Sandhills, 2006 inscribed 'Dorothy' and bears Gallery Gondwana catalogue number 10175DN on the reverse of the stretcher and Gallery Gondwana stamp on the reverse synthetic polymer paint on linen 198 x 122cm (77 15/16 x 48 1/16in).
PROVENANCE: Painted in Alice Springs, Northern Territory Purchased from Gallery Gondwana, Alice Springs in September 2006 The Laverty Collection, Sydney
EXHIBITED: Gallery Gondwana at Melbourne Art Fair, 2 - 6 August 2000 Laverty 2, Newcastle Region Art Gallery, Newcastle, 14 May - 14 August 2011 All our relations at Biennale of Sydney, Art Gallery of New South Wales, Sydney, 27 June - 16 September 2012
LITERATURE: Australian Commercial Galleries Association and Melbourne Art Fair Foundation, Melbourne Art Fair 2000, exh. cat., St Kilda South, Victoria: Australian Commercial Galleries Association, 2000, p.61 (illus.) Colin Laverty and Elizabeth Laverty et al., Beyond Sacred: Recent Painting from Australia's Remote Aboriginal Communities - the collection of Colin and Elizabeth Laverty, Melbourne: Hardie Grant Books, 2008, p.85 (illus.) Colin Laverty and Elizabeth Laverty et al., Beyond Sacred: Australian Aboriginal Art - the collection of Colin and Elizabeth Laverty, Edition II, Melbourne: Kleimeyer Industries, 2011, p.91 (illus.) Jean Fisher, 'Thinking, Weaving: Another Approach to Cosmopolitanism' in Biennale of Sydney 2012: all our relations, Sydney: Museum of Contemporary Art, Sydney, 2012, p.85 (illus.)
DOROTHY ROBINSON NAPANGARDI Dorothy Napangardi Robinson was born at Mina Mina and moved to the Warlpiri community of Yuendumu about 1957, around the time she saw a white person for the first time. Her public painting career commenced in Alice Springs thirty years later. The first phase is marked by paintings of intense colour depicting bush plants, mainly yuparli (bush banana), in compositions that radiate from the centre of the canvas. In 1997-8 these images dissolved into a vortex consisting of sequences of short lines of dots that produce a pulsating visual effect.
By 1999 Napangardi's subject matter turned to the saltpans and sand hills of Mina Mina and its associations with the all-encompassing Women's Digging Stick Dreaming. With this subject in mind, the perspective in Napangardi's changed dramatically to a planar matrix of white dots on a black ground that capture an abstracted sense of the terrain and movement across it. In discussing Salt on Mina Mina, 2001, that won the 18th Telstra National Aboriginal and Torres Strait Islander Art Award in the year it was painted, Bernice Murphy describes Napangardi's process thus: 'the topographical plain of country is lifted and transformed conceptually into the optical plane of the painting' (Telstra National Aboriginal and Torres Strait Islander Art Award, 2001, catalogue, p.16).
In the following year, Napangardi's stature as a major artist was underlined when the Museum of Contemporary Art, Sydney, mounted a retrospective exhibition of her work. Subsequent to this, Napangardi developed another visual response to the site of Mina Mina with paintings of lines of black dots on white grounds that convey a sense of endless open space and shifting sands, as in Sandhills, 2006.
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