Women’s Ceremony 2 by Angeline Pwerle Ngala
Born in 1947, Angeline Pwerle Ngala has come into international prominence with her interpretation of her Dreaming – the Bush Plum – Arnwekety and her figurative paintings of women’s ceremonies. A figurative work in strong, striking colours
Her work has been collected by many significant public and private galleries and institutions. She was a finalist in the 23rd Telstra National Aboriginal and Torres Strait Islander Awards, 2006.
- The National Gallery of Australia, Canberra
- National Gallery of Victoria
- Aboriginal Art Museum, The Netherlands.
- The Holmes a Court Collection, Perth
- The National Museum of Art, Osaka, Japan
- Artbank, Sydney
- Commonwealth Law Courts, Melbourne.
- LaTrobe University Collection, Melbourne
- Gallery of Modern Arts, Brisbane
‘In 1986 she was introduced to batik; however, in recent years she has primarily focused on sculpture and painting. The representation of the Bush plum (Arnwekety), Arrker (night owl), bush foods, and flowers remain the central concerns of her work. Along with the other women artists of Utopia, Pwerle was first given canvas and acrylic paint in the late 1980s. Her canvases characteristically feature an intense concentration of dots which produce the effect of movement or shadows, across the surface. Her work is distinct from that of other artists in the community in the clarity of her colour schemes. Placed on dark backgrounds, the dots take on a pure, ephemeral quality.
There is a strong heritage of amongst the men and women of Utopia, although until the 1980s women made only non-traditional sculptural work. It was in this context that Pwerle’s bold, whimsical animals and figures were first produced. The artist gives her creatures and little people bright-eyed, startled faces and adorns their bodies in green, grey, and blue, as well as traditional ochres.’ WN
Part extract Kleinert & Neale, The Oxford Companion to Aboriginal Art and Culture, 2000, OUP, Melbourne.