Australian aboriginal artists entered the contemporary art market in the 1970's with the Genesis of the Papunya Tula. Taking their visual arts imagery and reinterprating them onto the Acrylic on Canvas medium , the world's oldest arts continiuum found unexpected new life.
The artists from Karrinyarra Artists are direct family of these original Luritja Papunya Tula artists.
The first papunya women artists emerged from this familly and now there are over 20 family members proficient in continuing this family heritage.
The sacred visual metaphores from the Jukurrpa/ Dreaming have been modified for public viewing yet carry all the continuum for holding Myth/ Meaning for an Aboriginal Spiritual Landscape.
These visual metaphors template on primary icons common to all Cultural Streams from the Collective.
My work as a Master Weaver and Cultural Educator has let me test the power of these visual arts archetypes.
In the front line trenches of International Performance/Events , Youth at Risk / URUB TRUST , Arts / Education ------- We have witnessed the movement / transformational qualities the Practise of these metaphores incure.
Squeeky Mick and Old Walter
Llwyd
- Llwyd
- Visual Artist and Cultural Educator Living in Wet Tropics of Far North Queensland. Investment collections can privide museum archieval collections. Quality Art Invstments : We carry a narrative towards the elements of nourishment within visual arts essential for a sustainable community. Facilitating online interface for Karrinyarra Outstation: Traditional Indigenous Owners. Networking URUB TRUST: Indigenous Master Weavers network. www.karrinyarra-artists.com
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Karrinyarra Out Station Story
The Karrinyarra Family living at Central Mount Wedge Outstation are a significant remnant of the world’s oldest living continuum.
From the Primary Elders in Donny Tjungurrayi and Entalura Nangala a presence of belonging and independence belongs with the family of this humble outstation. Under their unspoken cultural authority their daughters and a large network of traditional lineage family all seek identity and cultural orientation from this homeland.
Many of the family explore living in a great diversity of lifestyles and distant country.
Always, they look back to this heritage and remember the source of their life spirit and to the land their spirit will return to.
When family return, a deep quiet and presence of remembering nourishes the visible and invisible wounds carried from the contemporary cultural confusion.
This confusion of bridging two very different world views, is always encounter when away from country and family.
Karrinyarra becomes their sanctuary.
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