Untitled (Soakage Water and Rockhole Site of Marrapinti), 2001 bears artist's name, dimensions and Papunya Tula Artists catalogue number NN0111184 on the reverse synthetic polymer paint on canvas 137 x 120 cm (53 15/16 x 47 1/4in).
PROVENANCE: Painted at Kintore, Northern Territory Purchased from Papunya Tula Artists, Alice Springs, Northern Territory in May 2002 The Laverty Collection, Sydney
EXHIBITED: Paintings from Remote Communities: Indigenous Australian Art from the Laverty Collection, Sydney, Govett Brewster Art Gallery, New Plymouth, New Zealand, 15 December 2007 - 24 February 2008; Newcastle Region Art Gallery, Newcastle, 5 July - 31 August 2008 The Australian Club, Melbourne, 30 June - 16 September 2011 Heart and Soul: the Laverty Collection, Sydney, Museum of contemporary Aboriginal art (AAMU), Utrecht, The Netherlands, 20 January - 10 June 2012
LITERATURE: Colin Laverty, 'Diversity and Strength: Contemporary Australian Aboriginal Art - A Private Collection', Arts of Asia, November - December 2003, cat. no. 8, p.86 (illus.) Annette Larkin, 'Perspectives - Hunters and Collectors', Arco contemporary art magazine, number 33, spring 2005, p.21 (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.61 (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.64 (illus.)
This painting is sold with an accompanying Papunya Tula Artists certificate.
Naata Nungurrayi Naata Nungurrayi is widely acknowledged as a revered cultural authority for the country surrounding the Kiwirrkura Community in the Gibson Desert region of Western Australia. In her paintings, Naata depicts the landforms and water sources that identify the significant sites in this area which were visited by a group of ancestral Kanaputa Women during the Tjukurrpa.
Throughout her relatively brief artistic career, Naata has developed a unique visual language which acknowledges and expands upon the ancient iconography of her Pintupi heritage. The two works in this catalogue (lots 8 and 34), from the early 2000s, were created amid a period of innovation and experimentation. Her reliance upon the circle and line constructions that loosely reflected the classic Tingari paintings of her male counterparts dissolved. She began to produce open compositions of massed "U" shapes, roundels and skeletal armlets suspended in discordant fields of colour, reminiscent of the surrounding semi-arid terrain. During this time Naata also began to explore the possibilities of her painting tools. Both ends of the paint brush and twigs torn from nearby trees were utilised in different ways to brush and stipple an increasingly textural surface.
Naata is an instinctive painter whose command of line, colour and form is immediate and breathtaking. Artist and art are rarely so inextricably linked; each a precious balance of cultural authority, artistic spontaneity, conviction and whim. These paintings capture an important artistic turning point of an artist who has brought due attention to the way Aboriginal women of the Western Desert perceive their country.
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