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Alick Tipoti, Sowlal

Alick Tipoti Sowlal , 2016

View in a room Print 37 x 70.9 inch 20 remaining copies


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Alick Tipoti, Sowlal
  • Offered by the gallery

    Professional art gallery
    Paris - France

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Hand-signed by artist

  • Medium

    Print : linocut

  • Themes

    Aboriginal art

  • Support

    Print on paper

  • Type

    Numbered and limited to 30 copies

  • Dimensions cm | inch

    37 x 70.9 inch

  • Framing

    Not framed

  • Collector’s Guide

  • About the artwork

    This linocut served as the template for the monumental 17 x 40 m vinyl installation that is adhered to the rooftop floor of the Oceanographic Museum of Monaco for the 2016 exhibition, ‘Australia: Defending the Oceans’, in which the artist is a major participant.

    Throughout 2016 the main theme of the Oceanographic Museum is the preservation of sea turtles. Tipoti’s linocut and massive rooftop installation pay homage to this theme. The lifestyle of turtles – their courtship, mating and nesting.

    In the Western Torres Strait language, Kala Lagaw Ya, the turtle mating season is called Solalaw Thonar. This occurs in November and is heralded by the migration of Goeynaw (Torres Strait Pigeon) and Birubiru (Swallow) from Papua New Guinea to the Australian mainland.

    The large turtle dominating the lino is a female Greenback (Waaru). The circular patterns represent the lifecycle of the turtle and their fight for survival. Their perils start after hatching where they run the gauntlet of predators such as feral pigs, goannas and birds as they head down the sand to the open sea. Baby turtles must then evade crocodiles and large fish and as they mature they are subject to pollution, being trapped in ghost nets and bycatch, injury from boating, the ingestion of plastics and hunters.

    The patterns running across the print evoke the sea current flowing against the wind called Guthath.

    Interconnecting forms and optical illusion are a significant aspect of Tipoti’s artistic strategy. This is demonstrated in the print where decorative patterning or Minaral merges into an almost hidden profusion of marine creatures.

    • Tags
    • aboriginal art

    • linocut


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Alick Tipoti

Born in: 1975


Alick Tipoti is originally from the Torres Strait is guided by the traditional culture of his people. He believes in the Zugubal that his people have been telling him about for years.

He considers it to be his responsibility to put stories, genealogies, chants and other aspects of his culture into images, so that it stays accessible to the future generations; this way they can discover it, understand it and practice it.

Alick Tipoti speaks Kala Lagaw Ya, the language of the Maluilgal people from Zenadh Kes. He sees language as the essential ingredient that brings together all the wultures of the world today.

?Without your language you become a foreigner, lost in another persons culture. One of my favorite English word is analyze. In my language we call it Ses Tham or Thapul. Singing and dancing are forms of art that branch out from the centerpiece called language. Everything you do, traditionally or culturally, evolves from a language. When you know the language, you know your culture.?

He receives the traditional ZUGUB name, which allows him to get in contact with his ancestors, the ZUGUBAL. Thanks to this privileged connection, he can translate the words of his ancestors into his delicate and complex linocuts.

Alick Tipoti?s work is part of in collections such as those of the British Museum in London, the Musée des Confluences de Lyon, the Tjibaou Cultural Center in Nouméa, the Kluge Ruhe Aboriginal Art Collection in the US and in numerous Australian museums.
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Alick Tipoti, Sowlal
Alick Tipoti, Sowlal Alick Tipoti, Sowlal

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