In Wati Kutjarra at the Water Site of Mamara, the alternating bands of white, yellow and red body painting designs stretch over a vast canvas, transforming it into a landscape alight with the power of the element of fire and radiating ancestral energy. As Una Rey describes it, the painting ‘perform[s] a conceptual ruse, hovering between optical “lightness” and austere gravity… [it] can inspire rapture through beauty but can also instill awe for the latent power as [an] object invested with the maparn’s essence.’1
For related major works by Tjumpo Tjapanagka see Wati Kutjarra (Two Brothers Dreaming), 2004, in the Kaplan & Levi Collection,2 and two paintings on a similar monumental scale executed in collaboration with Sam Willikati Tjampitjin (c.1930-2003) who accompanied Tjumpo on the inspirational journey back to Wilkinkarra in 2000; Wati Kutjarra, 1999, in the collection of the Art Gallery of South Australia,3 and Wilkinkarra, 2001, in the Warlayirti Artists Keeping Place Collection.4
1 Una Rey, ‘Tjumpo Tjapanangka: Hunting for Balgo’s Contemporary Warrior’ in Henry F. Skerritt, ed. et al, No Boundaries: Australian Aboriginal Contemporary Abstract Painting, Prestel Verlag, Munich-London-New York, 2014, p.149. Tjumpo Tjapanangka was a maparn or traditional healer.
2 McCluskey, P. et al., Ancestral Modern: Australian Aboriginal Art: Kaplan & Levi Collection, Seattle and New Haven: Seattle Art Museum and Yale University Press, 2012, plate 39, p.131
3 Cumpston, N, with B. Patton, Desert Country, Art Gallery of South Australia, Adelaide, 2010, p.109
4 Healy, J., (ed.), Warlayirti: The art of Balgo, RMIT Gallery, Melbourne, 2014, p.138
Please call 1-800-555-5555 to order a print catalog for this sale.
Online Registration to Bid is Closed for this Sale. Would you like to watch the live sale?Watch Live Sale