Kathleen
Petyarre |
|
$Aud 8,500 + GST 10% for sales
in Australia
In modern dot representation the sacred aspect of the painting is not always revealed, but the meaning remains, transmitted through symbols that are easily understood. Each person has a particular Dreaming to which they belong, and they have special ceremonial dances and songs that combine together to form a unique religion for the lives of the Aboriginal people. All things related to the land must be kept safe for all time The Dreaming stories are told in the paintings to preserve the land. In Central Australia, some 1,800 square kilometres of land is known as 'Utopia Lyentye (Mosquito Bore), where Kathleen lives. Kathleen’s work on canvas began in the late 1980's after experimenting and working with Batik. In this painting Kathleen shows us the Thorny Devil Lizard Dreaming. Mountain Devil Dreaming is referring to the Thorny Devil Lizard that is found throughout central Australia. It is a small fearsome looking creature that belies a harmless and placid nature. The ‘thorny’ skin is used to protect the lizard from predators, and also enables it to blend in easily into the environment, making it a very elusive creature to catch. The Aboriginal people believe that during the Dreamtime, this small lizard used to collect and carry the ochre colours in a pouch located at the back of its neck. As it walked the land it used to deposit these ochre colours in various areas throughout the country. The people would then use these colours in their body painting ceremonies. In Mountain Devil Dreaming, the artist is depicting the pattern of the lizards skin that is used as a camouflage when danger is near. Not only does the pattern of the skin change, but also the colour as it blends into the environment making it virtually invisible. These colours and markings are also used for ceremonial Body paint Designs. Mountain Devil Dreaming is especially important to Kathleen Petyarre, as this story is passed down to her from her Grandfather’s side, Which makes her the custodian and is also a strong family Dreaming. Many of the Petyarre family bear markings on their skin, similar to that found on the thorny lizard, and which medical science has no explanation for. The lines in the painting indicate body-paint. The small dots depicted throughout the painting represent a variety of seeds, which are an important food supply for the Aboriginal people. The seeds are also used to make bush medicine. The older women take the young girls to different places around Utopia to collect seeds from special plants. Back at the camp the seeds are dried and some are boiled to extract the resin. Kangaroo or emu fat is mixed into the resin, creating a paste, that can be stored for a long time in bush conditions. This medicine is used to heal cuts, wounds, bites, rashes and also acts as an insect repellent. Body-paint designs in a painting is an indication that the women are preparing or performing a ceremony. Ceremonies to the Aboriginal people are like schools to us. Each ceremony aims to teach the young, exchange and pass on ancestral knowledge between families. Women perform the bush medicine ceremony at different times of the year. In preparation for the ceremony the women paint their bodies with special markings for that particular ceremony. Ochre and spinifex ashes are mixed with kangaroo or emu fat to make the body-paint. Body-painting ranges in style, from simply smearing clay across the face, to intrinsic full body patterning. Ceremonies always involve song, dance and body decoration, The ownership, management and performance of the ceremony is dependent upon knowledge and status. Body-painting carries a deep spiritual significance for the Aboriginal people. They recognize the creative nature of this activity, which uses the human body itself as a moving canvas for cultural and artistic expression. The use of particular designs and motifs denotes social position and the relationship of the individuals to their family group and to particular ancestors, totemic animals and tracts of land. In many situations individuals are completely transformed so they 'become' the spirit ancestor they are portraying in the dance. Patterns must conform to the ceremony being performed, and the women are not at liberty to adorn themselves with designs of free will. Elaborate ground constructions (sand paintings) are also made. Usually during ceremonies, their bodypainting depicts similar linear designs as those illustrated in the ground paintings. Aboriginal paintings are based on myths of the Dreaming.
Kathleen Petyarre An Anmatyerre speaker, born in c.1938, Kathleen Petyarre's traditional country is Atnangkere, an important soakage on the western boundary of Utopia station which, on account of the abundance of food it provided, was keenly sought out by neighbouring Eastern Arrernte groups. Kathleen’s father had three wives, and several daughters, who in recent times have managed to hold on to the area as a group establishing a camp at Atneltyeye Boundry Bore. Kathleen's Dreamings include Women Hunting Emu with Dingo, and Mountain Devil Lizard. Like most of the Utopia artists, she took up painting in 1988-9 as a part of CAAMA's Summer Project after previously working in batik. Kathleen is a talented batik artist. The Museum & Art Galleries of NT holds one her batik works. This is a large piece being 6meters by 3 meters. Currently, Kathleen is producing some beautiful works of art using bodypaint designs. Kathleen is a talented and focused artist who takes pride in her work and makes every effort to ensure that all of her work presented is of the highest quality. One definitive highlight and specialty of her present work rests in her ability to contour and form her dreaming paintings attuning this to her symbolism and ceremony. Moreover, Kathleen has the innate capacity to meld together the earthy and timeless perceptions associated with her culture. This interaction is seen and felt through the rigorous high quality standard of work she sets for herself. The end result to this mastery is a transmutation of visual feeling onto her paintings. Her work been exhibited across the Eastern and Southern States of Australia. She is an artist in high demand. Private collectors from all around the world constantly seek after her work. As Recently In 2001 she featured in a solo exhibition at the Museum of Contemporary Art Sydney where she was haled as one of Australia’s most talented female artist’s. |
