Aboriginal Art Centre

A great artist that emerged from the apprenticeship to one of the pioneer painters of Papunya who founded the desert painting movement, Yala Yala Gibbs Tjungurrayi, Ray James Tjangala quickly caught the public’s attention with the powerful and cyclic nature of his works that usually contain interlocking grid patterns signifying important ceremonial activities. Largely influenced with his mentor, much of his works depict the ceremonial activities done to the coming of age of young men. His paintings usually tell the story of the Tingari Tjukurrpa or Tingari dreaming. Tingari men were said to be a group of ancestral beings of the dreamings who travelled long stretches to perform rituals and shape particular sites. Since most of the events regarding the Tingari Cycle are sacred not much detail was given about it yet most of the travels and adventures of Tingari men are preserved in their song cycles which provide much explanation for their contemporary customs. Some aspects of his paintings are secret and are known only to the initiated. Usually his paintings are presented in two color schemes that greatly harmonized with the way he explores the possibilities of optical lines and curves on a canvas surface. This in turn entails an illusionary effect to its audiences.
Born in the Yunala rockhole in the western desert which is west in Kiwirrkura in 1958, Tjangala was one of three artist sons of one of the founding members of the Papunya Art Movement, the artist Anatjari Tjampitjinpa. His brothers were George Yapa Yapa and Mantua, both like himself professional aboriginal artists. 
Though having a prominent artist father and brothers, Tjangala did not start painting seriously until the 90’s which was after their family crossed the desert with him at the age of six under the assistance of the Welfare Patrol. This was also the time when their family met Douglas Lockwood who later came about writing “The Lizard Eaters” in 1964 where their family became part of the subjects pictured in print. This book told the story of the nomadic people who emerged from the desert. The family subsequently moved to Papunya.
Later in his life as a Papunya Tula Artist, Tjangala moved further west to Kiwirrkura returning to his home country together with his wife Donna Nungurrayi. This time his art became more prominent and invigorated that he became one of the most recognisable artists working for the Papunya Tula Artists company. Making his residence in Kiwirrkura, he regularly exhibits in Paris, the Netherlands, Slovenia, and Australia. 
His exhibitions were Papunya Tula Artists Community (2010), Community: The heart of Papunya Tula artists (2009), 20 years of Papunya Tula Artists Paintings (2008), Papunya Tula Artists – across the board (2006), PTA – Papunya Tula Artists, and Papunya Tula Artists – new work for a new space at Utopia Art in Sydney; Tradition and Innovation: Papunya Tula (2010), Papunya Tula Artists (2005, 2008, & 2007), and Kintore Kiwirrkura (2003) at Gallery Gabrielle Pizzi in Melbourne; Gifted Contemporary Aboriginal Art: The Mollie Going Acquisition Fund (2006-2007) at the Art Gallery of New South Wales in Sydney; Explained: A closer look at Aboriginal art at the Aboriginal Art Museum in Utrecht Netherlands; Art Aborigene contemporain (2003) at Arts d’Australie in Paris; and  Voyage dans la matiere (2001), Salon ART PARIS (2001), Arts d’Australie (2000), Australie – Art (1999), and Propositions Australiennes (1998) at Arts d’Australie o Stephane Jacob also in Paris. 
Most of his collections can be viewed at the Art Gallery of NSW in Sydney, the Aboriginal Art Museum in the Netherlands, and Flinders University Art Museum in Adelaide.

