artinterface

Australian_Aboriginal_Art

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Esteemed Yolngu fibre artists working at Bula’bula Arts, Ramingining in the Northern Territory of Australia, have collaborated with the Alvaro Catalán de Ocón Design Studio from Madrid de produce this spectacular chandelier installation. Alvaro Catalán de Ocón, desirous of bringing awareness to the global dilemma of plastic waste, began a project combining the utilization of PET Lamps and textile traditions from around the world. This installation combines traditional Yolngu mats woven from collected, processed and dyed pandanus and repurposed PET (Polyethylene terephthalate), or plastic, bottles as a light source. A most beautiful exploration into design and purpose while creating a source of income for indigenous communities. This commission by the National Gallery of Victoria is part of the NGV’s Triennial currently showing through until the 15th of April. #ngv #ngvtriennial #yolngu #weaving #environmentalart #bulabulaarts #studioalvarocatalandeocon #aboriginalart #chandelier #lights #recycledart #fibreart #traditionalweaving

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REVIEW OF THE 2017 NATIONAL ABORIGINAL AND TORRES STRAIT ISLANDER ART AWARDS

Australia's most eminent Indigenous art awards, the National Aboriginal and Torres Strait Islander Art Awards (NATSIAA), were without reserve, breathtaking.

Artist's from the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands swept the field being awarded four of the six categories with their stunning and tremendously moving works.

Interestingly, both delicate and extremely intricate black and white works in various media appeared to dominate in this year's selection of 66 finalists from over 300 entries. Congratulations to all the finalists, such exceptional work.

Here are some images of the award winning works and our personal favorites with a special mention to Robert Fielding , winner of the 'Works on Paper' award with 'Milkali Kutju - One Blood' who moved us so profoundly with his work, his message and grace.

Currently on exhibit at the Museum and Art Gallery of the Northern Territory in Darwin through to the 26th of November 2017.

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DARWIN ABORIGINAL ART FAIR AND FASHION SHOW

I have been attending Darwin Aboriginal Art Fair periodically since it's inception some 11 years ago and it just keeps getting bigger and better ! A not to be missed event on Darwin's jam packed social and events' calendar early August each year, the Art Fair showcases work from around 50 Art Centres. The diversity of work, be it painterly, sculptural, textiles or fashion is ever increasing and of amongst the most spectacular. So much to see and do in fabulous Darwin over August, but do not miss the Art Fair and Telstra National Aboriginal and Torres Strait Islander Award finalists and winning art works showing at the Museum and Art Gallery of the Northern Territory.

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UPCOMING EXHIBITION 'CRAFTER'S EDGE'

Artinterface will be exhibiting Australian Indigenous art at Crafter Interiors' inaugural art show 'Crafter's Edge' from the 24th of August.  We have selected paintings by Dorothy Napangardi, Naata Nungurrayi, Minnie Pwerle, amongst others, and included sculpture and weavings from the Northern Territory, Central Australia, Torres Strait Islands with exciting new works from communities discovered at Cairns Indigenous and Darwin Art Fairs.

Guests artists include Renato Grome fine art photographer, ceramists Tracy Muirhead, Vanessa Lucas and Lene Kuhl Jacobsen, Gillie & Marc sculpture amongst others.

Crafter Interiors showroom is situated at 515 Bridge Road, Richmond. www.crafter.com.au

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'Tingari Cycle' by Carlene West and Fred Grant 120 x 134cm Acrylic on canvas || Carlene West and Fred Grant are Spinifex People. Pitjanjatjara people from Tjuntjunjara in Western Australia are known as the Spinifex people. They were displaced from their homelands due to drought and moreover by the British nuclear testing at Marilinga in the 1950s and moved to Cundeelee and Warburton missions. In the 1980s Cundeelee was closed and the Spinifex people moved again to Tjunjutjara on the edge of their homelands. Eventually gaining recognition of Native Title to their lands in 2001, this was aided by the Spinifex Art Project. The Project was born in 1996 as a means of documenting connection to land and ownership to facilitate the Native Title claim. This painting by prominent Spinifex artists depicts precisely that, mapping the travels of Tingari creation ancestors forming their lands. For pricing www.artinterface.net #carlenewest #fredgrant #spinifexart #australianindigenousart #australianaboriginalart #australianart #artoftheday #artistsofinstagram #artinterface_aboriginal_art #artinspiration #artgallery #artforsale #collectible #collectibleart #onlineart

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LIMITED EDITION RUGS from Better World Arts

We have a small collection of exquisite limited edition from Better World Arts available from our 'Gallery' Page. These hand dyed, chain stitched wool rugs are finished with a heavy cotton backing some with a sleeve to hang if so desired . These rugs are born of a cross cultural collaboration between Aboriginal artists providing original works and that are then reproduced in limited editions of 50 or 100 under licence by traditional Kashmiri weavers.  Each is certified, numbered and the purchase of these rugs directly benefit the artists and and their communities, control and ownership of intellectual property are also maintained.

