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Bob Gibson Tjungurrayi / Tingari (BG118)
151cm x 96cm Acrylic on CanvasView more from artist
151cm x 96cm Acrylic on Canvas
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How Artworks Are Sent
Ochre / Kimberley artworks are shipped on canvas or linen, already stretched, ready to hang unless stated otherwise.
Acrylic artworks are shipped on canvas or linen un-stretched, rolled up in a cardboard tube unless stated otherwise.
These artworks will need to be stretched on a stretcher board before hanging.
This can be done by nearly any picture framer (highly recommended) or you can DIY if you’re confident in your handiwork.
There are numerous "how to" videos on YouTube showing you how to achieve this.
The following is an extract of an essay written by Henry F. Skerritt to accompany Bob Gibson Tjungurrayi: The First Solo Exhibition held at Mossenson Galleries, Perth, in 2009. The exhibition was presented in conjunction with Tjarlirli Art.
A series of concentric squares pulsate with the searing heat of the Western Desert, the colours meld and overlap, creating a transparency of paint that flutters across the ground of the painting. These are the designs of the Tingari ceremony – secret men’s business that takes place near the remote community of Tjukurla on the edge of Lake Hopkins. Each square or circle is roughly painted, revealing the artist’s hand as it moves with an intensity across the canvas, giving them a pulsating irregularity. These works sing of the majesty of the Western desert with a tongue rough-hewn by the shifting sands.
Bob Gibson Tjungarrayi was born at Papunya in 1974, before moving with his family to Tjukurla during the time of the homelands movement. The son of renowned artist Mary Gibson, Bob paints his ancestral stories with a raw intensity. His palette of wild hues reveals an unrestrained joy for experimentation, tempered with nostalgia as he recalls his father’s country around Patjarr and his mother’s country of Kulkuta.
In Bob Gibson’s paintings, the raw, physical experience of country is transmuted into paint. Underpinning this representation is the spiritual and cultural knowledge that informs the Anangu view of the landscape. Gibson’s works are not simply unmediated depictions of country, but integrated and resolved extensions of cultural knowledge.
For the Western viewer this is a highly challenging visual problem. After four decades of the Aboriginal art movement, there has developed a familiarity with the classic iconography of desert painting, along with its predominant artistic styles. Some may even consider themselves ‘connoisseurs’ of Aboriginal art, able to rattle off the names of collectable artists from every corner of the country. And yet, what is this but the superficial frosting of a market driven appetite? Perhaps all we can see are brush-strokes on the canvas, the expressions of a profound knowledge of which we will never truly comprehend. The secrets of the Tingari remain hidden.
In the work of Bob Gibson we find an invitation. Gibson’s paintings are all about inter-relation; of colour and form, of tension, reaction and interplay; the challenge of raw brushstrokes against flat planes of colour. They are a celebration of individual expression within the cultural continuum. In doing so, they ask us to question the nature the aesthetic, the very ways in which ancient iconography can be re-modeled and innovated, and show us how one artist can create a unique artistic statement, while remaining true to their ancient cultural knowledge.
During the Tjukurrpa (Creation Era) Tingari ancestor beings gathered at a series of sites for Malliera (Initiation) Ceremonies. They travelled vast stretches of the country, performing rituals at specific sites that in turn created the diverse natural features of the environment. The Tingari men were accompanied by novices and usually followed by Tingari Women. The creation stories and rituals form the song cycles and ceremonies of today, used in part, for the teachings of the post initiatory youths, whilst also providing explanations for contemporary customs.
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