Your artworks
Yamangara Thomas Murray, Wati Ngintaka Tjukurpa, 106x45cm
  • Yamangara Thomas Murray, Wati Ngintaka Tjukurpa, 106x45cm
  • Yamangara Thomas Murray, Wati Ngintaka Tjukurpa, 106x45cm
  • Yamangara Thomas Murray, Wati Ngintaka Tjukurpa, 106x45cm
  • Yamangara Thomas Murray, Wati Ngintaka Tjukurpa, 106x45cm
Yamangara Thomas Murray, Wati Ngintaka Tjukurpa, 106x45cm
Yamangara Thomas Murray, Wati Ngintaka Tjukurpa, 106x45cm
Yamangara Thomas Murray, Wati Ngintaka Tjukurpa, 106x45cm
Yamangara Thomas Murray, Wati Ngintaka Tjukurpa, 106x45cm

Yamangara Thomas Murray, Wati Ngintaka Tjukurpa, 106x45cm

$629.00
  • 9Aboriginal Artist - Yamangara Thomas Murray
  • Community - Wingellina
  • Aboriginal Art Centre - Ninuku Arts
  • Catalogue number - 21-682
  • Materials - Acrylic on canvas  
  • Size(cm) - H106 W45 D2  
  • Postage variants - Artwork posted un-stretched and rolled for safe shipping
  • Orientation - Painted from all sides and OK to hang as wished

This is a story about Wati Ngintaka Tjukurpa (perentie lizard man creation story). That Wati Ngintaka (lizard man) heard the clapping sound of a beautiful grinding stone - a traditional tool used for grinding mai (food). He wanted that stone for himself, so he travelled from Arang’nga a long way east towards Wayatina, looking for the stone. He spotted Anangu tjuta (lots of Aboriginal people) at a camp. Some of the people gave him mai (food) in the form of a seed cake, but it was dry and he didn’t like it. Then one lady gave him delicious food and he knew that it had been made with seeds ground on the special grinding stone. He spied the grinding stone and stole it, hiding it in under his tail. When they all went hunting the next day, Wati Ngintaka stayed in camp, saying he had sore feet. Once they were gone, it was safe and he left, stealing the grinding stone. All the people were angry with the Wati Ngintaka and chased him. When they caught him they felt all over his body to see where he was hiding the grinding stone, but couldn’t find it. Wati Ngintaka held up his arms and claimed he didn’t have it, but they saw he was hiding it, wipungka (in his tail). They speared the Wati Ngintaka and retrieved the grinding stone. He passed away at a place called Aran’nga in the Northern Territory. Ngaltutjara (poor thing).

Details as per 'artwork' Information

Ninuku Arts is a wholly-Indigenous owned and governed Art Centre which supports artists from two communities - Pipalyatjara and Kalka. Each has populations of around 100-150 Anangu and the majority are Pitjantjatjara speakers – Anangu simply means ‘people’ in Pitjantjatjara. Both communities are located in the far north-western corner of South Australia, near the tri-state border of South Australia, Western Australia and Northern Territory. The two communities, fourteen kilometres apart, are surrounded by the rolling, rocky hills of the Tomkinson Ranges and are part of the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. Both Kalka and Pipalyatjara are peaceful places. This is a result of strong governance, cultural engagement and pride among local Anangu. 

The Art Centre itself is located in Kalka and is housed in a mud-brick building (the only one in the Lands), which was built as an office in the early 1980’s by Anangu and white staff, and has since been extended to accommodate the growing number of artists keen to paint. A silver bullet caravan (formerly a mobile health unit) is also located on site, and has become a place for some artists to paint, mostly during the winter months while the morning sun warms the deck. Despite being the most remote art centre on the APY Lands, having limited working space and access to services, Ninuku Arts has continued to grow in success with each year. The artist’s commitment to both the art centre and painting is unflappable. The art centre prides itself on its inclusivity (providing opportunities for all generations) and embracing individuality in artists.




Life is better with art