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Lola Nampijinpa Brown, Ngapa Jukurrpa - Mikanji, 91x91cm
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  • Aboriginal Art by Lola Nampijinpa Brown, Ngapa Jukurrpa - Mikanji, 91x91cm - ART ARK®
  • Aboriginal Art by Lola Nampijinpa Brown, Ngapa Jukurrpa - Mikanji, 91x91cm - ART ARK®
  • Aboriginal Art by Lola Nampijinpa Brown, Ngapa Jukurrpa - Mikanji, 91x91cm - ART ARK®
  • Aboriginal Art by Lola Nampijinpa Brown, Ngapa Jukurrpa - Mikanji, 91x91cm - ART ARK®
  • Aboriginal Art by Lola Nampijinpa Brown, Ngapa Jukurrpa - Mikanji, 91x91cm - ART ARK®
Image Loading Spinner
Aboriginal Art by Lola Nampijinpa Brown, Ngapa Jukurrpa - Mikanji, 91x91cm - ART ARK®
Aboriginal Art by Lola Nampijinpa Brown, Ngapa Jukurrpa - Mikanji, 91x91cm - ART ARK®
Aboriginal Art by Lola Nampijinpa Brown, Ngapa Jukurrpa - Mikanji, 91x91cm - ART ARK®
Aboriginal Art by Lola Nampijinpa Brown, Ngapa Jukurrpa - Mikanji, 91x91cm - ART ARK®
Aboriginal Art by Lola Nampijinpa Brown, Ngapa Jukurrpa - Mikanji, 91x91cm - ART ARK®

Lola Nampijinpa Brown, Ngapa Jukurrpa - Mikanji, 91x91cm

£609.00

Original Work of Art (1/1) — they all are!

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  • Aboriginal Artist - Lola Nampijinpa Brown
  • Community - Yuendumu
  • Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation
  • Catalogue number - 3137/23
  • Materials - Acrylic on linen
  • Size(cm) - H91 W91 D2
  • Postage variants - Artwork is posted un-stretched and rolled for safe shipping
  • Orientation - Painted from all sides and OK to hang as wished

The country associated with this 'ngapa Jukurrpa' (water Dreaming) is Mikanji, a watercourse west of Yuendumu that is usually dry. There are ‘mulju’ (soakages) in this creek bed. The 'kirda' (owners) of this Dreaming site are Nangala/Nampijinpa women and Jangala/Jampijinpa men. Mikanji is an important water Dreaming site, and features in at least three different water Dreaming tracks.

In one story, the water Dreaming travelled from Puyurru, northwest of Yuendumu, to a ‘mulju’ (soakage) in the Mikanji creek. It unleashed a huge storm there. Two old blind women of the Nampijinpa skin group were sitting by the side of the soakages. As the two women strained their eyes to see the sky, tears formed in their eyes, creating the rain. Their spirits can still be seen at Mikanji in the form of two ‘ngapiri’ (river red gums) growing near the soakage.

A second water Dreaming track that passes through Mikanji is also owned by the Nangala/Jangala and Nampijinpa/Jampijinpa subsections, and travels further west. At Mikanji, the storm rained so hard it created a hole in the ground which became a soakage. At Mirawarri a ‘kirrkarlanji’ (brown falcon [Falco berigora]) picked up the storm and carried it on its wings to the west until it became too heavy for it. The falcon eventually dropped the storm at Pirlinyarnu (Mt. Farewell) about 165 km west of Yuendumu, where it formed an enormous ‘maluri’ (claypan). A ‘mulju’ (soakage) exists in this place today.

A third Dreaming track that passes through Mikanji is the story of the water Dreaming and ‘pamapardu Jukurrpa’ (termite Dreaming). This Dreaming travels further north. This water Dreaming is owned by Nakamarra/Napurrurla women and Jakamarra/Jupurrurla men. The termite and water Dreamings travelled together from Warntungurru in the east past Warlura (a waterhole 8 miles east of Yuendumu), Wirnpa, Kanaralji, Ngamangama, and Jukajuka. A portion of this Dreaming track also includes the ‘kurdukurdu mangkurdu Jukurrpa’ (children of the clouds Dreaming). The termite Dreaming moved on to the west to Nyirrpi, a community approximately 160 km west of Yuendumu, whereas the water Dreaming travelled on to Mikanji. A ‘kirrkarlanji’ (brown falcon) eventually picked up the water and tied it to its head using hairstring. The falcon travelled north with the water Dreaming; at Puyurru, it flew under a tree and the water fell off of its head, forming a soakage there. The Dreaming then travelled on through other locations including Yalyarilalku, Mikilyparnta, Katalpi, Lungkardajarra, Jirawarnpa, Kamira, Yurrunjuku, and Jikaya before moving on into Gurindji country to the north.

