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- Limited Editions Wool Rugs -
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artist: Betsy Lewis new! Mina Mina Jukurrpa - Mina Mina Dreaming The country associated with this painting is Mina Mina, a place far west of Yuendumu, significant to Napangardi and Napanangka women who are the custodians of the Jukurrpa that created the area. The Dreaming describes the journey of a group of women of all ages who travelled east gathering food, collecting Ngalyipi (Tinospora smilacina or snake vine) and performing ceremonies as they travelled. The women began their journey at Mina Mina where Karlangu (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them eventually beyond Warlpiri country. In contemporary Warlpiri paintings traditional iconography is used to represent the Jukurrpa, associated sites and other elements. The primary motif used in paintings of the Jukurrpa are the Karlangu digging sticks which rose up out of the ground at Mina Mina. The women used them to collect bush tucker on their travels. This painting shows the motion of the digging sticks as the women move them to dig. ref: WBLE51 Wool Rug |
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artist: Rama Sampson Ngayuku ngura / My birthplace Rama's birthplace is laced with stories of the ancestral beings who created the landmarks and played vital roles in the law giving stories. Ngayuku ngura means My Place and is used by Anangu to refer to the place where their bodies first touched the ground. ref: BRSA010 Wool Rug |
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artist: Tjinkuma Wells Piltati - Two Sisters Dreaming The design for this rug comes from an original painting. The story is of women who are meeting in different places talking about a lot of different things. Now we go out and clean up the rockholes – build fences to keep out the wild horses and camels. Take away the weeds and rubbish. ref: BTWER907 Wool Rug |
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artist: Tjinkuma Wells Piltati The design for this rug comes from an original painting. The story is of women who are meeting in different places talking about a lot of different things. Now we go out and clean up the rockholes – build fences to keep out the wild horses and camels. Take away the weeds and rubbish. ref: BTWER914 Wool Rug |
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artist: Ungakini Tjangala & Pantjiti Lionel Kakalala, Kaangka munu Walawuru The artists' favourite milpatjunanyi/sand story. About a man Eagle and his two wives, crow and cockatoo. Crow was the first wife, and Cockatoo the younger and more beautiful. Crow became jealous as Eagle kept giving her the best meat and staged a plan for revenge. One day when out gathering bush foods, Crow killed the pregnant Cockatoo and then pretended to Eagle that Cockatoo had had her baby and was staying in the bush (as was the traditional way). For a long time she pretended, telling Eagle what a beautiful baby it was until he started to become suspicious. Eventually he found Cockatoo's dead body while hunting and returned to camp and killed Crow. ref: BUTPR908 Wool Rug |
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artist: Iwana Ken Iwana's lively image is of the desert landscape. Iwana has recently been developing her wildflower theme - Tjulpun Tjulpunpa - and developing a unique style which reflects the bounty and beauty of her desert home. ref: kiker118 Wool Rug |
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artist: Kathy Maringka The design for this rug is from an original painting. Kathy paints many “topographical” images, her work is very influenced by her country and the landforms of the remote Anangu Pitjantjatjara/Yankunytjatjara Lands, in remote north-west South Australia. The different forms of the desert landscape have a great impact on the artists' use of colour and image construction. The imagery is also influenced by the ancient Aboriginal culture and the land from which it draws its origins. Specific titles, however, are seldom given to contemporary artwork. This piece is a good example of very recent, more simplified images now being produced at Kaltjiti Arts. ref: kkmar109 Wool Rug |
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artist: Kathy Maringa The design for this rug is from an original painting. Kathy paints many “topographical” images, her work is very influenced by her country and the landforms of the remote Anangu Pitjantjatjara/Yankunytjatjara Lands, in remote north-west South Australia. The different forms of the desert landscape have a great impact on the artists' use of colour and image construction. The imagery is also influenced by the ancient Aboriginal culture and the land from which it draws its origins. Specific titles, however, are seldom given to contemporary artwork. ref: kkmar115 Wool Rug |
