Women’s Ceremony

$2,700.00

Women’s Ceremony 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.

Recent Exhibitions:

  • 2020 – Richmond Hill Gallery, London, UK
  • 2020 – Prairie Hotel, Parachilna, South Australia
  • 2019 – Prairie Hotel, Parachilna, South Australia
  • 2018 – Indigenous Group Show, Without Pier Art Gallery, Melbourne
  • 2018 – Prairie Hotel, Parachilna, South Australia
  • 2017 – Prairie Hotel, Parachilna, South Australia
  • 2016 – Richmond Hill Gallery, London, UK
  • 2015 – Senior Women from Camel Camp, Wimbledon, London, UK
  • 2014 – Indigenous Group Show, Without Pier Art Gallery, Melbourne
  • 2013 – Prairie Hotel, Parachilna, South Australia
  • 2012 – Belongings, Australasian Arts Projects, Singapore
  • 2012 – Aboriginal Artists in London, London, UK
  • 2011 – Desert Icons, Australasian Arts Projects, Singapore
  • 2011 – Desert Visions, Prairie Hotel, Parachilna, South Australia
  • 2011 – Aboriginal Art from Utopia, Without Pier Art Gallery, Melbourne
  • 2010 – Aboriginal Artists in London June 11 – 13, London, UK
  • 2010 – The Utopia Story, Australasian Arts Projects, Singapore
Code: EDA-AP1859/20
Region: Camel Camp, Utopia, Northern Territory
Vendor: Eastern Desert Art
Medium: Polymer acrylic on canvas
Size: 65 cm x 102 cm

Description

Women’s Ceremony 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.

Collections:

‘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.