  The tree like shapes that run across her paintings are the trees used to make spears. This is Yinarupa's unique representation of the story that Turkey Tolsen and his sister, Mitjili Napurrula, paint (both of whom are also family).

Pulling the show together is Naata Nungurrayi’s exceptional work Marrapinti. Naata’s paintings combine the carefully composed geometric style that developed at Papunya amongst the Pintupi painting men, with the looser technique and more painterly organic style introduced by the women after the paintings camps of the early and mid 1990s.

Naata Nungurrayi 'Marrapinti – NA201228', 183 x 245cm, Acrylic on Linen

The western desert painting movement initiated by senior Pintupi men in the early 1970s has developed at a rapid pace and pushed down new pathways, some of which we will explore in upcoming exhibitions. The first wave & its disciples is a thoughtful collection of works from the Kate Owen Gallery stockroom which provides a way of looking back while looking forward.

 Related Videos

Say sayonara scented candle! It’s time to think outside the gift box and give the unique gift of art this festive season!

Here at the gallery we all too often see visitors who want to give the gift of art for their loved ones, but get themselves into a state of exasperation trying to decide which artwork would be right. So, to help you out this festive season, we’ve created a ‘gift guide’ where we’ve listed some fabulous Aboriginal artists, and the personality types we see going gaga for their work.

Of course this is just a suggestion; nobody knows your friends and family better than you do, so be brave and confident in your decisions!  And don’t forget – here at Kate Owen Gallery we are very understanding if an artwork was purchased as a gift and may not be quite right. Our Art Consultants are always here to help so please don’t hesitate to contact us.

Ready to start your Xmas shopping? Let’s go!

The Logical Sort

A good way to tell if someone would fit in to this category would be to ask yourself:

How would they respond to the blobs of paint in this artwork:

• a)            Argh! Fix it!
• b)            No- that’s just the quality of the work

If they would respond with something along the lines of A) then it is best to go for an aritist that has precise dot work or a systematic composition. Artists that instantly come to mind are Walala and Thomas Tjapaltjarri. These are highly regarded artists that we featured this year in our ‘Three Brothers’ exhibition. Geometric shapes and a carefully applied dot work give these artworks a powerful ‘Shimmering’ quality synonymous with depictions of the Tingari Cycle. These artworks are a great ‘go-to’ if you are purchasing for a man, as these artworks depict secret sacred men’s business, so there’s a great connection and story to share as you gift the artwork. 

Two other trailblazing artists who are soaring to dizzying heights are the King Sisters. Back in 2009, Kate Owen Gallery was proud to present the 3 Kings exhibition, where Sarrita and Tarisse King paid homage to their father, the highly respected artist and elder, William King Jungala (1966 – 2007). Back then, the sisters wove their own styles with that of their father and produced fascinating interplays of colour, design, heritage and spirit.  While still at the early stages of their careers, we could tell that Sarrita and Tarisse were set to become big names in the Aboriginal Art world.

Flash forward nine years, and the King Sisters have cemented themselves as the exciting next generation of Aboriginal artists. Still honouring their father’s stories, the sisters have matured and developed their own unique style which has seen them displayed in galleries throughout Australia and around the world. Their works are vibrant, striking and contemporary. The sisters employ a diversity of styles and colour palettes which make them perfect artists to explore as gift options.

View Sarrita Kings artworks

View Tarisse Kings artworks

Whilst these “giftees” will simply not appreciate the loose, wild, and gestural nature of a Polly Ngale Bush Plum or a Gloria Petyarre Bush Medicine piece, but a good alternative is a Jeannie Petyarre Bush Medicine piece. It may come as a surprise, but we find the focal point in Jeannie’s art makes all the difference for these logical folks – it provides an opportunity to enter the artwork and be taken on a journey through the flowing bush work.

We would also recommend heading to our Art Search Page. On the bar to the left try searching for ‘Style: Dots – Fine’ or ‘Style: Dots – Medium’ as we do find these types of art lovers appreciate the time and effort to create such a piece.

