Doug Tuffin Collection

Monday 24 October 2011

I was lucky enough to have been able to have a look at these pieces of work up close and personal, as they are a part of my boyfriend’s family collection of Indigenous artwork.

Talking to my boyfriend’s Mum, who grew up at Yirrkala Station, she says that these bark paintings were painted in 1950’s and early 1960’s. They were painted by Aboriginal men who became friends with her father whilst they were living at Yirrkala, which is at the north-eastern tip of Arnhem land.

These paintings weren’t commissioned by they were given to Doug Tuffin who was working in the region as a missionary come agriculturalist farmer.






The detail in these works are just exquisite and the colours are amazing. After learning about Arnhem land in the lectures I instantly recognised where these paitings were from just by the Rark that is used. I would love to know what the stories are behind these bark paintings, as they are just so detailed and beautiful.

What intrigues me is that these pieces of work were only made with ochre and local pigments mixed with water. This means that the pieces are very fragile and at some stage will need to be looked at to set the colour properly. It makes me wonder why no binder was used when painting this.

'The Other, Other' - Jason Wing

Sunday 16 October 2011

I went and saw the exhibition “The Other, Other” by Jason Wing today and I came away with a smile on my face as I was able to really understand and enjoy what Wing was trying to perceive in his work.

He explores issues of race, addiction and culture by using a variety of mediums including photography, sculpture and installation.


Wing had three beds set up each made of something different; beer bottles, syringes, and spray cans. This piece titled “Blacktown Dreaming 1, 2 & 3” depicts the issues young Aboriginal people face and are stereotyped with.

picture from: http://www.jasonwing.net/

Another piece titled “Elders” made from ochre and oxide depicts the Elders Real Estate logo in which Wing has created on the wall and on the floor is ochre residue which looks like it has come from the “Elders” sign, almost like how chalk falls at the base of a chalk board when you write.
Some of the things that went through my mind when viewing this piece was in regards to buying and selling of Aboriginal land, the way in which the ochre was used to create the signage almost signifying that the land will always be Indigenous land.

I also really liked the way that Wing made the long pile of ochre on the floor of the piece, if you weren’t looking for it you would probably miss it, but I liked how it also added extra meaning.

Emily Kame Kngwarreye

Emily Kame Kngwarreye

Kame Colour II - 1995
Synthetic polymer paint on canvas

I was absolutely in awe when I stood in front of Emily’s painting, just amazing to actually see it in real life. The colours took me on a journey as the paint stokes weaved and entangled themselves around each other. I can absolutely imagine that this is what the roots of the yams do when they are growing.

I love the way there is a patch of pale colour, I imagine that the sun light hit the canvas whilst Emily was painting on the ground and blinding her in this spot. Yet when you stand back from the painting it becomes a focal point and contrasts between the vibrant outer edges of the canvas.

Rover Thomas

Rover Thomas (Joolama)

Gulu Gulu (manking) - 1989

Earth pigments and natural binders on canvas

The first thing I noticed when I walked into the exhibition space was this distinct painting by Rover Thomas. What I was most intrigued about was that when you looked up close you can actually see the pigments and the earth in which the paint is created from. This is typical of Warmun of the Kimberly Region.

He depicts his country through outlined landforms of mountains, roads, billabongs. I really like how Thomas' painting have a map like quality to them, however it is only a map which he and others who know about their country can recognise.

I find Rover Thomas' art is very abstract in the way in which big blocks of colour are used to represent his country, even through the pallet is restricted to the natural pigments of the region.

Lin Onus

Ginger and my third wife approach the roundabout - 1994
Synthetic polymer paint on Belgian Linen

I was drawn to this painting by Lin Onus in the 'Spirit in the Land' exhibition. I really like the common setting that you assume the sting-rays are swimming in. This contrasts with the highly detailed Rark used on the sting-rays.

For me I was thinking that Onus was tying to convey different messages through this piece of contemporary art. I took that the round-a-bout sign and telephone lying at the bottom of the ocean a sign that these man made objects brought into this country by 'white' people will not outlast the connection and special bond Indigenous people have.

Another idea I through of when I was standing in front of this piece is that Onus was trying to convey that Indigenous people will still stay strong and together even thought its like no one is listening to the issues that Indigenous people have. It must feel like they are going around and around in circles.

This art work I think could have many different underlying issues, however I am just fascinated by the use of the Rark.

Spirit in the Land

Thursday 15 September 2011

I went in my lunch break to see the exhibition Spirit in the Land at the Flinders University City Gallery in the State Library.

I instantly recognised the Indigenous art in the exhibition, however upon reading further into this exhibition I understood that was about bringing together some of the most iconic Australian art made over the past seventy years. The works vary from five Indigenous Australian artists from different regions of Australia, and six non-Indigenous artists, which also have diverse backgrounds and have lived in various parts of the country.

However if I had not have read and understood this I would have believed that all the artwork in the exhibition was made by Indigenous artists.

In saying that the eleven artists showing works in this exhibition were Lorraine Connelly-Northey, John Davis, Russell Drysdale, Rosalie Goscoigne, Emily Kame Kngwarreye, Dorothy Napangardi, Sidney Nolan, John Olsen, Lin Onus, Rover Thomas and Fred Williams. Each artist showcased their special appreciation and engagement to the spiritual ethos and power of the land.