A great artist that emerged from the apprenticeship to one of the pioneer painters of Papunya who founded the desert painting movement, Yala Yala Gibbs Tjungurrayi, Ray James Tjangala quickly caught the public’s attention with the powerful and cyclic nature of his works that usually contain interlocking grid patterns signifying important ceremonial activities. Largely influenced with his mentor, much of his works depict the ceremonial activities done to the coming of age of young men. His paintings usually tell the story of the Tingari Tjukurrpa or Tingari dreaming. Tingari men were said to be a group of ancestral beings of the dreamings who travelled long stretches to perform rituals and shape particular sites. Since most of the events regarding the Tingari Cycle are sacred not much detail was given about it yet most of the travels and adventures of Tingari men are preserved in their song cycles which provide much explanation for their contemporary customs. Some aspects of his paintings are secret and are known only to the initiated. Usually his paintings are presented in two color schemes that greatly harmonized with the way he explores the possibilities of optical lines and curves on a canvas surface. This in turn entails an illusionary effect to its audiences.
Born in the Yunala rockhole in the western desert which is west in Kiwirrkura in 1958, Tjangala was one of three artist sons of one of the founding members of the Papunya Art Movement, the artist Anatjari Tjampitjinpa. His brothers were George Yapa Yapa and Mantua, both like himself professional aboriginal artists. 
Though having a prominent artist father and brothers, Tjangala did not start painting seriously until the 90’s which was after their family crossed the desert with him at the age of six under the assistance of the Welfare Patrol. This was also the time when their family met Douglas Lockwood who later came about writing “The Lizard Eaters” in 1964 where their family became part of the subjects pictured in print. This book told the story of the nomadic people who emerged from the desert. The family subsequently moved to Papunya.
Later in his life as a Papunya Tula Artist, Tjangala moved further west to Kiwirrkura returning to his home country together with his wife Donna Nungurrayi. This time his art became more prominent and invigorated that he became one of the most recognisable artists working for the Papunya Tula Artists company. Making his residence in Kiwirrkura, he regularly exhibits in Paris, the Netherlands, Slovenia, and Australia. 
His exhibitions were Papunya Tula Artists Community (2010), Community: The heart of Papunya Tula artists (2009), 20 years of Papunya Tula Artists Paintings (2008), Papunya Tula Artists – across the board (2006), PTA – Papunya Tula Artists, and Papunya Tula Artists – new work for a new space at Utopia Art in Sydney; Tradition and Innovation: Papunya Tula (2010), Papunya Tula Artists (2005, 2008, & 2007), and Kintore Kiwirrkura (2003) at Gallery Gabrielle Pizzi in Melbourne; Gifted Contemporary Aboriginal Art: The Mollie Going Acquisition Fund (2006-2007) at the Art Gallery of New South Wales in Sydney; Explained: A closer look at Aboriginal art at the Aboriginal Art Museum in Utrecht Netherlands; Art Aborigene contemporain (2003) at Arts d’Australie in Paris; and  Voyage dans la matiere (2001), Salon ART PARIS (2001), Arts d’Australie (2000), Australie – Art (1999), and Propositions Australiennes (1998) at Arts d’Australie o Stephane Jacob also in Paris. 
Most of his collections can be viewed at the Art Gallery of NSW in Sydney, the Aboriginal Art Museum in the Netherlands, and Flinders University Art Museum in Adelaide.