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artist: Manitjanu Lennon The image for this rug is taken from a painting Tjulpuntjulpunpa Mungangka – Wildflowers at Night which was exhibited at the Adelaide Fesitval Centre in December 2007. Seasonal wildflowers abound in the desert in a profusion of colour. Manyitjanu is a senior traditional woman and custodian of the traditional knowledge and culture of Anangu who have survived for countless generations in the unpredictable desert of central Australia. ref: KMLER130 Wool Rug |
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artist: Kunytjitja Brown This rug is taken from an original painting. This image is part of the recent emergence of exciting semi-abstract paintings that express Tjukurrpa (Creation Stories) and contemporary life. This style of work is unique to the Aboriginal women artists of the Pitjantjatjara/Yankunytjatjara Lands, in remote north-west South Australia, but is also a part of the wider development of contemporary Aboriginal art. Country and culture, as well as exposure to the contemporary art world give these works distinctive ingredients that unite them as community creations. ref: knbrr106 Wool Rug |
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artist: Tali Tali Pomey This rug design is from an original painting, done in acrylic on paper. Tali Tali’s work is strongly influenced by her country – a richly coloured desert landscape of grass and spinifex plains with the Musgrave Ranges in the distance. She has recently been recognised as a significant emerging artist, and her work is in demand by collectors and galleries. ref: ktpor90 Wool Rug |
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artist: Leah Brady Fire and the Willy Wagtail People This is a story about how the Willy Wagtail People got fire. A flaming fire stick came from Mt Lindsay and landed in the Mann Ranges at Angatja (Leah’s homeland). The Willy Wagtail people picked up the fire stick. They grabbed at it gleefully and took it to their homes as they did not have fire. It is said the fire came from the sea where the Fire Men lived. It was they that threw it to Mt Lindsay. This mob (Willy Wagtail People) had tried to catch the fire stick before and they got it before the rain came. ref: tlbrr304 Wool Rug |
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artist: Ruby Williamson Wati munu Minymaku Walka Ruby has depicted a ‘Husband and Wife' story. Wati translates as man, minyma as woman and walka as design or drawing. This story is about a family camping and hunting for their favourite bush tucker. The men are the larger 'u' shapes with a kali (boomerang) and spear at their side. The women can be seen with their children or tjitji camped under a wiltja or shelter around a camp fire. The orange areas are the camp fires. The larger circles down the middle are the rock holes where water can be found, while the blue and green striped areas are the creeks. ref: trwir302 Wool Rug |
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artist: Sylvia Ken Waru Tjukurpa ref: TSKE310 Wool Rug |
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artist: Judy Napangardi Watson The country associated with this Jukurrpa is Mina Mina, a place far to the west of Yuendumu, which is significant to Napangardi/Napanangka women and Japangardi/Japanangka men. All of them are the custodians of the Jukurrpa that created the area. The Jukurrpa story tells of the journey of a group of women of all ages who travelled to the east gathering food, collecting 'ngalyipi' (snake vine [Tinospora smilacina]) and performing ceremonies as they travelled. The women began their journey at Mina Mina where 'karlangu' (digging sticks) emerged from the ground. Taking these implements the women travelled east creating Janyinki and other sites. Their journey took them far to the east beyond the boundaries of Warlpiri country. The 'ngalyipi' vine grows up the trunks and limbs of the 'kurrkara' (desert oak [Allocasuarina decaisneana]) trees. 'Ngalyipi' is a sacred vine to Napangardi and Napanangka women that has many uses. It can be used as a ceremonial wrap, as a strap to carry 'parrajas' (wooden bowls) that are laden with bush tucker and as a tourniquet for headaches. The wavy lines represent the snake vine, the 'u' shapes the women, the circular shapes are edible mushrooms the women collect on their travels and the two straight lines in the middle represent digging sticks. ref: WJWAR509 Wool Rug |