Untitled, 1989

synthetic polymer paint on canvas

129 x 121 cm

$6,000

Provenance: Purchased directly from the artist; Private Collection Vic; Private Collection NSW Re-Collected, May 2013, Theodore Bruce Auctioneers & Valuers, Aboriginal & Oceanic Arts (Art Lot s only), Sydney, 24 June 2013, Lot 21A Est: $2,000-3,000
Exhibited: AIAM100 Exhibition Launch, Cooee Aboriginal Art Gallery, NSW, August 2010
Artwork story: Keith Kaapa Tjangala, was the son of Kaapa Mbitjana Tjampitjinpa, one of the three founders of the Western Desert art movement. He was also the nephew of early desert painter Dinny Nolan. According to Dick Kimber, Keith was remarkably like his late father (in physical build and appearance, bright intellect, and friendly willingness to help) as he first knew him in the early 1970s. Anmatyerre and Warlpiri were his first languages, and through living experiences he was also competent in English, Arrernte, Luritja, and Pitjantjatjarra. In this ceremonial painting he depicts a sacred site and the feathered string bands that are used in the ceremony. Other elements are of a secret nature and not revealed by the artist at the time he created the work.

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synthetic polymer paint on canvas

129 x 121 cm

$6,000

Provenance: Purchased directly from the artist; Private Collection Vic; Private Collection NSW Re-Collected, May 2013, Theodore Bruce Auctioneers & Valuers, Aboriginal & Oceanic Arts (Art Lot s only), Sydney, 24 June 2013, Lot 21A Est: $2,000-3,000
Exhibited: AIAM100 Exhibition Launch, Cooee Aboriginal Art Gallery, NSW, August 2010
Artwork story: Keith Kaapa Tjangala, was the son of Kaapa Mbitjana Tjampitjinpa, one of the three founders of the Western Desert art movement. He was also the nephew of early desert painter Dinny Nolan. According to Dick Kimber, Keith was remarkably like his late father (in physical build and appearance, bright intellect, and friendly willingness to help) as he first knew him in the early 1970s. Anmatyerre and Warlpiri were his first languages, and through living experiences he was also competent in English, Arrernte, Luritja, and Pitjantjatjarra. In this ceremonial painting he depicts a sacred site and the feathered string bands that are used in the ceremony. Other elements are of a secret nature and not revealed by the artist at the time he created the work.