A great artist that emerged from the apprenticeship to one of the pioneer painters of Papunya who founded the desert painting movement, Yala Yala Gibbs Tjungurrayi, Ray James Tjangala quickly caught the public’s attention with the powerful and cyclic nature of his works that usually contain interlocking grid patterns signifying important ceremonial activities. Largely influenced with his mentor, much of his works depict the ceremonial activities done to the coming of age of young men. His paintings usually tell the story of the Tingari Tjukurrpa or Tingari dreaming. Tingari men were said to be a group of ancestral beings of the dreamings who travelled long stretches to perform rituals and shape particular sites. Since most of the events regarding the Tingari Cycle are sacred not much detail was given about it yet most of the travels and adventures of Tingari men are preserved in their song cycles which provide much explanation for their contemporary customs. Some aspects of his paintings are secret and are known only to the initiated. Usually his paintings are presented in two color schemes that greatly harmonized with the way he explores the possibilities of optical lines and curves on a canvas surface. This in turn entails an illusionary effect to its audiences.
Born in the Yunala rockhole in the western desert which is west in Kiwirrkura in 1958, Tjangala was one of three artist sons of one of the founding members of the Papunya Art Movement, the artist Anatjari Tjampitjinpa. His brothers were George Yapa Yapa and Mantua, both like himself professional aboriginal artists. 
Though having a prominent artist father and brothers, Tjangala did not start painting seriously until the 90’s which was after their family crossed the desert with him at the age of six under the assistance of the Welfare Patrol. This was also the time when their family met Douglas Lockwood who later came about writing “The Lizard Eaters” in 1964 where their family became part of the subjects pictured in print. This book told the story of the nomadic people who emerged from the desert. The family subsequently moved to Papunya.
Later in his life as a Papunya Tula Artist, Tjangala moved further west to Kiwirrkura returning to his home country together with his wife Donna Nungurrayi. This time his art became more prominent and invigorated that he became one of the most recognisable artists working for the Papunya Tula Artists company. Making his residence in Kiwirrkura, he regularly exhibits in Paris, the Netherlands, Slovenia, and Australia. 
His exhibitions were Papunya Tula Artists Community (2010), Community: The heart of Papunya Tula artists (2009), 20 years of Papunya Tula Artists Paintings (2008), Papunya Tula Artists – across the board (2006), PTA – Papunya Tula Artists, and Papunya Tula Artists – new work for a new space at Utopia Art in Sydney; Tradition and Innovation: Papunya Tula (2010), Papunya Tula Artists (2005, 2008, & 2007), and Kintore Kiwirrkura (2003) at Gallery Gabrielle Pizzi in Melbourne; Gifted Contemporary Aboriginal Art: The Mollie Going Acquisition Fund (2006-2007) at the Art Gallery of New South Wales in Sydney; Explained: A closer look at Aboriginal art at the Aboriginal Art Museum in Utrecht Netherlands; Art Aborigene contemporain (2003) at Arts d’Australie in Paris; and  Voyage dans la matiere (2001), Salon ART PARIS (2001), Arts d’Australie (2000), Australie – Art (1999), and Propositions Australiennes (1998) at Arts d’Australie o Stephane Jacob also in Paris. 
Most of his collections can be viewed at the Art Gallery of NSW in Sydney, the Aboriginal Art Museum in the Netherlands, and Flinders University Art Museum in Adelaide.

Kathleen Ngala is a senior woman, born c.1930 in the Utopia region of Central Australia. She belongs to the oldest living generation of Utopia artists and has in the last two decades emerged as one of the greatest Aboriginal artists, having been compared to such great artists as Emily Kngwarreye, Minnie Pwerle or Kathleen Petyarre. Her work has come to be seen as some of the most sophisticated and complex in the Aboriginal art scene. She has been featured in many exhibitions, both in Australia and overseas, and was a finalist in the National Aboriginal and Torres Strait Islander Award in both 2000 and 2008. 
Kathleen is the senior custodian of the cultural knowledge of her country, Arlparra. Her works are a depiction of her country, Arlparre, and its ‘Bush Plum’ (Anwekety) Dreaming.  Courtesy 
Sasha Grishin.

Kathleen Ngala is a senior woman, born c.1930 in the Utopia region of Central Australia. She belongs to the oldest living generation of Utopia artists and has in the last two decades emerged as one of the greatest Aboriginal artists, having been compared to such great artists as Emily Kngwarreye, Minnie Pwerle or Kathleen Petyarre. Her work has come to be seen as some of the most sophisticated and complex in the Aboriginal art scene. She has been featured in many exhibitions, both in Australia and overseas, and was a finalist in the National Aboriginal and Torres Strait Islander Award in both 2000 and 2008. 
Kathleen is the senior custodian of the cultural knowledge of her country, Arlparra. Her works are a depiction of her country, Arlparre, and its ‘Bush Plum’ (Anwekety) Dreaming.  Courtesy 
Sasha Grishin.

Kathleen Ngala is a senior woman, born c.1930 in the Utopia region of Central Australia. She belongs to the oldest living generation of Utopia artists and has in the last two decades emerged as one of the greatest Aboriginal artists, having been compared to such great artists as Emily Kngwarreye, Minnie Pwerle or Kathleen Petyarre. Her work has come to be seen as some of the most sophisticated and complex in the Aboriginal art scene. She has been featured in many exhibitions, both in Australia and overseas, and was a finalist in the National Aboriginal and Torres Strait Islander Award in both 2000 and 2008. 
Kathleen is the senior custodian of the cultural knowledge of her country, Arlparra. Her works are a depiction of her country, Arlparre, and its ‘Bush Plum’ (Anwekety) Dreaming.  Courtesy 
Sasha Grishin.

