Podcasts about rover thomas

Paddy Jaminji, Gija people (1912–1996) and Rover Thomas [Joolama], Kukatja/Wangkajunga peoples (1926/1928-1998), The Dreaming Kangaroo at Nine Mile, near Wyndham [No 8 in the series of ten paintings of The Krilkril Ceremony] 1983. Painting, natural earth pigments and binders on composition board, 120.0 h x 60.0 w cm. Purchased 1984 © the artist's estate, courtesy Warmun Art Centre.

Rover Thomas [Joolama] Kukatja/Wangkajunga peoples (1926/1928–1998), Cyclone Tracy 1991. Painting, natural earth pigments on canvas, 168.0 h x 180.0 w cm. Purchased 1991 © the artist's estate, courtesy Warmun Art Centre.

Rover Thomas [Joolama], Kukatja/Wangkajunga peoples (1926/1928–1998), One hid under the bullock's hide 1991 from the Texas Downs killings series. Painting, natural earth pigments on canvas, 90.0 h x 180.0 w cm. Purchased 1991 © the artist's estate, courtesy Warmun Art Centre.

Rusty Peters, like many East Kimberley painters, spent his youth working as a stockman on cattle stations throughout the Kimberley, and earned a reputation as an accomplished horse breaker. Along with other Gija community elders, Peters was influential in establishing the Ngalangangpum bicultural school – the first school at the main Gija community Warmun (Turkey Creek) – ensuring that instruction in Gija law and culture was prominent in the curriculum. In 1989, Peters moved to Kununurra, where he worked as an assistant at Waringarri Aboriginal Arts, a community owned Aboriginal art cooperative. He often worked closely with Rover Thomas, the East Kimberley's most renowned painter and a co-founder of the regional contemporary painting movement. Although Peters occasionally produced small canvases during this period, he did not begin painting in earnest until 1998, after he had left Waringarri to join the newly founded Jirrawun Aboriginal Arts. Since then he has had a series of successful group and solo exhibitions, including the 2000-02 travelling exhibition 'Two Laws ... One Big Spirit', in which he collaborated with artist Peter Adsett. In his most ambitious canvas to date, the immense, twelve-metre long 'Waterbrain', 2002, Peters departs from the specific themes of country and Ngarrangkarni that normally form the focus of East Kimberley painting. Instead, he chooses to explore the cycle of life and learning that is universal to all peoples. Read from left to right, the canvas presents a chronology of the process of birth, growth and learning from conception to adulthood. At the lower left are waterweeds among which, according to Gija belief, the spirits of unborn children reside before entering the mothers womb to become the spirits of human beings. The next panels deal with birth and infancy, when a child moves from crawling, to walking, to running, although his or her brain has yet to begin to absorb the teachings of his or her culture. The large circular motif at the centre shows the adult brain – the child has grown up and is beginning to have his or her own ideas. The next panels deal with the education that transforms a child into a full member of adult society. As a symbol of the culmination of the individual's education. in the final panels Peters depicts the artefacts his elders taught him to make and which, before the coming of European settlers, all Gija men needed to know how to create in order to survive. Eric Kjellgren in 'Tradition today: Indigenous art in Australia', Art Gallery of New South Wales, Sydney, 2004 © Art Gallery of New South Wales

Freddie Timms was born at Ngarrmaliny (after which he takes his name). He worked as a stockman on various East Kimberley cattle stations for most of his life and he helped paint the boards and danced for the Gurirr Gurirr ceremony devised by Rover Thomas. Subsequently when canvas and paints were supplied to some of the more senior artists, including his father-in-law George Mung Mung, Timms asked for painting materials and he has continued to paint ever since. His style conforms to the East Kimberley archetype originated by Rover Thomas but is recognizably his own with discrete areas of colour outlined in double rows of dots. Timms usually takes an aerial perspective on country and his paintings represent intimate and personal maps of the East Kimberley landscape. Jack Yard is a place on Bow River Station where Freddie Timms lived as a boy. The pastoral lease is now owned by family members. In the painting 'Jack Yard' 2004, the road is shown entering the country of the painting near a spring (near the pink section at the bottom centre), coming from the station and present day community settlement at Bow River. It passes through the picture and goes to Greenvale, to Foal Creek, where the artist was born, back to Violet Valley and back around to the highway. The Wilson River with the large permanent waterhole at Jack Yard, runs across the painting from left to right. The two black shapes on either side of the main living waterhole are the hills around it. Moat Creek runs down from the top of the left-hand panel to join the Wilson River. Moat Creek Hill is in the top left-hand corner. Another creek running from Cargo Spring begins at the bottom of the left-hand panel, joining the Wilson River in the lower part of the right-hand panel. Another tributary of the Wilson River, Thirsty Creek, is shown running down from the top of the right-hand panel. It has another 'living water' or permanent waterhole with lots of bream. Another waterhole on the Wilson near Gorge Yard is shown on the far right of the picture. The yellow area shows part of a hill near Gorge Yard that runs down to Crocodile Hole. The pink at the top shows a hill that goes back towards Clara Spring. The artist knows the country well from time spent working there as a stockman. © Australian Art Department, Art Gallery of New South Wales, 2005

