Portrait de l'artiste Aborigène Ngarralja Tommy May (1935)

© Photo de l'artiste Tommy-May-by-Charles-Freger-(Gorman-Collab), with the courtesy of Mangkaja Art

Avant de traverser le monde, ils vivaient dans les déserts les plus éloignés d’Australie. Aujourd’hui, ils sont artistes et exposent de l’Europe à New-York. A eux seuls ils résument une accélération du temps impressionnante à l’échelle d’une vie et toute l’importance de la préservation du savoir.

Voici l’histoire de Ngarralja Tommy May, né en 1935 à Yarrnkurnja dans le Great Sandy Désert, actuellement exposé à Bruxelles.

"J'étais grand quand j'ai quitté mon pays. Je chassais déjà tout seul. J'étais avec mon jeune frère et ma mère. Mon père était décédé à ce moment-là. Je connais les histoires et les endroits clefs dans mon pays. Cependant nous ne sommes pas autorisés à les peindre pour le pays des autres. Nous serions tués ou nous aurions des problèmes si nous faisions cela.
Il y a des histoires plus au moins faciles, loin d’être aussi sensibles que le law business, mais nous ne pouvons pas les peindre non plus".

"J'ai d'abord vu des peintures dans des grottes. J'ai beaucoup appris des anciens, surtout de mon père et de mon grand-père. Je vivais dans tous les endroits de mon pays, où nous campions. Wurna juwal, toujours en mouvement".

Ngarralja Tommy May danse et chante le lieu fondamental de Kurtal, où se déroule une cérémonie importante relative au jila [trou d'eau vivant] principal dans son pays. Il est également un des derniers rain makers (faiseur de pluie du désert) d’Australie.

"Quand je peins, je ne cesse d’y penser. Mon travail consiste maintenant en des dessins pour la gravure, directement sur l’étain, ou parfois sur le bois, à l'aide d'un couteau ou d'un stylo. Je travaille tous les jours et j’ai beaucoup voyagé avec mes peintures. A Singapour, Houston, Washington D.C., New York" tout récemment pour la Outsider Art Fair début 2020.

Son histoire personnelle est un mélange complexe de ses expériences vécues, du Temps du Rêve, de ses liens profonds avec les lieux et des bouleversements avec l’installation des stations d’élevage immenses dans le Kimberley par les occidentaux. Elles ont amené de nombreux hommes du désert et leur famille à effectué un travail forcé dans les fermes éloignées.

Le langage visuel complexe de Tommy traite et conjugue ces multiples dimensions, pour partager, protester et nous interpeller sur ces histoires non documentées de son peuple.

Peinture Aborigène de l’artiste Ngarralja Tommy May, Kurtal_Tommy - 120 x 120 cm - 435/18 © Photo Aboriginal Signature Estrangin Gallery with the courtesy of the artist.

Ngarralja Tommy May parle couramment le Wangkajunga, le Walmajarri et l'anglais et écrit le Walmajarri, langues rares dont il existe juste 850 locuteurs aujourd’hui. C'est un membre fondateur du centre d'éducation des adultes de Karrayili où il a appris à lire et à écrire sa propre langue et l’anglais.
Ngarralja est une personne importante pour l'art et la culture à Fitzroy Crossing. Il est un ancien député Président de Mangkaja Arts et ancien président du Kimberley Aboriginal Law and Cultural Centre(KALACC).
Ngarralja a également été cadre pendant 21 ans au sein de l'Association of Northern Kimberley and Arnhem Aboriginal Artists (ANKAAA) Board of Directors.

Il est un des derniers artistes vivants, ayant contribué à la toile magistrale de 10 m x 8m, « Ngurarra » utilisée pour revendiquer avec succès leurs terres indigènes, sur un vaste territoires de 100 000 km2. Aujourd’hui Ngarralja vit avec ses enfants dans la communauté Mindi Rardi à Fitzroy Crossing et continue de transmettre son savoir et de créer des œuvres à 86 ans.

Peinture Aborigène de l’artiste Ngarralja Tommy May, Kurtal_Tommy - 60 x 60 cm - 242/19 © Photo Aboriginal Signature Estrangin Gallery with the courtesy of the artist.

Vous pouvez retrouver ses œuvres dans les prestigieux musées et collections suivantes :
Kluge Ruhe Museum of Aboriginal Art – Charlottesville USA
National Museum of Australia, Canberra
National Gallery of Victoria
Curtin University Collection, Perth
Queensland State Art Gallery Berndt
Museum of Anthropology Australian Print Workshop
Flinders University Art Museum, Adelaide
Carleton College Art Collection, Northfield Minnesota
Kennesaw State University Little

Reflection, the Mangkaja legacy to Uphold - Art Aborigène du Kimberley Australien

L’artiste Sonia Kuararra (1951) et la coordinatrice du studio Nathalie McCarthy. © Photo : Emilia Galatis with the courtesy of Mangkaja Art Centre

Peinture Aborigène d’Australie de l’artiste Sonia Kurarra - MARTUWARRA - 240 x 120 cm - 434/17

by Natalie McCarthy, studio coordinator at Mangkaja Arts, June 2020

Mangkaja Stars, Legacy to Uphold is an ambitious title for an exhibition but sits in good company with the artists shown and the legacy created. Mangkaja Art and Resource Centre (MARA) is situated in Fitzroy Crossing, a remote community in the west Kimberley Region of Western Australia. What grew from humble beginnings was not without intent.

In 1988, a strong gathering of members formed an adult education centre Karrayili from five language groups. Motivated to be able to understand letters being sent from government officials etc, they came together to learn to read and write English, and understand numbers and hence gain independence from Kartiya (white man). One of those key figures was Ngarralja Tommy May.

