Preamble
For your convenience I have listed below other posts on Australian aboriginal textiles and artwork.
Untitled Artworks (Exhibition - ArtCloth: Engaging New Visions) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya, Ernabella Arts (Australia)
ArtCloth from the Tiwi Islands
Aboriginal Batik From Central Australia
ArtCloth from Utopia
Aboriginal Art Appropriated by Non-Aboriginal Artists
ArtCloth from the Women of Ernabella
ArtCloth From Kaltjiti (Fregon)
Australian Aboriginal Silk Paintings
Contemporary Aboriginal Prints
Batiks from Kintore
Batiks From Warlpiri (Yuendumu)
Aboriginal Batiks From Northern Queensland
Artworks From Remote Aboriginal Communities
Urban Aboriginal ArtCloths
Western Australian Aboriginal Fabric Lengths
Northern Editions - Aboriginal Prints
Aboriginal Bark Paintings
Contemporary Aboriginal Posters (1984) - (1993)
The Art of Arthur Pambegan Jr
Aboriginal Art - Colour Power
Aboriginal Art - Part I
Aboriginal Art - Part II
The Art of Ngarra
The Paintings of Patrick Tjungurrayi
Warlimpirrnga Tjapaltjarri
Australian Aboriginal Rock Art - Part I
Australian Aboriginal Rock Art - Part II
The Art of Ngarra (ca. 1920-2008) [1]
Warning: This post contains images of a deceased Aboriginal Elder. If you are an Australian indigeneous person you may not want to view it.
Distant photograph of Ngarra on horseback.
Like so many other indigeneous artist's, Ngarra embraced a career as a painter late in life.
"I have worked all my life. When the horse and cattle job finished up, I made myself into an artist and worked seven days a week no stop." He had announced his artistic intentions in 1994 to his friend, anthropolologist, Kevin Shaw. Both men, when on a trip together, were able to locate 20 different colors of ochre. This palette formed the basis of Ngarra's early works. They were unlike anything previously seen in ochre paintings and so formed a unique body of work.
Title: Old buggered up bull (2005).
Medium and Technique: Acrylic on magnani paper.
Size: 35 cm (high) x 50 cm (wide).
Ngarra held his first exhibiton in 1996 and subsequently exhibited widely throughout Australia and overseas. He had a solo exhibition of his wirk at the Western Australian Museum in 2000 and was selected five times to exhibit at the Telstra National Aboriginal and Torres Strait Islander Art Awards.
Title: Mandewa dancing place for Andinyin, Kija and Gooniandi (2005).
Medium and Technique: Acrylic on magnani paper.
Size: 35 cm (high) x 50 cm (wide).
Displaying an extraordinary capacity for allegory and metaphor, Ngarra's paintings reveal his distinctive ability to transform elements of his traditional culture as well as to record his life working in the cattle industry into a compelling visual and socio-polictical experience.
Title: Dancing Ground, Kija (2004).
Medium and Technique: Acrylic on magnani paper.
Size: 35 cm (high) x 50 cm (wide).
His artistic work was driven by the urgency to document his extensive knowledge of a rapidly disappearing body of understanding. His paintings could be thought of as "bush contracts" that asserted his connection to the vast areas of country that was his home.
Title: Untitled (2004).
Medium and Technique: Acrylic on magnani paper.
Size: 35 cm (high) x 50 cm (wide).
Besides containing an extraordinary depth of knowledge and learning Ngarra'a paintings are characterized by an explosive visual inventiveness and capacty for wit and subdued pathos that can be entirely disarming. Many of his artworks exhibit a whimsy that belies the depth of narrative and knowledge that these works exhibit.
Title: Branggai (Honey Dream) (2005).
Medium and Technique: Acrylic on magnani paper.
Size: 35 cm (high) x 50 cm (wide).
He is an extraordinary colorist, conjuring highly specific tonal effects from a limited palette. Royal blues clash with vibrant greens, bold reds, and subtly shaded pinks.
Title: Gorlulu (Special Cave in a Big Hill) (2005).
Medium and Technique: Acrylic on magnani paper.
Size: 35 cm (high) x 50 cm (wide).
On a warm and dry Saturday afternoon in November 2008, Ngarra died peacefully in Derby from secondary complications due to pneumonia. The full significance of his work, on both an aesthetic and a cultural level, is yet to be fully recognized.
