Kim NAPURRULA (born in 1961)
Sans titre (Untitled), 2008
Acrylic on canvas
Indicated references on canvas’s verso : "Papunya Tula Artists PTY.Ltd, Kim Napurrula, KN0807073, 122 x 61 cm"
Identification number : KN0807073
Stretcher with wedges
Height: 122 cm (48 in.) - Width: 61 cm (24 in.)
Overall, perfect condition
Papunya Tula Artists PTY. LTD.
Work is accompanied with its certificate of origin issued by the Papunya Tula Artists PTY. LTD., the first and most prestigious self-run art center created by Aborigines in the 1970s which marks the beginning of the contemporary Aborigine painting movement.
Member of the Kiwirrkurra artistic community Kiwirrkura (Western Australia) affiliated with the Papunya, Kim Napurrula belonged to an ethnic Pintupi whose members driven from their ancestral lands by colonization and were grouped in the population centers of the central desert. They have lived a long time in the Papunya region where contemporary Aboriginal painting was born in the 1970s .
His work reflects the Kiwirrkura painters’s attachment to their clan territories by evoking a sacred site created in the Dreamtime by the mythical "Tingari Men" who roamed the desert with their wives and apprentices initiated in the Creation secrets.
At every stage, they together constituted various rites that Aborigines continue to celebrate via songs, dances and floor paintings featuring the "Tingari " journey and major episodes of their actions always told in a mysteriously symbolic way.
The site in question is a water hole, " Ngaminya " and is located southwest of Kiwirrkura. Here during Dreamtime a group of women from Tingari Marrapinti (further west) made a stopover on the way to Wilkankarra (Mackay Lake) .
They made provisions with "desert grapes" , edible berries in Aboriginal dialect called kampurarrpa that is picked on small bushes in Solanum. These fruits can be eaten directly, pulped, cooked in charcoal and stored in bread form.
According to the pictorial desert tradition, Kim Napurrula gives the evocation of "Ngaminya " a satellite vision appearance that offers a very abstract mapping because of its sacred clan territory. Both sides of the water holes aligned with the center of the canvas and form an enigmatic labyrinth that plots clan territories juxtaposed in a mysterious ritual system of correspondences.
It follows from the bias a true " weaving" of intersecting paths to give an idea of complex process. Before one of the Tingari Men and Women which are today are the initiated Aborigines walking on their ancestor’s symbolic footprints. It is finally the very same artistic creation involving a mixture of technical mastery and sense of the sacred .