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Marpurri,
1996
Tjumpo Tjapanangka
Painting : acrylic
120 x 80 x 2.5 cm 47.2 x 31.5 x 1 inch
One of the last works available by this artist
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About the artwork
Type
Unique work
Signature
Not Signed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Dimensions cm • inch
120 x 80 x 2.5 cm 47.2 x 31.5 x 1 inch Height x Width x Depth
Framing
Beige frame
Artwork dimensions including frame
121 x 81 x 3 cm 47.6 x 31.9 x 1.2 inch
Tags
Artwork sold in perfect condition
Artwork location: France
Tjumpo evoked in his paintings the landscapes of the Great Sandy Desert on the edge of which Balgo is located, a former Catholic mission where the Aborigines expelled from their ancestral lands were gathered in the 1930s.
Here, the artist wanted to represent a familiar landscape, Marpurri – a sacred site made up of swamps and two water points – represented by the circles which occupy the center of the canvas. It is around this axis that the rest of the canvas is organized where the artist preferred to blend the dotted lines usually used by desert painters into a system of continuous lines reminiscent of energy waves.
These "waves" symbolize both the runoff of rainwater, the slope of the hills around Balgo and more broadly an entire vast territory represented as if it were seen from a satellite: the canvas thus transforms into a real geological map bordered by a series of sacred sites.
About the seller
Professional art gallery • France
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Presentation
Tjumpo's traditional homeland near Karnapilya in the area west of Lake Mackay (Wilkinkarra). He had become the most highly regarded Law Man in the community. In the late 1980's and early 1990's he lived at Yagga Yagga, about 150 kilometers south of Balgo Hills toward his country near Lake MacKay and moved to Balgo around 1996 after the community was abandoned.
In opting to employ simpler forms to depict the numinous landscape, Tjumpo's influence spread to other artists and has come to epitomize the transformation that has run through Balgo art since the mid 1990's. This minimalism, often restricting Tjumpo's iconography solely to undulating lines is reminiscent of the Pintupi creative approach. Though Tjumpo's work, like that of other Kukatja artists, is distinctly less formal than that of the Pintupi, this aesthetic overlap is nevertheless significant. During his career Tjumpo made occasional visits to Kiwirrkurra to stay with his countrymen and, on visits such as those in 1999 and 2004, he painted for Papunya Tula artists.
In both his art and his personal demeanour, Tjumpo Tjapanangka affected an infectiously vivacious and animated style. It is this energy and confidence that he employed to build the resonating planes that characterized his finest works and brought such critical acclaim. His wife Ningie Nangala shared his preference for softer colours, and to some extent this aesthetic can be seen in the more recent paintings created by his stepdaughter, Elizabeth Gordon, to whom he passed on a number of his Tjukurrpa (creation stories and lore).
Tjumpo and Ningie had many children whom have become significant artists in their own right including Winifred Nanala and Vincent Nanala, who are influenced by his structured, optical style.
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