In contemporary Warlpiri paintings, traditional iconography is used to represent the ‘Jukurrpa’ (Dreaming), associated sites, and other elements. In many paintings of this Dreaming, short dashes are often used to represent ‘mangkurdu’ (cumulus & stratocumulus clouds), and longer, flowing lines represent ‘ngawarra’ (flood waters). Small circles are used to depict ‘mulju’ (soakages) and river beds.

“My dreaming, My Grandmother, Mother and Aunty at Willowra, they taught me to paint my dreaming.” Lola Nampijinpa Brown was born in Ti-Tree, NT, a small community 193 kms north of Alice Springs. When she was a little girl her mother and father took her to Willowra where she grew up. She went to school there and then to Alice Springs where she attended high school before moving to Mount Allen where she married her promised husband. She was married for 25 years. While living in Mount Allen Lola was an active member of the Museum. She made music sticks and necklaces, and painted coolamons and beads. Lola has 7 children and 11 grandchildren. Her three sons still live in Mount Allen and her daughters live in Willowra, Tennant Creek and Mount Allen. She likes to visit her children whenever she can. In 1994 Lola returned to Willowra for a short time before returning in 1997 to Mount Allen to live with her children. At Mount Allen she began painting but as there is no longer a Museum and Art centre in Mount Allen, she was dependent on the availability of materials. In 2002 Lola moved to Yuendumu, a remote Aboriginal community 290 kms north-west of Alice Springs in the NT of Australia, to paint with Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre. It was here in Yuendumu that she also met and married her present husband, Christopher Japangardi Poulson, who also paints with Warlukurlangu Artists. Lola has been painting with Warlukurlangu Artists since 2002. Lola attends the Art Centre every week day where she paints her Water Dreaming stories, stories which relate directly to her land, its features and animals. These stories were passed down by her grandmother, mother and aunty and their parents before them for millennia.

 

All paintings come with a certificate of authenticity provided by the community-run Aboriginal Art Centre, not us, which is the gold standard for ethical purchasing and documentation.

We take great pride in offering high-quality, authentic Aboriginal Art pieces to you and in addition to our 120-day returns(they don't come back), we are pleased to offer a lifetime money-back authenticity guarantee to all customers who purchase Aboriginal Art from us, both past and present.

This guarantee covers any disrepute or wrongdoing in association with the authenticity of any Aboriginal artwork ever sold by ART ARK®. We understand that purchasing authentic Aboriginal Art is important to you, and we want to provide you with peace of mind in knowing that you are getting what you expect.

We take the authenticity of Aboriginal Art seriously and are committed to providing you with high-quality and genuine works of art. If at any time you have any concerns whatsoever about the authenticity of any art piece, please do not hesitate to contact us and we will investigate further. If we find any wrongdoing or disrepute in regards to the provenance or authenticity of any artwork sold by us we will promptly provide a full refund to you at any time in the future, be it in one year, or in ten!

Please find more information on authenticity here: https://artark.com.au/pages/aboriginal-art-authenticity

All of our Desert Paintings, with the exception of the Stretched Desert Paintings Collection, are sent rolled.

Sending paintings rolled is the best option for their safe arrival and allows us to include free shipping, provide timely service, and maintain consistent and transparent pricing relating to the prices set by each Aboriginal Art centre.

The size of the painting listed relates to the painted surface. There is also a painted edge(2cm) and additional canvas for stretching.

A local framer will easily stretch the work for you at a nominal cost. Framers are everywhere and there is likely one just up the road. We recommend choosing one with good reviews and if you call ahead you will generally get a better-quoted price than if you turn up, painting in hand.

Please find further details and examples relating to framing here: https://artark.com.au/pages/how-to-frame-your-aboriginal-art