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Yannima Pikarli Tommy Watson (or Tommy Watson for short) was a desert nomad for many years before he became a prominent figure in the Western Desert Art Movement in Australia. When he started painting, he was well acquainted with the Papunya Tula painters of the 1970s and ’80s. However, Watson differed from his peers who frequently referenced aboriginal creations myths, believing instead that painting sacred iconography was sacrilegious and deliberately adopting abstraction as his dominant style. His graphic, saturated paintings still carry a narrative weight for the artist, however, referring to the histories of his grandparents and their homeland. “I want to paint these stories so that others can learn and understand about our culture and country,” he says. Watson is also recognized as a skilled and subtle colorist—for one work he used 12 distinct shades of red.

Yannima Tommy Watson

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Abie Loy Kemarre developed her fine skills as an artist at an early age working closely with her famous grandmother Kathleen Petyarre. Kathleen taught Abie the techniques to create paintings where the delicate dotting created a moving surface of colour that highlighted the structure of her paintings. Abie concentrated on the Bush Hen Dreaming story that she had inherited from her grandfather.

Abie Loy Kemarre is related to a number of the famous Utopia artists including Gloria Petyarre, Ada Bird Petyarre and Emily Kngwarreye. Born in 1972, Abie Loy Kemarre belongs to the Eastern Anmatyerre language group and identifies with her traditional country at Iylenty or Mosquito Bore.

Abie Loy’s Bush Hen Dreaming paintings further evolved and she began work on bolder, more abstract style around motifs of Sandhills and Body Painting. The expertise shown in her work brought her critical acclaim. Abie Loy Kemarre has been exhibiting for thirty years both within Australia and internationally.

Abie Loy Kemarre’s work is held in Australian public collections including National Gallery of Victoria, Art Gallery of South Australia, and Adelaide University Art Collection. She is represented in major private collections including Kelton Foundation, Levi-Kaplan Collection, Kerry Stokes Collection, Aboriginal & Torres Strait Islander Commission Collection and Festival of Arts Foundation Collection. A selection of paintings by Abie Loy Kemarre is available from Japingka Gallery, where collectors can buy Aboriginal art online with certainty of quality, authenticity and provenance of art works. Aboriginal art status – Highly regarded artist.

Abie Loy Kemarre

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Anna Petyarre is an eastern Anmatyerre woman, born at Utopia in 1960. Anna’s home is Atneltyeye, Boundary Bore, on the Utopia Homelands, approximately 220 km from Alice Springs. She lives there with her family. She is a grandmother with five grandchildren. Anna, whose mother was the late artist Glory Ngale, has painted since her early childhood. She is related to the esteemed Aboriginal artists Emily Kame Kngwarreye and Kudditji Kngwarreye through her grandfather, who was a brother of Emily and Kudditji’s father.

Anna Price Petyarre

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Charlie Tjapangati is a renown Papunya Tula artist and one of the leading Papunya Tula Pintupi artists whose artworks are sought after by collectors worldwide. Charlie Tjapangati was born circa 1949, north west of Jupiter Wells of the Pintupi Tribe. Charile started painting for Papunya Tula Artists cooperative in 1978. In 1981 Charlie Tjapangati traveled to USA together with Billy Stockman for 'Mr. Sandman bring me a Dream' exhibition.

Charlie Tjapangati work is represented in Australia and around the world AAMU - Museum for contemporary Aboriginal art, Utrecht The Netherlands, National Gallery of Australia, Australian Art Gallery, Art Gallery of South Australia, Queensland Art Gallery, Museum & Art Gallery Northern Territory, Art Bank, National Gallery of Victoria, National Gallery of Victoria, Art Gallery of Western Australia, Homes a Court Collection, Tasmanian Museum and National Art Gallery, Kelton Foundation USA, Flinders University Art Museum, University of Virginia USA, World Vision Birrung Gallery.

Charlie Tjapangati

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Emily Kame Kngwarreye is one of Australia’s most significant contemporary artists. Emily was born at the beginning of the twentieth century and grew up in a remote desert area known as Utopia, 230 kilometres north-east of Alice Springs, distant from the art world that sought her work.

Although Emily began to paint late in her life she was a prolific artist who often worked at a pace that belied her advanced age. It is estimated that she produced over 3000 paintings in the course of her eight-year painting career — an average of one painting per day.

For virtually two-thirds of her life she had only sporadic contact with the outside world. It was not until she was about 80 that she became, almost overnight, an artist of national and international standing.

