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Mitjili Naparrula

Untitled( red and black), c.TBC

acrylic on canvas
150 x 50cm
$ 5,500 Gallery price

Mitjili is a Pintupi woman from the Haasts Bluff region in the Northern Territory. Mitjili began painting at the Ikuntji Womens Centre in 1993. Mitjili comes from a prestigious family, both of artists and community leaders. Her father was Tupa Tjakamarra and her brother the late Turkey Tolson Tjupurrula who was a very important member of Papunya Tula artists. Mitjili paints her father's country: characterised by the pristine sandhills, bushes and trees of Uwalki, it is here that the spearwood trees used to make spears, are found. Uwalki country is about 200km’s south of Uluru near Kintore, situated in the Gibson Desert.

Initially, Mitjili’s paintings followed the style of the artists from Papunya. On returning to Haasts Bluff she commenced painting in 1992 for the Ikuntji Women’s Centre. She soon developed her own style drawing on her father’s Dreaming Uwalki, which is the story of the spear straightening ceremony taught to Mitjili by her mother.

Courtesy of Private Collection, Sydney.


Find out more about Mitjili and her work here.

 

LOCATION


926-930 High St, Armadale.

VIEWING

12-6pm, Monday 7 Sept. 2015

AUCTION

Monday 7 Sept. 2015
Cocktail party at 6.30pm followed by the Art Auction.

CLICK HERE TO DOWNLOAD CATALOGUE (7.5MB PDF)

CONTACT

Email:
Phone +61 3 9272 5699  

ADDRESS

Level 1, 306 Hawthorn Rd,
Caulfield South, VIC 3162
 
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Mitjili Naparrula

Untitled( red and black), c.TBC

acrylic on canvas
150 x 50cm
$ 5,500 Gallery price

Questioning the boundaries between high art and the amateur or postcard photo, Knight also blurs distinctions between sculpture and painting. Works are constructed of plywood, Perspex, cardboard boxes, old signs, found plastic tiles and sheets - the surfaces and materials having their own histories. These histories often bear a direct relation to the content of the work. For example, Knight's series based on ports was constructed, in part, from the detritus left behind on the wharves.

Spatially, the works are varied: they privilege the surface, but at the same time play upon traditional perspective. Recent work continues to explore this relationship between material and subject, between constructed object and painted surface, in a more abstract way. The subject matter, from wharves to cars, chairs to landscape, helps explore these binary concerns and is treated in a highly architectural and linear way.

Courtesy of Private Collection, Sydney.                        

Find out more about Mitjili and her work here.