Rusty Peters, like many East Kimberley painters, spent his youth working as a stockman on cattle stations throughout the Kimberley, and earned a reputation as an accomplished horse breaker. Along with other Gija community elders, Peters was influential in establishing the Ngalangangpum bicultural school – the first school at the main Gija community Warmun (Turkey Creek) – ensuring that instruction in Gija law and culture was prominent in the curriculum. In 1989, Peters moved to Kununurra, where he worked as an assistant at Waringarri Aboriginal Arts, a community owned Aboriginal art cooperative. He often worked closely with Rover Thomas, the East Kimberley's most renowned painter and a co-founder of the regional contemporary painting movement. Although Peters occasionally produced small canvases during this period, he did not begin painting in earnest until 1998, after he had left Waringarri to join the newly founded Jirrawun Aboriginal Arts. Since then he has had a series of successful group and solo exhibitions, including the 2000-02 travelling exhibition 'Two Laws ... One Big Spirit', in which he collaborated with artist Peter Adsett. In his most ambitious canvas to date, the immense, twelve-metre long 'Waterbrain', 2002, Peters departs from the specific themes of country and Ngarrangkarni that normally form the focus of East Kimberley painting. Instead, he chooses to explore the cycle of life and learning that is universal to all peoples. Read from left to right, the canvas presents a chronology of the process of birth, growth and learning from conception to adulthood. At the lower left are waterweeds among which, according to Gija belief, the spirits of unborn children reside before entering the mothers womb to become the spirits of human beings. The next panels deal with birth and infancy, when a child moves from crawling, to walking, to running, although his or her brain has yet to begin to absorb the teachings of his or her culture. The large circular motif at the centre shows the adult brain – the child has grown up and is beginning to have his or her own ideas. The next panels deal with the education that transforms a child into a full member of adult society. As a symbol of the culmination of the individual's education. in the final panels Peters depicts the artefacts his elders taught him to make and which, before the coming of European settlers, all Gija men needed to know how to create in order to survive. Eric Kjellgren in 'Tradition today: Indigenous art in Australia', Art Gallery of New South Wales, Sydney, 2004 © Art Gallery of New South Wales

Rusty Peters, like many East Kimberley painters, spent his youth working as a stockman on cattle stations throughout the Kimberley, and earned a reputation as an accomplished horse breaker. Along with other Gija community elders, Peters was influential in establishing the Ngalangangpum bicultural school – the first school at the main Gija community Warmun (Turkey Creek) – ensuring that instruction in Gija law and culture was prominent in the curriculum. In 1989, Peters moved to Kununurra, where he worked as an assistant at Waringarri Aboriginal Arts, a community owned Aboriginal art cooperative. He often worked closely with Rover Thomas, the East Kimberley's most renowned painter and a co-founder of the regional contemporary painting movement. Although Peters occasionally produced small canvases during this period, he did not begin painting in earnest until 1998, after he had left Waringarri to join the newly founded Jirrawun Aboriginal Arts. Since then he has had a series of successful group and solo exhibitions, including the 2000-02 travelling exhibition 'Two Laws ... One Big Spirit', in which he collaborated with artist Peter Adsett. In his most ambitious canvas to date, the immense, twelve-metre long 'Waterbrain', 2002, Peters departs from the specific themes of country and Ngarrangkarni that normally form the focus of East Kimberley painting. Instead, he chooses to explore the cycle of life and learning that is universal to all peoples. Read from left to right, the canvas presents a chronology of the process of birth, growth and learning from conception to adulthood. At the lower left are waterweeds among which, according to Gija belief, the spirits of unborn children reside before entering the mothers womb to become the spirits of human beings. The next panels deal with birth and infancy, when a child moves from crawling, to walking, to running, although his or her brain has yet to begin to absorb the teachings of his or her culture. The large circular motif at the centre shows the adult brain – the child has grown up and is beginning to have his or her own ideas. The next panels deal with the education that transforms a child into a full member of adult society. As a symbol of the culmination of the individual's education. in the final panels Peters depicts the artefacts his elders taught him to make and which, before the coming of European settlers, all Gija men needed to know how to create in order to survive. Eric Kjellgren in 'Tradition today: Indigenous art in Australia', Art Gallery of New South Wales, Sydney, 2004 © Art Gallery of New South Wales