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INSIGHT // Love Magic // Ngarlu Jukurrpa // Red Hill Dreaming by Paddy Stewart Japaljarri 122 x 91cm POA 'Ngarlu' literally means 'red rock'. The Jukurrpa, sacred events, origins or law, of this place tells of a man named Lilipinti who was traveling west for Men's Ceremonial Business. On his travels, he saw a woman regarded as his mother-in-law and hence forbidden to him. However, Lilipinti fell in love with her and could not stop thinking about her upon his return home to Ngarlu. He spun hair string, known as wirritji, and sang love songs which a bird then carried to the woman he desired. This work recounts the event, in which we can remark the straight lines representing the force of the magic love songs pulling the woman to the man. The bird flew back to him with the woman on it's wings. The 'U' shapes at the top centre of the canvas represent the women of Ngarlu gossiping about this inappropriate relationship. These women turned in to a native fuschia flower, now prevalent in Ngarlu and shown by concentric circles. The footprints shown relate to his travel, his hunting tools and weapons are also illustrated. The wirritji, or spindle of spun hair string impregnated with his love magic songs can be seen in the centre. When Lilipinti and the woman made love, his penis broke off inside of her and they turned to stone. There is a rock hole at Ngarlu which shows the place of their love making. This work and associated Jukurrpa explain what is an inappropriate relationship and recount the consequences of pursuing forbidden love. www.artinterface.net for more information of this work and artist. #australianindigenousart #australianart #aboriginalart #artinterface_aboriginal_art #byappointmentartgallery #artgallery #artoftheday (at South Yarra, Victoria, Australia)

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'Tingari Cycle' by Carlene West and Fred Grant 120 x 134cm Acrylic on canvas || Carlene West and Fred Grant are Spinifex People. Pitjanjatjara people from Tjuntjunjara in Western Australia are known as the Spinifex people. They were displaced from their homelands due to drought and moreover by the British nuclear testing at Marilinga in the 1950s and moved to Cundeelee and Warburton missions. In the 1980s Cundeelee was closed and the Spinifex people moved again to Tjunjutjara on the edge of their homelands. Eventually gaining recognition of Native Title to their lands in 2001, this was aided by the Spinifex Art Project. The Project was born in 1996 as a means of documenting connection to land and ownership to facilitate the Native Title claim. This painting by prominent Spinifex artists depicts precisely that, mapping the travels of Tingari creation ancestors forming their lands. For pricing www.artinterface.net #carlenewest #fredgrant #spinifexart #australianindigenousart #australianaboriginalart #australianart #artoftheday #artistsofinstagram #artinterface_aboriginal_art #artinspiration #artgallery #artforsale #collectible #collectibleart #onlineart

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'Gelingkenayin' by Mabel Juli 120 x 120cm / Natural ochre and pigment on canvas. www.artinterface.net for more information and pricing. The image Juli has painted represents one of the key Dreaming (Creation) stories for Warlu country and is explains a particular rock formation found in a valley. This country is known for its hilly terrain and abundance of waterholes and natural springs. In the Dreamtime (Ngarrangkarni), Gelingkenayin, the rainbow, was a man. He was traveling through Warlu country hunting for kangaroo with his dingo. His dog was good and loyal. Each time he would send out his dog, the dog would track and kill the kangaroo and return to his master then lead him to the kangaroo. Gelingkenayin came to a deep valley with step hills on each side. He sent out his dingo and the dog ran up one side of the hill and was gone a long while. Gelingkenayin called out to his dog but there was no answer. He walked down the hill back into the valley and called for his dog again, still nothing. Dejected and upset, Gelingkenayin walked back down to the valley and sat quietly. As night started to fall and daylight slipped from the valley, Gelingkenayin heard a deep growl from behind him. Gelingkenayin turned his head to where the noise came from and as he turned, his shape became stone. You can still see Gelingkenayin in that valley today. The rocky hill in the middle of the Warlu valley is recognized as Gelingkenayin's profile. Text courtesy of Warmun Art Centre. #mabeljuli #australianindigenousart #australianculture #aboriginalart #kimberleyart #artoftheday #artinterface_aboriginal_art #byappointmentartgallery #artforsale #art #australianart (at South Yarra, Victoria, Australia)

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INSIGHT // Tingari Cycle by Walala Tjapaltjarri 92 x 122cm Walala Tjapaltjarri of the Pintupi clan was born c1960 east of Kiwirrkurra in the Gibson Desert. He and his family made headlines in 1984 when they walked out of the desert, being the last family to have lived a purely traditional lifestyle. Walala typically paints motifs associated with the creation time when the mythological Tingari beings travelled over the land performing ceremonies and shaping particular sacred sites. For more information and pricing www.artinterface.net #walalatjapaltjarri #australianart #australianaboriginalart #australianindigenousart #artoftheday #artinterface_aboriginal_art #artgallery #pintupi #artwork #byappointmentartgallery (at South Yarra, Victoria, Australia)

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'Women's Ceremony' by #NancyRossNungurrayi 91 x 91cm POA www.artinterface.net #artinterface_aboriginal_art #ByAppointmentApartmentGallery #australianart #AboriginalArt (at South Yarra, Victoria, Australia)

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I N S I G H T // B U S H _ M E L O N by MINNIE PWERLE 122 x 90cm

Minnie Pwerle made her first paintings at Utopia Community in September 1999 when she was in her late 80's. The artist's main Dreamings are "Awelye-Atnwengerrp" (Women's Dreaming), "Bush Melon", and "Bush Melon Seed". These convey her love and respect for the land and the food it provides to the people.

"Awelye-Atnwengerrp" is depicted as a series of lines painted in different widths and colours. This pattern represents the lines painted on the top half of the women's bodies during ceremonies in their country of Atnwengerrp.

"Bush Melon" is depicted using a linear design of curves, circles, and breast designs in different colours. "Bush Melon Seed" is big and small patches of colour strewn across the canvas. Both these Dreamings tell the story of the sweet food that comes from a small bush and is only found in Atnwengerrp. Once very abundant and fruiting in the summer season, the bush melon is now very hard to find. www.artinterface.net for more information.