George ‘Hairbrush’ Tjungurrayi: untitled

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George ‘Hairbrush’ Tjungurrayi: untitled


Untitled polymer paint on linen painting by George ‘Hairbrush’ Tjungurrayi.

Donated by Mr Chris Simon, Yanda Aboriginal Art, Alice Springs, NT.

  • Polymer paint on linen
  • 1500 x 1800 mm
  • 2005

George Tjungurrayi’s intricate painting with its maze of lines and geometric patterns refers to sacred sites, ceremonial designs and narratives of the Tingari ancestors. George Tjungurrayi was born near Kiwirrkura WA and came in to Papunya in 1960. He began painting at Papunya around 1977, assisting and learning from some of the more senior artists who founded the Papunya Tula painting movement. George Tjungurrayi addresses Tingari stories within his paintings, although only limited information is provided as complete entitlement to this knowledge is held solely by fully initiated tribal members. His paintings relate to the Tingari ancestors, their journey paths and locations where important activities took place during the Tjukurrpa or Dreamtime. These sacred sites, for which Pintupi people are custodians, are honoured in ceremony and those located within the artist’s ancestral country include Wala Wala, Kiwirrkura, Kulkuta, Karku, Kilpina and Wilkinkarra (Lake MacKay). The Tingari designs in this painting are similar to those found in engraved wooden implements including shields, boomerangs and spear throwers as well as sacred ceremonial objects such as tjuringas. The lines and their similarity in tone creates a dazzling or hypnotic optical effect which George Tjungurrayi achieves in many of his paintings.

From material supplied by Dr Lisa Chandler.

Wondervision Postcard 9

  1. Research the sites of Kiwirrkura and Wilkinkarra. Look for information about the place, the people and the history.
  2. Create your own illusion in a similar style to George ‘Hairbrush’ Tjungurrayi.
  3. Create a geometric pattern based around some of the ideas you see at web link above. Present your work as a part of a class display called ‘Illusions’.
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