(Australia circa 1955–2009)
33.0 x 25.0cm platemark; 55.0 x 45.0cm sheet
In addition to showcasing the quality of Papunya Tula Artists as a whole, this suite of etchings emphasises the strength of each individual artist as they successfully translate their Tjukurrpa to the new medium of printmaking. Far from being a mere copy of their paintings in a different scale and medium each artists adapts their visual language to this new process with apparent ease, resulting in bold, confident works that are extraordinary in themselves, and when combined as a suite, are truly amazing.
The art centre documentation for this work states:
The design in this etching is associated with the rockhole site of Marrapinti, west of the Pollock Hills in Western Australia. The lines represent the creek at the site and the sandhills that surround it. In ancestral times a group of women of the Nangala and Napangati kinship subsections camped at this site during their travels towards the east. While at the site the women made nose bones, also known as marrapinti, which are worn through a hole made in the nose web. During ceremonies relating to Marrapinti the older women pierced the nasal septums of the younger women who were participating in the ceremony. Nose bones were originally used by both men and women but are now only inserted by the older generation on ceremonial occasions. Upon completion of the ceremonies at Marrapinti the women continued their travels east passing through Wala Wala, Ngaminya and Wirrulnga, before heading north-east to Wilkinkarra (Lake Mackay).