Loose, Wild, Gestural

Have you heard your friend ever mention that they love Monet’s water lilies? Or do you notice they lean towards more organic shapes? Then we’d recommend exploring the beautiful bush plum and bush medicine leaf paintings made famous by the artists of Utopia. These artworks are produced using acrylic paints loaded onto a single brush and then applied or ‘pushed’ vigorously into the canvas, linen or board in such a way that the paint is mixed in the resultant mark on the canvas. These artworks may appear more abstract, but they are deeply grounded in Awelye.

Another artist who depicts Awelye is Charmaine Pwerle. Charmaine’s lines are bold and sure, echoing those of her grandmother Minnie Pwerle, but with the assurance of a much more practised artist than her years or experience would suggest. The brushwork in her body designs, Awelye, has all the characteristics of this family dreaming, but Charmaine lends her own distinct creative flair, pattern and movement to the canvas. We held an exhibition earlier this year showcasing her incredible talent titled Charmaine Pwerle – New Traditions.

Naïve Art

I have to look inwards to describe this personality – as I absolutely LOVE this style of art !

I think it’s fair to say we are a quirky bunch – if you were drawn to Courtney’s styling on the recent TV series of Channel Nine’s The Block (the more lamas the better!) then I think it’s safe to say this is your squad. Perhaps you’ve admired the Tjanpi Desert weavers  or the soft sculptures of Yarrenyty Arltere Artists? To you – figurative art that’s a little off beat is fine, because it’s bursting with personality.

There may be simplicity of form in Karen Napaltjarri Barns and Trevor ‘Turbo’ Brown's art, but there is an incredible energy in the dynamic composition, colour and line.

What makes naïve Indigenous Australia art so fascinating is that certain artists, such as Linda Syddick and Jack Dale, have used this style to depict the changes in Aboriginal life, their interface with the 'whitefella' ways, and their experience through this period of seismic change.  If you have an interest in history, these artworks represent a fascinating first-hand account of important moments in our nation’s history.

Kudditji

When it comes to this artist, it’s quite clear – you either love his work, or you don’t. And that’s fine. All we say is – we’ve had visitors to our gallery who never considered his work and left the gallery converted. What amazes us about Kudditji Kngwarreye’s artworks is that we never tire of them, as they are always revealing themselves. The light at different times of the day emphasise certain colours in his work which is just magical. Each artwork also has quite a unique ‘feel’ and can completely change the atmosphere of a room. Take for example the images below. It’s the same space, the artworks are the same size, but the artwork selection has completely changed the feel of the room.

This artwork brings a beautiful warmth to the room and is very grounding.

Whereas this artwork is very uplifting and keep as cooler tone to the room.

Both look fabulous, but it is really a personal preference what mood you want your home to have. When it comes to giving the gift of a Kudditji, make sure you have a clear understanding of your loved ones home décor, so you can select the right piece that will match the mood.

Check Out our 'See Art on Wall' feature!

Family and Friends visiting from overseas 

Why not give them a piece of Australia to take home with them? We find that most international clients love a conversation piece – something that they can proudly hang on their wall and share their stories of their time in Australia, and impart some interesting information about the world’s oldest living culture.

Kathleen Buzzacott and Selma Coulthard are brilliant choices. Their work depicts the features of the land and the native fauna in incredible detail. Peter Overs is also a popular choice due to its universal appeal and neutral colour palette.

The artists of Yuendumu are also an excellent choice as they come with a certificate of authenticity from Warlukurlangu Art Centre which explains the artwork story in great detail. Head over to our Art Search Page and in region select ‘Yuendumu’ – you will be spoilt for choice!

If your international family and friends have to catch a plane home, you may have to consider size as well – we have a huge range of artworks that can safely be rolled in a tube and taken as hand luggage.

If all of this information has just made you even more confused – well, why not give your loved ones a gift voucher, or create a gift registry page where multiple people can make a contribution. Then your loved ones can use all of our gallery services to help pick the perfect piece for their home.

As we mentioned at the beginning of this blog post – these are all just our suggestions and nobody knows your friends and family better than you do, so be brave. Your loved ones will probably be very touched you thought of such a unique gift for them that truly will last the test of time.