We love these rugs, the brillant collaboration between artists and as you can see, can be a quite stunning edition to any interior. 

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COLLABORATIVE EXHIBITIONS

As well as establishing Galerie DAD in suburban Paris, Alison Haysey also participated in several collaborative exhibitions during her time in France. 

Here are some images from :

 'Aux Sources de la Peinture Aborigène', Musée de quai Branly, Paris.                                 

 'Spirales et Labyrinthes', Centre Régional d'Art Contemporain, Château du Tremblay, Fontenoy.

'Rêver, Découvrir, Investir', Australian Embassy, Paris.                                                                  

'Terre de Rêves, Terre des Hommes & Yilpinji, Love, Magic and Ceremony', Australian Embassy, Paris - also at the Musée des Tumulus de Bougon           .                                                        

'Festival International du Film documentaire Océanien', l'Archipel, Paris

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** END OF FINANCIAL YEAR ** TAX DEDUCTION ** SMALL BUSINESSES ** This stunning work by George Tjungarrayi could be just that and take pride of place in your collection with this investment. George (alias Hairbrush) Tjungarrayi's highly distinctive work can be found in the National Gallery of Australia, Canberra, the majority of our national collections, Musée du quai Branly, Paris and more. In 2003 Australian Art Collector magazine voted George Tjungarrayi one of the '50 Most Collectable Artists'. We invite you to visit www.artinterface.net for more information on this work and the artist amongst others. #australianindigenousart #aboriginalart #smallbusinesslove #smallbusiness #artistsofinstagram #artoftheday #artforsale #georgehairbrushtjungurrayi #eofy #taxdeductible #taxdeduction #endoffinancialyear #investment #collectibleart #artforartssake (at South Yarra, Victoria, Australia)

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'Gelingkenayin' by Mabel Juli 120 x 120cm / Natural ochre and pigment on canvas. www.artinterface.net for more information and pricing. The image Juli has painted represents one of the key Dreaming (Creation) stories for Warlu country and is explains a particular rock formation found in a valley. This country is known for its hilly terrain and abundance of waterholes and natural springs. In the Dreamtime (Ngarrangkarni), Gelingkenayin, the rainbow, was a man. He was traveling through Warlu country hunting for kangaroo with his dingo. His dog was good and loyal. Each time he would send out his dog, the dog would track and kill the kangaroo and return to his master then lead him to the kangaroo. Gelingkenayin came to a deep valley with step hills on each side. He sent out his dingo and the dog ran up one side of the hill and was gone a long while. Gelingkenayin called out to his dog but there was no answer. He walked down the hill back into the valley and called for his dog again, still nothing. Dejected and upset, Gelingkenayin walked back down to the valley and sat quietly. As night started to fall and daylight slipped from the valley, Gelingkenayin heard a deep growl from behind him. Gelingkenayin turned his head to where the noise came from and as he turned, his shape became stone. You can still see Gelingkenayin in that valley today. The rocky hill in the middle of the Warlu valley is recognized as Gelingkenayin's profile. Text courtesy of Warmun Art Centre. #mabeljuli #australianindigenousart #australianculture #aboriginalart #kimberleyart #artoftheday #artinterface_aboriginal_art #byappointmentartgallery #artforsale #art #australianart (at South Yarra, Victoria, Australia)

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#repost @kurdijiapp We all need to listen to our Indigenous communities and hear their stories ⭐️ "The shadow of all the lightening people went into the rock and that's where they all are today. They changed from that shadow and some became different birds, others became the lizards and the humans and all this you see here in the rock paintings. The creation of this country is what they have been telling in the story and the song." (Bill Harney) Reconnecting Indigenous people with culture, community and country is vital to suicide prevention and the building of resilience. Warlpiri elders are @gofundme crowdfunding an app to do exactly this. You can support them by donating at www.kurdijiproject.com #savingblacklives #preventyouthsuicide #kurdiji #warlpiri #elders #sharing #preventsuicide #belonging #resilience #livingculture

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Beautiful work 'Punyarnita' by Lucy Yukenbarri Napanangka 1934 - 2003. This signed limited edition screen print is part of the 'Yilpinji, Love, Magic and Ceremony ' collection. 76 x 56cm AU$650. This image depicts some of Lucy's country far to the south of Balfour in the Great Sandy Desert. This country is known as Punyarnita and is named for the soak water, or tjurrnu, featured in the centre of the painting. Tali, or sand dunes, dominate the landscape of the area, while purra (bush tomato) are commonly found here. The small dots depict the variety of these foods. The 'U' shapes represent women performing ceremony to ensure the bush foods will remain abundant and maintain their strong connection with country. Text by Australian Art Network. www.artinterface.net #australianindigenousart #aboriginalart #limitededition #artoftheday

