Sadly, we have lost one of the real pioneers of Desert Aboriginal art, Paddy Japaljarri Stewart. Honey Ant Dreaming artwork was painted on the walls of the school with the encouragement of teacher Geoffrey Bardon. But “ even more significantly “ he was already painting at Yuendumu in the late 60s when the elders there realised they needed to bring their ceremonial art and designs from the distant deserts into the new community if they were to pass their culture on to future generations of Warlpiri.
The first paintings in the last great art movement of the 20th Century (Robert Hughes) were therefore painted in /71 at Yuendemu on the walls of its new Men&#;s Museum. And they&#;re still there. After falling into disuse later in the s, the Museum is expected to open again next year “ and Paddy was an enthusiastic member of the restoration committee.
Paddy was born in at Mungapunju, south of Yuendumu, and was a station worker at M
•
Shop online
Original price was: &#;Current price is: &#;inc. GST
Paddy Japaljarri Sims was a co-founder of Warlukurlangu Artists and an outstanding painter who created vibrant, colourful acrylic artworks about his country and Jukurrpa (Dreamings/ancestral creation stories).
This print depicts the Warlpiri story of the Seven Sisters who formed the Pleiades Constellation (details below)
Paddy was a First Nations artist from Yuendumu, km north west of Alice Springs in huvud Australia.
Free shipping in Australia
International inquiries welcome – contact us
OUT OF STOCK
Categories: * SALE, Art - Prints, Central Australia, Yilpinji - Love MagicTags: Aboriginal, Central Australia, Milky Way, Paddy Japaljarri Sims, Pleiades, Seven Sisters, Star, Warlukurlangu Artists
Description
Details
Type: Etching – Sugar lift painting, deep bite, aquatint and relief roll on two plates
Edition: 99
Paper: Magnani Pescia gsm White
Size: x (image) x x (paper)
Printer: Basil Hall, Bas
•
Friday Essay: land, kinship and ownership of ‘Dreamings’
Christine Judith Nicholls, Flinders University
Aboriginal kinship is an integral part of The Dreaming, as are people themselves and their land (or “country” as it’s known in Aboriginal English). One’s place in the kinship system also determines one’s rights and obligations with respect to other people, country, and artistic expression.
Dreaming Law (not “lore”) thus governs traditional Aboriginal kinship, its relationship to land tenure and to “Dreaming” ownership and obligations.
Ownership of country, and the corresponding Dreamings are largely matters of inheritance; in some cases it’s possible to acquire additional Dreamings via exchange or other transactions, as a way of increasing cultural capital.
For other Aboriginal groups living in places mostly out of reach of the urban and suburban centres – such as the Yolngu Matha-speaking peoples of Arnhem Land in northern Australia and nearby islands, this is also the cas