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Thecla Bernadette Puruntatameri / Jilamara Design (25-94)
SKU: 25-94
100cm x 100cm Ochre on Canvas (sent rolled in a tube)
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$2,950.00
100cm x 100cm Ochre on Canvas (sent rolled in a tube)
In stock
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 around a wooden frame 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.
Artist Profile
Artwork is accompanied by Munupi Artists Certificate of Authenticity/Provenance
DOB: 23/03/1971
Language Group: Tiwi
Father’s Country: Rangini, Melville Island, NT
Mother’s Country: Wangarruwu, Bathurst Island, NT
Dreaming: Kirilima (Jungle Fowl)
Thecla Bernadette Puruntatameri was born in 1971 at Nguiu (Wurrumiyanga) on Bathurst Island and grew up on Melville Island in the community of Garden Point (Pirlangimpi). She attended Pularumpi School for primary education and later boarded at St John’s College in Darwin, completing Year 10 in 1989.
After returning to Pirlangimpi, Thecla joined Munupi Arts, beginning her career as an artist. In 2002 she completed a Certificate II in Arts and Crafts through Batchelor College, further strengthening her skills. She then worked as an assistant teacher at Pirlangimpi School until retiring from that role in 2017, after which she returned to painting full-time.
Thecla paints with natural ochres on canvas and paper and has explored a wide range of techniques throughout her career. She has taken part in printmaking workshops in Canberra (1998) and cultural exchanges at the Pacific Arts Festival in Rarotonga, Cook Islands (1992), as well as programs with Indigenous artists from Tasmania and Victoria.
Her artworks are held in numerous private collections in Australia and overseas, and she is represented in the Art Gallery of South Australia and the National Australian Maritime Museum.
Selected Group Exhibitions
• 2023 – Pupuni Mantiminga – Fine Lines, Everywhen Art Space, Flinders, VIC
• 2023 – Kurrujupunyi – Ochre Colours, Hilton DoubleTree, Darwin
• 2022 – Ngininguwula Kurrujipuni – Our Own Tiwi Ochre Colours, Hilton DoubleTree, Darwin
• 2022 – Line in Parallel, Artitja Fine Art Gallery, South Fremantle, WA
• 2022 – Tiwi Creation, Cooee Art, Redfern
• 2022 – Alice Springs Art Foundation Prize, Araluen Arts Centre, Alice Springs
• 2021 – Earth Magic, AIARTS, Belair, SA
• 2021 – Earth Magic, Tineriba Art Gallery, Hahndorf, SA
• 2021 – Tiwi Papers, Tarnanthi Festival, Art Gallery of South Australia
• 2021 – Yirrinkirripwoja Jilamara, Hilton DoubleTree, Darwin
• 2020 – Tiwi Islands to Arnhemland – Munupi/Maningrida, Artitja Fine Art, South Fremantle, WA
• 2020 – Yalininga, Ngaripantingija, Ngirramini, Aboriginal Signature • Estrangin Gallery, Brussels, Belgium
• 2018 – Nginingawula Awirankiniwaki, Hilton DoubleTree
• 2018 – One Island One Side – Yati Ratuwati Yatuwati, Art Aborigène des Îles Tiwi; Aboriginal Signature, Brussels, Belgium
• 2016 – Point of Difference: Desert to Sea, Artitja Fine Art at Engine Room, Perth, WA
• 2015 – Ngawa Munupula / Ngawa Kiripapiranjuwi, Outstation Art, Darwin
• 2014 – We Are Tiwi, Munupi Artists, Artitja Fine Art, Fremantle, WA
• 2007 – Nga-wuja Arungwapi – We Are Going Forward, Tiwi Art Network, Darwin
• 2005 – Pukupunawu, Bandigan Gallery, Woollahra, NSW
• 2005 – Munupi Arts Show, Gallery Gabrielle Pizzi, Melbourne, VIC
Collections
• Art Gallery of South Australia, Adelaide
• National Australian Maritime Museum, Sydney
Artwork Description
During ceremony on the Tiwi Islands a series of ‘yoi’ (dances), are performed; some are totemic (inherited from the person’s Mother) and some serve to act out the narrative of newly composed songs.
Participants in these ceremonies are painted with turtiyanginari (the different natural ochre colours) in varying designs, transforming the dancers and, in some cases, providing protection against recognition by mapurtiti (spirits). These designs can be applied in different ways, one of which is using the finger, or in this case a brush. Painting of the face also occurs.
These significant artistic designs collectively are called ‘Jilamara’.
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