CLAUDIA MOODOONUTHI: RUBY AND HUNTER IN DULKA WARNGIID (STORY PLACE)
Alcaston Gallery is delighted to present an exhibition of dynamic paintings and installation by Queensland artist Claudia Moodoonuthi. Following from her exceptional exhibition Ruby and Hunter at Redland Art Gallery, Queensland earlier this year, this vibrant new body of work shares stories from the artist’s ancestral land, Kaiadilt Country of Bentinck Island in Queensland’s Gulf of Carpentaria. Inspired by the special bond Moodoonuthi has with her two dogs, Ruby and Hunter, the exhibition celebrates the Kaiadilt People’s significant and enduring relationship with dingoes. Brought to life through personal reflections on family, history and lived experience, Moodoonuthi honours the innate connection between people, place and Country. Within these works, she expresses the Island’s unique topography and vitality.
2017 has been an extraordinary milestone in the young artist’s flourishing career. This year Moodoonuthi’s work was featured in Who’s Afraid of Colour? at The Ian Potter Centre: NGV Australia, an exhibition of prominent Indigenous women artists whose practices are unbounded by convention, her painting My Body, My Country was projected onto the William Jolly Bridge as part of the Brisbane Festival, and Redland Art Gallery, Queensland hosted a solo exhibition of Claudia’s installation art and paintings featuring this body of work Ruby and Hunter.
In 2017 Claudia has also undertaken a large-scale painting commission for Artbank + QPAC, QLD, and a major installation for the Mecca Cosmetica + National Gallery of Victoria Holiday collaboration. Her work is held in numerous public and private collections including National Gallery of Victoria, Melbourne, Maitland Regional Art Gallery, NSW, Cairns Regional Gallery, QLD, and Queensland Health Collection.
CONRAD TIPUNGWUTI: PAKITIRINGA 2017
Alcaston Gallery is delighted to present Pakitiringa recent works on paper and linen by Tiwi artist Conrad Tipungwuti.
Conrad Tipungwuti's painting practice has developed and matured over many years displaying unique and expressive brush marks, much looser than the tight traditional marks the Tiwi are known for. His mark making is reminiscent of the late Freda Warlapinni and Kitty Kantilla.
Pakitiringa is the tiwi word for rain. The over-riding theme of Tipungwuti’s most recent work depicts the wet season and the heavy Pakatiringa that falls in the top end for months on end. He is also known for painting the initiation ceremony Kulama, which is practiced in the late wet season. In the Kulama paintings a particular figure is singled out, Japara, who became the moon man after the first pukamani ceremony was performed. This is represented by the large concentric circles.
Tipungwuti works with the traditional ironwood carved comb called kayimwagakimi to make the pwoja, the small and intricate dots that fall across the canvas in a meditative state, reflecting rain falling over the Tiwi landscape. As with all artists from Jilamara Art Centre, Conrad paints with natural ochres which are collected from around the local community.
This is Conrad’s fourth solo exhibition. His works are held in both national and international collections including National Gallery of Victoria, Melbourne; National Gallery of Australia, Canberra; Du Musee des Confluences, Paris, France; Charles Darwin University Collection, Darwin; Murdoch University Collection, Perth; Artbank Australia; and, the Queensland University Art Museum, Brisbane.
BETTY KUNTIWA PUMANI WITH NGUPULYA PUMANI + TUPPY GOODWIN
Alcaston Gallery is thrilled to present a powerful exhibition of new paintings by Betty Kuntiwa Pumani, alongside the work of her older sister Ngupulya Pumani, and their fellow senior cultural woman Tuppy Goodwin.
Betty Kuntiwa Pumani was born in the bush to mother Kunmanara (Milatjari) Pumani and father Sam Pumani near Perentie Bore, thirty kilometres from Mimili Community in the Anangu Pitjantjatjara Yankunytjatjara Lands (APY Lands) of far north South Australia. Her grandparents on her mother’s side were King Everard (Nyapi) and Mantjangka Everard. Her father’s country is near Watarru and her mother’s country is Antara. Today Betty and her older sister Ngupulya Pumani are custodians of Antara and its associated Dreamings.
Recognised for her startling use of vibrant red, contrasting whites and intense cobalt blues within serpentine large-scale visionary compositions, Betty Pumani’s extraordinary rise in the Australian contemporary art world has been well recognised with successive wins of both the 2015 and 2016 General Painting Award of the Telstra National Aboriginal and Torres Strait Islander Art Award at the Museum & Art Gallery of the Northern Territory, Darwin. In 2017 she was awarded the prestigious Wynne Prize at the Art Gallery of New South Wales.
Ngupulya Pumani is a senior Anangu woman who is committed to fostering traditional law and culture in her community. She began painting in 2009 with the Mimili Maku Arts Centre. Pumani is recognised for her deep cultural knowledge, portrayed with intricate detail and intense luminous palettes. In 2017 she was a finalist in the prestigious Wynne prize and her work is held in major collectioons throughout Australia and abroad.
Tuppy Goodwin’s colourful contemporary paintings depict her country with fluid brushstrokes, bold colour and textural detail. Goodwin is married to fellow Mimili artist Mumu Mike Williams, and her is held in several major public and private collections.
The dynamic work of these three strong women has been brought together to create a bold and diverse exhibition of contemporary indigenous art from the APY lands, South Australia.
Image: Betty Pumani, Antara 2017 (AK21109) synthetic polymer paint on linen 197 x 197 cm