Jeannie was born in the 1950s into a family of well-known artists at Boundary Bore, Utopia. Her cousins include such greats as Gloria Petyarre, Nancy, Myrtle, Kathleen, Violet, and Ada Bird. She predominantly paints Bush Medicine Leaves, Bush Yam, Bush Yam Seeds and Women’s ceremony, paintings which are characterised by vibrant colours and designs celebrating the spirit of the Yam plant. Jeannie tells that this colourful style was taught to her by her Aunt, the famous Emily Kame Kngwarreye, who told Jeannie before she died that she must continue to paint the family’s Yam Dreaming.

Tingari Cycle

A great artist that emerged from the apprenticeship to one of the pioneer painters of Papunya who founded the desert painting movement, Yala Yala Gibbs Tjungurrayi, Ray James Tjangala quickly caught the public’s attention with the powerful and cyclic nature of his works that usually contain interlocking grid patterns signifying important ceremonial activities. Largely influenced with his mentor, much of his works depict the ceremonial activities done to the coming of age of young men. His paintings usually tell the story of the Tingari Tjukurrpa or Tingari dreaming. Tingari men were said to be a group of ancestral beings of the dreamings who travelled long stretches to perform rituals and shape particular sites. Since most of the events regarding the Tingari Cycle are sacred not much detail was given about it yet most of the travels and adventures of Tingari men are preserved in their song cycles which provide much explanation for their contemporary customs. Some aspects of his paintings are secret and are known only to the initiated. Usually his paintings are presented in two color schemes that greatly harmonized with the way he explores the possibilities of optical lines and curves on a canvas surface. This in turn entails an illusionary effect to its audiences.
Born in the Yunala rockhole in the western desert which is west in Kiwirrkura in 1958, Tjangala was one of three artist sons of one of the founding members of the Papunya Art Movement, the artist Anatjari Tjampitjinpa. His brothers were George Yapa Yapa and Mantua, both like himself professional aboriginal artists. 
Though having a prominent artist father and brothers, Tjangala did not start painting seriously until the 90’s which was after their family crossed the desert with him at the age of six under the assistance of the Welfare Patrol. This was also the time when their family met Douglas Lockwood who later came about writing “The Lizard Eaters” in 1964 where their family became part of the subjects pictured in print. This book told the story of the nomadic people who emerged from the desert. The family subsequently moved to Papunya.
Later in his life as a Papunya Tula Artist, Tjangala moved further west to Kiwirrkura returning to his home country together with his wife Donna Nungurrayi. This time his art became more prominent and invigorated that he became one of the most recognisable artists working for the Papunya Tula Artists company. Making his residence in Kiwirrkura, he regularly exhibits in Paris, the Netherlands, Slovenia, and Australia. 
His exhibitions were Papunya Tula Artists Community (2010), Community: The heart of Papunya Tula artists (2009), 20 years of Papunya Tula Artists Paintings (2008), Papunya Tula Artists – across the board (2006), PTA – Papunya Tula Artists, and Papunya Tula Artists – new work for a new space at Utopia Art in Sydney; Tradition and Innovation: Papunya Tula (2010), Papunya Tula Artists (2005, 2008, & 2007), and Kintore Kiwirrkura (2003) at Gallery Gabrielle Pizzi in Melbourne; Gifted Contemporary Aboriginal Art: The Mollie Going Acquisition Fund (2006-2007) at the Art Gallery of New South Wales in Sydney; Explained: A closer look at Aboriginal art at the Aboriginal Art Museum in Utrecht Netherlands; Art Aborigene contemporain (2003) at Arts d’Australie in Paris; and  Voyage dans la matiere (2001), Salon ART PARIS (2001), Arts d’Australie (2000), Australie – Art (1999), and Propositions Australiennes (1998) at Arts d’Australie o Stephane Jacob also in Paris. 
Most of his collections can be viewed at the Art Gallery of NSW in Sydney, the Aboriginal Art Museum in the Netherlands, and Flinders University Art Museum in Adelaide.