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INSIGHT // Love Magic // Ngarlu Jukurrpa // Red Hill Dreaming by Paddy Stewart Japaljarri 122 x 91cm POA 'Ngarlu' literally means 'red rock'. The Jukurrpa, sacred events, origins or law, of this place tells of a man named Lilipinti who was traveling west for Men's Ceremonial Business. On his travels, he saw a woman regarded as his mother-in-law and hence forbidden to him. However, Lilipinti fell in love with her and could not stop thinking about her upon his return home to Ngarlu. He spun hair string, known as wirritji, and sang love songs which a bird then carried to the woman he desired. This work recounts the event, in which we can remark the straight lines representing the force of the magic love songs pulling the woman to the man. The bird flew back to him with the woman on it's wings. The 'U' shapes at the top centre of the canvas represent the women of Ngarlu gossiping about this inappropriate relationship. These women turned in to a native fuschia flower, now prevalent in Ngarlu and shown by concentric circles. The footprints shown relate to his travel, his hunting tools and weapons are also illustrated. The wirritji, or spindle of spun hair string impregnated with his love magic songs can be seen in the centre. When Lilipinti and the woman made love, his penis broke off inside of her and they turned to stone. There is a rock hole at Ngarlu which shows the place of their love making. This work and associated Jukurrpa explain what is an inappropriate relationship and recount the consequences of pursuing forbidden love. www.artinterface.net for more information of this work and artist. #australianindigenousart #australianart #aboriginalart #artinterface_aboriginal_art #byappointmentartgallery #artgallery #artoftheday (at South Yarra, Victoria, Australia)

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INSIGHT // Tingari Cycle by Walala Tjapaltjarri 92 x 122cm Walala Tjapaltjarri of the Pintupi clan was born c1960 east of Kiwirrkurra in the Gibson Desert. He and his family made headlines in 1984 when they walked out of the desert, being the last family to have lived a purely traditional lifestyle. Walala typically paints motifs associated with the creation time when the mythological Tingari beings travelled over the land performing ceremonies and shaping particular sacred sites. For more information and pricing www.artinterface.net #walalatjapaltjarri #australianart #australianaboriginalart #australianindigenousart #artoftheday #artinterface_aboriginal_art #artgallery #pintupi #artwork #byappointmentartgallery (at South Yarra, Victoria, Australia)

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ART OF THE PINTUPI

The Pintupi People are from the Western Desert area west of Lake Mac Donald and Lake Mackay in Western Australia.

In the 1960’s, many were resettled at Papunya township in Central Australia to ‘assist assimilation’. In spite of this forced relocation from their homelands and attempted suppression of culture and language, much has been preserved through practice of their art, predominantly through the encouragement of Geoffrey Bardon.

In the 1970’s, Geoffrey Bardon assisted a group of elders, grand masters such as Uta Uta Tjangala, Yala Yala Gibbs, Mick Namerari Tjapaltjari, Johnny Warangkula and Charlie Tarawa Tjungurrayi, to transpose traditional designs and stories on to board and canvas essentially creating what was to become the revelation in the Australian art world introducing it to the broader Australian audience and indeed the world. Ningura Napurrula’s work now adorns a ceiling in the musée du quai Branly, Paris, France.

Sophisticated, perceived linear abstraction, typifies Pintupi works that are, however, deeply entrenched in sacred lore and ceremony.

The success of Pintupi artists and revenu from the sale of their works has enabled them to reclaim and resettle their ancestral lands and the establishment of the community ofKintore, approximately 300kms west of Papunya in the early 1980’s and Kiwirrkura another 200kms west in the mid 1980’s.

It was in 1984 that the very last Pintupi family group walked in to Kiwirrkura from the desert having lived a completely traditional hunter-gather lifestyle up until then. Known as the Pintupi Nine, amongst them were the now renowned artists, Warlimpirrigna and Walala Tjapaltjarri, Yalti and Yukultji Napangardi.

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Detail - 'Miinya Jukurrpa, Native Fushia' by Paddy Stewart Japaljarri 153 x 91cm. POA. This beautiful work by the late Paddy Japaljarri, whilst being entitled 'Native Fuschia' refers to a story of forbidden love where love magic, Yilpinji, was used to seduce the subject of one man's desire. Aboriginal relationship customs and law are extremely intricate and to be respected. This work reflects those principles and the fascinating practice of love magic practiced by the Walpiri and Kukatja people. www.artinterface.net #paddystewartjapaljarri #australianindigenousart #aboriginalart #byappointmentartgallery #art #artoftheday #artofvisuals #walpiri #lovemagic #yilpinji

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'Women's Ceremony' by #NancyRossNungurrayi 91 x 91cm POA www.artinterface.net #artinterface_aboriginal_art #ByAppointmentApartmentGallery #australianart #AboriginalArt (at South Yarra, Victoria, Australia)

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À ne pas manquer sur Paris au mois de juin ! 2ème édition du Festival du Cinéma Aborigène.2nd edition of the Aboriginal Film Festival in Paris June 2017. Spectacular line up ! #aboriginalfilmfestival #aboriginalfilm #aboriginalfilmmaker #aboriginalrecognition #aboriginalart #aboriginalculture #filmfestival #parisevent #paris #cinema #cinemaaborigene