Mina Mina, 2007

synthetic polymer paint on Belgian linen

120 x 120 cm

Price on application — enquire

Provenance: Ngintaka Arts, Alice Springs, NT Cooee Aboriginal Art Gallery, NSW Accompanied by photographs of the artist creating the work
Exhibited: Autumn Season, Cooee Aboriginal Art Gallery, NSW, December 2009 Maunsell Wickes Gallery, Paddington, NSW, March 2007 Utopia and Beyond, Avalon Recreation Centre, Avalon NSW, January 2007
Artwork story: Dorothy Napangardi is a Walpiri woman from Mina Mina, a highly significant sacred site in one of the most remote areas of Australia; the Tanami Desert, north west of Alice Springs, Northern Territory. Her finely painted minimal depictions of 'Women's Dreaming on the Mina Mina' have deservedly won her critical and popular acclaim. Regarded as one of the leading artists of the contemporary Aboriginal Art movement, she paints her father's homeland at Lake McKay. Creating her own unique language to describe these homelands, Dorothy's paintings are shaped by an interlacing network of dotted lines. These lines form both a micro and a macro study of the land; creating the homeland topography while telling a story of the ancestral tracks. These lines represent the salt encrustations around the dry claypans etched with the tracks of the women.

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c.1950 / 1956 – 2013

synthetic polymer paint on Belgian linen

120 x 120 cm

Price on application — enquire

Provenance: Ngintaka Arts, Alice Springs, NT Cooee Aboriginal Art Gallery, NSW Accompanied by photographs of the artist creating the work
Exhibited: Autumn Season, Cooee Aboriginal Art Gallery, NSW, December 2009 Maunsell Wickes Gallery, Paddington, NSW, March 2007 Utopia and Beyond, Avalon Recreation Centre, Avalon NSW, January 2007
Artwork story: Dorothy Napangardi is a Walpiri woman from Mina Mina, a highly significant sacred site in one of the most remote areas of Australia; the Tanami Desert, north west of Alice Springs, Northern Territory. Her finely painted minimal depictions of 'Women's Dreaming on the Mina Mina' have deservedly won her critical and popular acclaim. Regarded as one of the leading artists of the contemporary Aboriginal Art movement, she paints her father's homeland at Lake McKay. Creating her own unique language to describe these homelands, Dorothy's paintings are shaped by an interlacing network of dotted lines. These lines form both a micro and a macro study of the land; creating the homeland topography while telling a story of the ancestral tracks. These lines represent the salt encrustations around the dry claypans etched with the tracks of the women.