Two Travelling Women, 1988

synthetic polymer paint on canvas

90 x 135 cm

$8,000

Secure payment via Stripe. Prices in AUD.

Provenance: Painted at Kintore, 1988 Papunya Tula Artists, Alice Springs, NT, Cat No. TT881217 A Gallery, New York - David Betz (Director) Private Collection, Albany NY
Artwork story: Turkey Tolson Tjupurrula was a founding member of Papunya Tula Artists and among the central figures in the Western Desert art movement. As both painter and ceremonial leader, his practice was deeply tied to Pintupi law and the transmission of Tingari narratives. Two Travelling Women depicts designs associated with the ancestral women at the site of Munni Munni, southeast of Kintore. The women journey northward, stopping at rockholes along the way, their passage marked by the repeated roundels and rhythmic linear forms. Painted in 1988, the work exemplifies Tolson’s refined minimalism: a restrained palette and disciplined geometry that distil complex ceremonial knowledge into elegant abstraction. This economy of means, characteristic of his late 1980s output, underscores his status as one of the most significant painters of the Desert, bridging ancestral narrative with modernist sensibilities

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c.1938 – 2001

synthetic polymer paint on canvas

90 x 135 cm

$8,000

Secure payment via Stripe. Prices in AUD.

Provenance: Painted at Kintore, 1988 Papunya Tula Artists, Alice Springs, NT, Cat No. TT881217 A Gallery, New York - David Betz (Director) Private Collection, Albany NY
Artwork story: Turkey Tolson Tjupurrula was a founding member of Papunya Tula Artists and among the central figures in the Western Desert art movement. As both painter and ceremonial leader, his practice was deeply tied to Pintupi law and the transmission of Tingari narratives. Two Travelling Women depicts designs associated with the ancestral women at the site of Munni Munni, southeast of Kintore. The women journey northward, stopping at rockholes along the way, their passage marked by the repeated roundels and rhythmic linear forms. Painted in 1988, the work exemplifies Tolson’s refined minimalism: a restrained palette and disciplined geometry that distil complex ceremonial knowledge into elegant abstraction. This economy of means, characteristic of his late 1980s output, underscores his status as one of the most significant painters of the Desert, bridging ancestral narrative with modernist sensibilities