synthetic polymer paint on canvas
152.0 x 212.0 cm
National Gallery of Victoria, Melbourne
Felton Bequest, 2011
© Tommy Mitchell, courtesy Warakurna Artists Aboriginal Corporation
A modern art movement originated at Papunya in 1971, which has since transformed the way we see the land and the history of art in Australia. Almost forty years after the genesis of the Western Desert art movement, its epicentre has dramatically shifted from Papunya in the Northern Territory to the Pintupi homelands of Kintore and Kiwirrkura in the Gibson Desert, and to communities that lie hundreds of kilometres to the south and west in far-flung reaches of South Australia and Western Australia (the Far Western Desert).
During the first decade of the 21st century, Pintupi, Spinifex, Anangu, Yulparija and Martu artists have developed a dynamic and fresh expression of Western Desert Art. The male and female artists not only share close kinship, social, linguistic and ritual interconnections and lived experience of desert country built up during pujiman (nomadic, bush) days but also have parallel experiences of making art with introduced materials for the commercial market. Their paintings — bearers of sanctity — resonate with the shock of the ancient made new and tell tjukurrpa (stories) associated with special places in their ngurra (country).This dramatic new wave of acrylic painting is the focus of Living Water, comprising the NGV’s 150th anniversary gift from the Felton Bequest of 107 paintings.
Aboriginal people from across the Western Desert use the term ‘living water’ to describe water sources, including rock holes and soakage waters that are fed by underground springs. The path of these springs was created by the ancestral beings of the tjukurrpa (Dreaming) as they themselves journeyed underground, their entry into the earth often marking the site of current day water sources. ‘Living water’ is revered also because it does not seem to be affected by the harsh conditions above the ground that the people themselves have to endure.