Artist
Willy Tjungurrayi
Artwork
Created Year: 2005
Medium: Acrylic (Synthetic Polymer)
Genre: Aboriginal
Size: 205 × 120cm
Investment Grade: Blue Chip
Colour Palette: Neutrals
Catalogue: ABWT140RC
Certified Valuation
$40,000.00
Sale Price
One of the most sought after painters of the Western Desert, Willy Tjungurrayi is a senior Pintupi man, entitled by his ancestry and communal position to paint the sacred and secret Tingari cycle. The brother of respected painters Brandy and George "Hairbrush" Tjungarrayi and the late Yala Yala Gibbs Tjungurrayi, Willy Tjungurrayi was born about 1936 at Patjantja, southwest of Lake Mackay in the Northern Territory. He came in to Haast's Bluff in 1956 with other Pintupi people, and began painting for Papunya Tula Artists back in 1976. By the 1980s Willy was recognized as a senior Pintupi painter, and he joined the movement of return to the Pintupi homelands.
Stories from the Tingari Dreaming song cycle, and the land around Haast's Bluff, Wilkinkarra (Lake Mackay) and Kaakuratintja (Lake MacDonald), are Willy Tjungarrayi's two great linked themes. For some subjects Willy paints dozens of dotted roundels (concentric circles), linked by parallel lines, the spaces between them filled with bright, flat primary and mixed colours, a depiction of the travels and stopping places of the Tingari Men, an image of the rhythmic repetition of the songs associated with the Tjukurpa (Creation era or Dreaming).
More recently, hundreds of endless wavy lines in an ochre monochrome shimmer across the canvas on a pale background. These paintings illustrate (or witness, might be more correct) the sandhills and the fierce hailstorm that killed the ancestral Tingari Men in the Dreamtime.
Willy Tjungarrayi's work is much sought after, and has been collected into many major private and public collections.
Selected Collections:
Stories from the Tingari Dreaming song cycle, and the land around Haast's Bluff, Wilkinkarra (Lake Mackay) and Kaakuratintja (Lake MacDonald), are Willy Tjungarrayi's two great linked themes. For some subjects Willy paints dozens of dotted roundels (concentric circles), linked by parallel lines, the spaces between them filled with bright, flat primary and mixed colours, a depiction of the travels and stopping places of the Tingari Men, an image of the rhythmic repetition of the songs associated with the Tjukurpa (Creation era or Dreaming).
More recently, hundreds of endless wavy lines in an ochre monochrome shimmer across the canvas on a pale background. These paintings illustrate (or witness, might be more correct) the sandhills and the fierce hailstorm that killed the ancestral Tingari Men in the Dreamtime.
Willy Tjungarrayi's work is much sought after, and has been collected into many major private and public collections.
Selected Collections:
- Aboriginal Art Museum, The Netherlands.
- Artbank, Sydney.
- Art Gallery of New South Wales, Sydney.
- Flinders University Art Museum, Adelaide.
- National Gallery of Australia, Canberra.
- Parliament House Art Collection, Canberra.
- The Holmes a Court Collection, Perth.
- The Kelton Foundation, Santa Monica, U.S.A.
Selected Exhibitions:
2004 Papunya Tula Artists 2004: Gallery Gabrielle Pizzi, Melbourne; Australian Aboriginal Art Collector's Exhibition, Flinders Lane Gallery, Melbourne.
2003 Kintore Kiwirrkura 2003: Gallery Gabrielle Pizzi, Melbourne.
1994 Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; Yiribana, Art Gallery of New South Wales, Sydney.
1991 The Painted Dream: Contemporary Aboriginal Paintings from the Tim and Vivien Johnson Collection, Auckland City Art Gallery and Te Whare Taonga o Aoteroa National Art Gallery, New Zealand.
1989 Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra.
1988 Australian Aboriginal Graphics from the Collection of the Flinders University Art Museum.
1987 Art and Aboriginality, Aspex Gallery, Portsmouth, UK.
1985 Dot and Circle, a retrospective survey of the Aboriginal acrylic paintings of Central Australia, Royal Melbourne Institute of Technology, Melbourne.
1983 Papunya: paintings from the Central Australian Desert, touring exhibition, America and Europe.
1982 Georges Gallery, Melbourne; Brisbane Festival; Mori Gallery, Sydney.
Bibliography:
Butler, R., 1986: 'From dreamtime to machine time,' Imprint 21(3-4), 10. (C)
Crocker, A. (ed.), 1981: Mr Sandman Bring Me a Dream, Papunya Tula Artists Pty Ltd, Alice Springs and Aboriginal Artists Agency Ltd, Sydney. (C)
Johnson, V.,1987: Art and Aboriginality, exhib. cat., Aspex Gallery, Portsmouth, UK
Kean, J., 1993: Yarnangu Ngaanya at PICA, FAR, June/July 1993
Johnson, V., 1994: The Dictionary of Western Desert Artists, Craftsman House, East Roseville. (C)
Maughan, J., and Zimmer, J., (eds), 1986: Dot and Circle, a Retrospective Survey of the Aboriginal Acrylic Paintings of Central Australia, exhib. cat., Communication Services Unit, RMIT, Melbourne. (C)
Neale, M., 1994: Yiribana, exhib. cat., Art Gallery of New South Wales, Sydney.
Kreczmanski, Janusz B, and Birnberg, Margo: Aboriginal Artists: Dictionary of Biographies, JB Publishing, Marleston, 2004
Ken Watson in Papunya Tula Genesis and Genius, Hetti Perkins and Hannah Fink (eds.), Art Gallery of New South Wales, Sydney, 2000UW9YBEVB4WKU
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