I was quite taken back by three of these artists: Rover Thomas, Lin Onus & Emily Kame Kngwarreye. I will be writing a journal entry for each of these artists as I was so inspired by their work up close. It is definitely much different seeing art work in real life compared to that in a book or on a computer screen.

I did notice that I wasn’t much of a fan of Sidney Nolan’s work, I put this down to liking more abstract and graphical paintings rather than interpretations of landscapes, even though his work is quite interesting.

I also want to mention the weaving interpretation of Lorraine Connelly-Northey. I love her work which uses pieces of metal and steel, which is often associated with country outback and uses it to weave traditional string bags and canoes.

Regional Styles - Arnhem Land

Wednesday 7 September 2011

Arnhem Land Communities include:

Gunbalanya - Injalak Arts

• Paintings on bark & paper
• Western Arnhem Style
• Cross Hatching and an x-ray style used

Maningrida


Ramingining - Bula'Bula Arts

Philip Gudthaykudthay - Wagilag Sisters - Ochres on Bark, 2002

Richard Birrinbirrin Gurrmirringu - Earth Pigments on canvas 2000

Circular Floor Mat by Judy Baypungala

Milingimbi - Milingimbi Arts

Cecilia Bambarrawuy

Cecilia Bambarrawuy

Gapuwiyak - Gapuwiyak Culture & Arts Centre

Rudy Munguluma Bidingal Maad, Twined

Lucy M. Wanapuyngu Batjkit Twined

Sandra Wuthangi Burrawanga Batjkit, Coiled

Galiwinku - Elcho Island Arts


Ngukurr - Ngukurr Arts

Emily Kngwarreye – Big Yam Dreaming

Wednesday 31 August

Big Yam Dreaming - By Emily Kngwarreye

Today I found an Indigenous Artist which excited me when looking at her artwork. Emily Kngwarreye is a fascinating artist who started her career at a very late age. I am just absolutely in awe at the work she has produced and I particularly like her Big Yam Dreaming piece. I can appreciate that she is depicting her story about the yam, however I like this piece of work as it is visually stimulating, it is almost graphic and I guess that is why I can relate to it so much.

This image is just to get an idea of how big this piece or art is!

It looks like a complex piece with lots going on in it, however within the piece there are sections of simplicity and more complexity which is how Kngwarreye tells her story.

My dream is to see a piece of her art in real life!

Regional Styles - Art of the Kimberly

Wednesday 31 August 2011

The Kimberly Region of Australia is sparsely populated and very tropical. There are many art centres in the Kimberly in which the art is very dynamic. Below is a map of the Kimberly Region to help show where each art centre is located:


Mowanjum - Near Derby
This is home to the iconic figure of the Wundjina.
The creation story - its an image.

Mowanjum Wandjinas - 8 x 2 m canvas. A collaborative piece by Donny Woolagoodja and the students of Derby District High School.

Winner of the WA State Images Award 2000.

Mangkaja - Fitzroy Crossing
Recent art movement in the 80's
Range of styles
Lively, colourful - with a range of influences
Abstract images
Pastoralists came and pushed Aboriginal people of the land - where most Aboriginals worked on the cattle stations.

Daisy Japulja

George Tuckerbox

Yarliyil - Halls Creek
Has a reputation for rioting - where treatment is still fresh in everyones minds

Tiny McCale at Yarliyil Art Centre

Warmun - Turkey Creek
Rover Thomas pioneered the art movement which came from here. They only paint with Ochre.

Mabel Juli

Waringarri - Kununurra
Commercial activity in Kimberly Region
The art centre is open and more experimental


Jirrawun - Wyndham
This art centre is a late starter producing work in the late 90's.
With artists such as Freddy Tims and Paddy Bedford.

Paddy Bedford - Gernawarliyan - Camel Gap

Paddy Bedford - Red Pocket

Warlayirti - Balgo
Is a high profile community and is more famous for its artists and art.
The art is different and progressive.
It is a Kimberly community however it has strong ties to the desert.
They have something distinctively their own, and its a new direction for desert art.

Spirit of Country: Land and Life

Saturday 27 August 2011

Flyer from the Exhibition

Venturing up to Seymour College on a nice Saturday afternoon I was excited about visiting this exhibition as part of the SALA Festival. The artwork on the promotional material I had seen in the papers was so vibrant and just exquisite.

As I entered the Performing Arts Centre at Seymour I noticed that it was like a series of rooms in which the art was hanging. I walked around each section and was impressed by many pieces of art on display.

I eventually realised that each room or section of this exhibition was showcasing work from a particular community and region. The following are the Art Centres that were represented:

Ernabella Arts

Iwantja Arts and Crafts Centre

Kadjina Arts

Keringke Arts

Mangkaja Arts

Marshall Arts

Mimi Arts and Culture Centre

Mimili Maku Arts

Tapatjatjaka Art and Craft Centre

Tjanpi Desert Weavers

Tjungu Palya

Waringarri Aboriginal Arts

Warlukurlangu Artist’s Aboriginal Association

Warnayaka Art and Cultural Aboriginal Corporation

I really liked how this exhibition was set out as it gave the viewer a clear picture of what each Art Centre produced, it made viewing the artwork so much more enjoyable as I could see what was being produced out of each region.

It was also my first experience of seeing the Certificate of Authenticity next to each artwork. It was quite interesting to read and have a look at some of them. I think it is such a good idea to have these when purchasing an Indigenous Artwork, not only for the Artist themselves but also for the buyer to understand a little bit about the origin of the work.