Sale!

View images larger icon
Click images above to view larger

Dorothy Napangardi / Mina Mina Dreaming

107cm x 91cm Acrylic on Linen, 2013

SKU: 56-13

$8,200.00 $6,250.00

credit card icons
shipping icon
Artwork is accompanied by Warlukurlangu Artists (Yuendumu) Art Centre Certificate of Authenticity/Provenance
Dorothy Napangardi (c. 1950 – 2013) was a Warlpiri woman from Mina Mina, a significant women’s site in a remote area of the Northern Territory. Her works have featured in exhibitions throughout Australia, the U.S.A. and Europe where she was regarded as one of the leading artists of the contemporary Aboriginal art movement. 
Dorothy was born in the early ’50s and grew up at Mina Mina and in the community of Yuendumu where her father is still a senior lawman. She has five daughters (two of them artists) and four grandchildren who live in Yuendumu and Alice Springs. Dorothy sadly passed away suddenly in mid 2013.
Dorothy was first introduced to painting in 1987 by her friend and artist, Eunice Napangardi. She painted her country, Mina Mina without any traditional iconography from her familial lines, creating her own innovative language to portray her country. Dorothy’s paintings were created by an intricate network of lines that collide and implode on top of each other creating a play of tension and expansion, transporting the viewer through a myriad of intersections. Her view was constantly changing: one painting giving an aerial perspective; the next as if she has placed a microscope to the ground. 
Dorothy’s paintings are highly sought after by both collectors and curators worldwide. In 1991 she won the Best Painting in European Media, 8th National Aboriginal Art Award; in 1998 the Northern Territory Art Award; and she was “Highly Commended” for the 16th National Aboriginal and Torres Strait Islander Award in 1999. In 2001 Dorothy won the 18th National Aboriginal & Torres Strait Islander Art Award, presented by Telstra, with her spectacular black and white painting titled, “Salt on Mina Mina”. 
Dorothy’s paintings adorn the walls of institutions such as The Australia Council; the Linden Museum in Stuttgart, Germany and the Kelton Foundation in Santa Monica, USA. 
Selected Awards
1991
• Museums and Art Galleries Award (Best painting in European media), National Aboriginal Art Award, Northern Territory Museum of Arts and Sciences, Darwin
1999 
• Highly Commended, 16th NATSIAA, Museum and Art Gallery of NT, Darwin
2001 
• First Prize, 18th NATSIAA, Museum and Art Gallery of Northern Territory, Darwin
Selected Collections
• Artbank, Sydney
• Art Gallery of South Australia
• Linden Museum, Stuttgart, Germany
• Museum and Art Galleries of the Northern Territory
• National Gallery of Australia, Canberra 
• National Gallery of Victoria
• Queensland Museum 
• South Australian Festival Centre Foundation
• The Australia Council Collection, Sydney
• The Erskine Collection, NSW
• The Homesglen Institute of TAFE Collection, Victoria 
• The Kaplan-Levi Collection, Seattle, USA.
• The Kelton Foundation, Santa Monica, LA, USA.
• The Kerry Stokes Collection, Perth, WA 
• The Vroom Collection, The Netherlands

This Dreaming comes from Mina Mina, a very important women’s Dreaming site far to the west of Yuendumu near Lake Mackay and the WA border. The ‘kirda’ (owners) of this Dreaming are Napangardi/Napanangka women and Japangardi/Japanangka men; the area is sacred to Napangardi and Napanangka women. There are a number of ‘mulju’ (water soakages) and a ‘maluri’ (clay pan) at Mina Mina.

Dororthy Napangardi painted the country conected with the Mina Mina place. She depicts the surface of the salt lake country and sometimes the surrounding sandhill fomations. Dorothy Napangardi also shows facets of the travels of Ancestral Women as they danced their way across country and came across other Dreamings. The artist’s fine white dot-markings express the movement of women, and also refer to topographies of the surrounding landscape.

In the Dreamtime, ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out of the ground. The women collected the digging sticks and then travelled on to the east, dancing, digging for bush tucker, collecting ‘ngalyipi’ (snake vine), and creating many places as they went. ‘Ngalyipi’ is a rope-like creeper that grows up the trunks and limbs of trees, including ‘kurrkara’ (desert oak). It is used as a ceremonial wrap and as a strap to carry ‘parraja’ (coolamons) and ‘ngami’ (water carriers). ‘Ngalyipi’ is also used to tie around the forehead to cure headaches, and to bind cuts.

The women stopped at Karntakurlangu, Janyinki, Parapurnta, Kimayi, and Munyuparntiparnti, sites spanning from the west to the east of Yuendumu. When they stopped, the women dug for bush foods like ‘jintiparnta’ (desert truffle). The Dreaming track eventually took them far beyond Warlpiri country. The track passed through Coniston in Anmatyerre country to the east, and then went on to Alcoota and Aileron far to the northeast of Yuendumu and eventually on into Queensland.

In Warlpiri paintings, traditional iconography is used to represent the Jukurrpa and other elements. In many paintings of this Jukurrpa, lines are used to represent the ‘ngalyipi’ (snake vine) and concentric circles are often used to represent the ‘jintiparnta’ (desert truffles) that the women have collected and the ‘mulju'(water soakages).

zipMoney white logo

Pay in instalments over 6-12 Months Interest Free!

Click here for full details + terms & conditions.
(Currently available to Australian residents only)