Reference:
[1] N. Tapper, Remembers, Aboriginal Art, Issue 1, Caruana & Reid, Sydney April/May (2009).
For your convenience I have listed below other posts on Australian aboriginal textiles and artwork.
Untitled Artworks (Exhibition - ArtCloth: Engaging New Visions) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya, Ernabella Arts (Australia)
ArtCloth from the Tiwi Islands
Aboriginal Batik From Central Australia
ArtCloth from Utopia
Aboriginal Art Appropriated by Non-Aboriginal Artists
ArtCloth from the Women of Ernabella
ArtCloth From Kaltjiti (Fregon)
Australian Aboriginal Silk Paintings
Contemporary Aboriginal Prints
Batiks from Kintore
Batiks From Warlpiri (Yuendumu)
Aboriginal Batiks From Northern Queensland
Artworks From Remote Aboriginal Communities
Urban Aboriginal ArtCloths
Western Australian Aboriginal Fabric Lengths
Northern Editions - Aboriginal Prints
Aboriginal Bark Paintings
Contemporary Aboriginal Posters (1984) - (1993)
The Art of Arthur Pambegan Jr
Aboriginal Art - Colour Power
Aboriginal Art - Part I
Aboriginal Art - Part II
The Art of Ngarra
The Paintings of Patrick Tjungurrayi
Warlimpirrnga Tjapaltjarri
Australian Aboriginal Rock Art - Part I
Australian Aboriginal Rock Art - Part II
The Art of Ngarra (ca. 1920-2008) [1]
Warning: This post contains images of a deceased Aboriginal Elder. If you are an Australian indigeneous person you may not want to view it.
Like so many other indigeneous artist's, Ngarra embraced a career as a painter late in life.
"I have worked all my life. When the horse and cattle job finished up, I made myself into an artist and worked seven days a week no stop." He had announced his artistic intentions in 1994 to his friend, anthropolologist, Kevin Shaw. Both men, when on a trip together, were able to locate 20 different colors of ochre. This palette formed the basis of Ngarra's early works. They were unlike anything previously seen in ochre paintings and so formed a unique body of work.
Medium and Technique: Acrylic on magnani paper.
Size: 35 cm (high) x 50 cm (wide).
Ngarra held his first exhibiton in 1996 and subsequently exhibited widely throughout Australia and overseas. He had a solo exhibition of his wirk at the Western Australian Museum in 2000 and was selected five times to exhibit at the Telstra National Aboriginal and Torres Strait Islander Art Awards.
Medium and Technique: Acrylic on magnani paper.
Size: 35 cm (high) x 50 cm (wide).
Displaying an extraordinary capacity for allegory and metaphor, Ngarra's paintings reveal his distinctive ability to transform elements of his traditional culture as well as to record his life working in the cattle industry into a compelling visual and socio-polictical experience.
Medium and Technique: Acrylic on magnani paper.
Size: 35 cm (high) x 50 cm (wide).
His artistic work was driven by the urgency to document his extensive knowledge of a rapidly disappearing body of understanding. His paintings could be thought of as "bush contracts" that asserted his connection to the vast areas of country that was his home.
Medium and Technique: Acrylic on magnani paper.
Size: 35 cm (high) x 50 cm (wide).
Besides containing an extraordinary depth of knowledge and learning Ngarra'a paintings are characterized by an explosive visual inventiveness and capacty for wit and subdued pathos that can be entirely disarming. Many of his artworks exhibit a whimsy that belies the depth of narrative and knowledge that these works exhibit.
Medium and Technique: Acrylic on magnani paper.
Size: 35 cm (high) x 50 cm (wide).
He is an extraordinary colorist, conjuring highly specific tonal effects from a limited palette. Royal blues clash with vibrant greens, bold reds, and subtly shaded pinks.
Medium and Technique: Acrylic on magnani paper.
Size: 35 cm (high) x 50 cm (wide).
On a warm and dry Saturday afternoon in November 2008, Ngarra died peacefully in Derby from secondary complications due to pneumonia. The full significance of his work, on both an aesthetic and a cultural level, is yet to be fully recognized.
Reference:
[1] N. Tapper, Remembers, Aboriginal Art, Issue 1, Caruana & Reid, Sydney April/May (2009).
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