Her remarkable work was inspired by her cultural life as an Anmatyerre elder, and her lifelong custodianship of the women’s Dreaming sites in her clan Country, Alhalkere.

Emily Kame Kngwarreye

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Since her first solo exhibition in 1991, Gloria Tamerre Petyarre has been regarded as a leading artist in the Utopia community, and has exhibited widely in Australia, Europe, North America and Asia. Like Emily Kam Ngwarray, Petyarre first came to prominence as a batik painter in the late 1970s, before taking up painting on canvas in the late 1980s. As various commentators have noted, this use of sophisticated batik-making techniques, combined with the early referencing of body marking associated with women’s ceremonies, shaped the unique forms of Utopia painting in the 1980s. Petyarre, one of four renowned painter sisters, is considered to have taken various forms based on ceremonial markings and her Altyerr or Aknganenty stories to abstraction more consistently than many of her contemporaries.

Gloria Tamerre Petyarre

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Jorna Newberry is a Pitjantjatjara artist who was born around 1959 in Angus Downs. She currently splits her time between Alice Springs, where her family live, and Warakurna- choosing to live between modern culture and a more traditional one of her Indigenous heritage.
When Jorna is in her lands, she often goes bush with the women of the community for sacred ceremonies, passing on the knowledge of her heritage onto her two daughters. When she goes camping, she hunts for kangaroo and goanna and collects bush tucker such as honey ants, witchetty grubs and berries.
Her style is multi-layered and abstract to maintain the secrecy of important culture matters. She has worked closely with her Uncle, Tommy Watson and developed her own style.
"Tommy has had a big influence on me. He teaches me to be respectful in the way I paint" she says, favouring a more abstract approach to her work rather than the figurative approach of the Papunya Tula artists.

Jorna initially started painting in the mid-1990s at Warakurna. Her paintings refer to the country of Irrunytju in the Western desert and the significant places, traditionally of spiritual knowledge and the ancestral stories, which are in bedded in the land.
Tommy Watson has described Irruntyju as, "My grandfather's country, grandmother's country. When they were alive, they would take me around the country, when I was a kid. That dreamtime country. That's why we look after the country, go out whenever we can, see if the rock-holes are good".
Tjukurpa (Wind Dreaming) is a story of her mother's country at Utantja, a large stretch of sacred land where people go for ceremonial rites. "The wind ceremony forms winds, creates air to cool the lands," she says, explaining that the cooler the land gets, the easier it is for hunting.
Newberry uses a very vibrant and dramatic palette in her artworks; the canvases are alive with linear dotted flows that describe movement, culture and history.

Jorna Newberry

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Kathleen Petyarre began her rise to the world stage with a ground breaking exhibition at Gallery Gabrielle Pizzi, Flinders Lane, Melbourne on 31 October 1989, supplied and curated by the Holt family of Delmore Gallery. "Aboriginal Art from Utopia" began to put Kathleen Petyarre on the map with her early, powerful paintings on linen.

Born in 1944 at Atnangkere, to the northwest of Utopia station, 275 kilometres north east of Alice Springs, Kathleen Petyarre belongs to the Eastern Anmatyerre language group. Kathleen began making artworks in 1977, producing batiks along with a number of the other women at Utopia, when Yipati, a Pitjantjatjara artist from Ernabella and Suzie Bryce, a craft instructor, introduced them to the medium. Later, Jenny Green and Julia Murray would supply materials, training and encouragement. In April 1989, Kathleen took part in the exhibition at the S. H. Ervin Gallery in Sydney, painting on a small masonite board supplied by Rodney Gooch, of the Central Australian Aboriginal Media Association (CAAMA). Also in April 1989, Kathleen asked the Holt Family at Delmore to supply her with materials, and began painting with acrylic on canvas, and since then gradually developed her signature styles, refining her technique of layering very fine dots in thin acrylic paint. This pristine, even surface is carefully prepared by the artist, resulting in works of remarkable depth and complexity. Her paintings have been compared to the works of the American artists, Jackson Pollock, and Mark Rothco.

Kathleen Petyarre

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Maureen is a Ngaanyatjarra woman. She was born in Warakurna, WA. Maureen’s father’s country is Kulkurda near Tjukurla in WA. Her mother’s is Kiwirrkurra, in the Gibson Desert, also in WA.




Kanpi : SA

Maureen Baker