Ngarrmaliny-Cockatoo at Police Hole, 2003 inscribed 'PB' and bears title and Jirrawun Arts catalogue number PB 7-2003-157 on the reverse natural earth pigments on linen 150 x 180cm (59 1/16 x 70 7/8in).
PROVENANCE: Purchased from Jirrawun Arts, Kununurra, Western Australia in September 2003 The Laverty Collection, Sydney
EXHIBITED: 2004 Australian Culture Now, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 8 June - 1 August 2004
LITERATURE: Linda Michael (ed.), Paddy Bedford, exh. cat., Sydney: Museum of Contemporary Art, Sydney, 2006, p.97 (illus.), p.153 (illus.) Linda Michael,'2004: Australian culture now in Melbourne', Art Monthly Australia, August 2004, no. 172, p.25 (illus.) Charles Green (ed.), 2004 Australian Culture Now, Melbourne: National Gallery of Victoria, 2004, p.106 (illus.), p.211 Peter Anderson,'Honk4Art', Australian Art Review, November 2004 - February 2005, p.91 (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.21 (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.245 (illus.)
In the Ngarranggarni (Dreaming) Ngarrmaliny is a place associated with the ancestral White Cockatoo who had prevented a large group of men from travelling south beyond Gija country. It lies on Foal Creek in Paddy Bedford's father's country. In the latter years of his life, Bedford allowed his paintings to breath through the assured ease of his brush marks within more open compositions. This stands in contrast to the treatment in earlier paintings on the same subject such as Cockatoo, 1999 (Michael, L. [ed.], Paddy Bedford, Sydney: Museum of Contemporary Art, 2006, p.71), two paintings by the title Jaworraban Cockatoo Dreaming of 2002 (ibid. p.82), one of which is in the KaplanLevi Collection, Seattle, USA, and Cockatoo Dreaming, 2002 (ibid. p.85). Despite the variety of compositions on the one Cockatoo Dreaming theme, Michiel Dolk argues that '...the association of motif with place is clearly recognisable.' (ibid. p.41).
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