Peinture Aborigène de l’artiste Wakartu Cory Suprise, Myarta Jiwari (Rockhole) - 120 x 90 cm, 146/09.

Mangkaja Arts grew out of this arm and presented its first exhibition in 1991 in Adelaide South Australia with works on paper of 19 artists including Corey Wakartu Surprise (dec. 2012), Nada Rawlins (dec. 2019) and Dolly Snell (dec. 2015). The show’s success encouraged the artists involved to incorporate Mangkaja Arts in 1993 perhaps unaware at the time they would continue painting for more than 20 years on.

Wakartu renowned for her vibrant colour and uninhibited style was born at Tapu the Great Sandy Desert waterhole. She eventually left the bush to end up working on stations, a similar story faced by Walmajarri and Wankajunga people moved onto the Cattle stations mid century due to droughts, bushfires and enforced labour. Made to work for little to no pay in return for basic shelter and rationed food, those that attempted to run away were soon sought out and put back to work. Wakartu and her husband ran away one time and he was brought back in chains.

Featured in the show are three paintings of Wakartu’s beloved Great Sandy Desert country; Napaju Pulka 09 “This is a great big rock which is my dreamtitime (Waljirri) from my great grandfather and great grandmother”; One Big Jila 08 and Jila Jumu Soak 08 “Round one, waterhole, this one its way out in the Great Sandy Desert where my people used to go and visit this waterhole.” Prior to first contact with white people the Jila (Springs) and Jumu (Soaks) were central to life in the desert and a precious resource. The onset of sheep and cattle stations from the 1880’s marked a major change to the lives of Aboriginal people in the surrounding areas. The Canning Stock Route implemented by Alfred Canning in the early 1900’s saw over 50 major waterholes appropriated into wells to provide water for the large droves of cattle en route to their sale or export. They used Indigenous men to find these waterholes and cruel methods that included chaining and starving them and then following them knowing they would be forced to share the locations, It crossed a region of more than 2000 km and 200 languages groups, including 10 major waterholes situated in the Great Sandy Desert which held great significance for Walmajarri and Wangkajunga people who after were prevented access to them.

Peinture Aborigène de l’artiste Jimmy NERRIMAH, Wili 2, 90x90, 317/07

Extensive knowledge of desert waterholes was often seen in the work of artist Mawukura Jimmy Nerrimah Mawukura born c 1924 (dec. 2013) grew up moving between the main waterholes in his country and was nearly a man when his father took him to the station to escape a very large fire that was burning around Tapu. It was a time when he went through law at Lumpu Lumpu and then went back to the desert. Mawukura eventually left the bush, possibly in the early 1960s, and spent most of his time working on Nerrimah Station. Artworks Purrahala, Myilapul and Kartallala 05 are about Waterholes in his country, and Wili 07 is a waterhole where he was born.“

Peinture Aborigène de l’artiste Ngarralja Tommy May - Kurtal_Tommy - 120 x 120 cm - 435/18

Mangkaja Ten Years On 2001 in Adelaide saw Ngarralja Tommy May and Amy Nuggett exhibit for the first time alongside their predecessors and artists making a gradual transition onto canvas from the initial work on paper. The early mid 1990’s had been an exciting time for mob in the Kimberley and the High Court’s Mabo decision being a major event sent ripples across the region. Opportunity came to travel back to traditional lands most had left as a young adult and eventually lead to the collaborative work Ngurarra Canvas I and II painted at Pirnini, in the Great Sandy Desert near Kurtal. 40 artists including Ngarralja, Snell, Wakartu, Rawlins and Nuggett depicted the significant jumu and jila of their different countries mapped side by side on a giant canvas 10mx8m to be used for Native Title Land Claim in 1997. The Canvas creation was documented in Jila . It was the first time an artwork had been used to prove connection to country and took many years. In 2007 Ngurarra part A was granted and 2012 saw Land Rights granted to Ngururra B and C.

Peinture Aborigène de l’artiste Amy Ngurnta Nuggett - Rijijirr - Bush Medicine - 120 x 120 cm - 17/20

The long battle was featured in Putaparri and the Rainmakers documentary Film of 2015. Kurtal country for Dolly Snell and Tommy Ngarralja was only approved in 2015 after the doco was launched and won awards. 2015 proved to be a historic year for Mangkaja when Dolly Snell received the ultimate acknowledgement of her achievements and was awarded the esteemed overall prize at the National Aboriginal and Torres Strait Islander Art Awards. Great joy however was soon to be followed with much sadness with her passing not long after her win. Tanga 13 is a great example of Snell’s vibrant palette masterfully layered to create architectural compositions and shapes that celebrate the iconic beauty of her country. “This place no water. This my grandson’s side, this one saltwater country.

Peinture Aborigène de l’artiste Eva Nargoodah - Parta/Kulparn - 120 x 90 cm - 74/20

Tanga Eva Nargoodah grew up watching her Grandmothers paint and in 2012, Mangkaja’s follow up 21st anniversary exhibition gave an opportunity for her to exhibit beside them and other established artists for the first time. Despite Eva’s works being remarkably different, the confidence and focus she had in developing her own style grew out of watching these older women paint. Since then Eva has been represented internationally and included in the Hadley’s Landscape Art prizes. The two new works she has painted for this show are meticulous visual translations of seasons and knowledge of country handed down from a long line. Now 27 years strong, Mangkaja artists are leading innovators in the Indigenous and Contemporary Art world. They continue to captivate audiences, acquire prestigious awards and be included in numerous international and Australian major collections.

Mangkaja Artists endeavor to take on new mediums and ambitious projects to convey stories strong in culture and contribute to a dynamic Indigenous community locally, nationally and internationally.

Natalie McCarthy
Mangkaja Arts June 2020