Artists in profile

Same subject, different interpretations by Nyuju Stumpy Brown

Visually commanding, this painting by Nyuju Stumpy Brown has such hot, raw energy and activity – the bold oval black ring pulsating out from the centre of the work. For me, it is so contemporary and a perfectly balanced example of her work. In it Stumpy is depicting the water holes and sacred ceremonial sites of her country.
Painted around the same time, this second painting, depicting three of the major watering holes has a beautiful organic quality -for me the shapes are a celebration of womanhood – curvaceous, nurturing, encompassing, continuous, bold and vibrant.

A rare glimpse of a great artist working

We respectfully advise that the following blog contains images of a deceased artist.

Recently I sourced a beautiful painting by famous indigenous artists Minnie Pwerle for a client who loves her work. The painting is very similar to the first Minnie Pwerle painting I ever bought and which I will never sell.

Upon receipt of the paperwork I was thrilled to see that there were several work in progress photos of it being painted, very rare provenance for Minnie Pwerle’s work.

The painting, depicting Minnie’s famous Awelye, Body Paint Dreaming, has been executed with a minimal colour palette of gold, cream and white, with two surprise splashes of lime green and rusty red balanced artfully across the canvas. This vibrant and beautiful painting now hangs in pride of place in my clients home.

Glorious Gloria

For some years now, Aboriginal Art Interiors and Orient House of Glebe NSW have enjoyed a symbiotic relationship – I hang my art on their walls and it truly compliments their range of wonderful African and Asian artifacts and furniture. This picture illustrates how tribal objects work so well together, wherever they originate from. Set against a deep tobacco coloured wall, “Leaves” by artist Gloria Petyarre, employing a minimal cream and white palette, compliments the raw boldness of an African mask and the aged patina of an antique chinese alter table.

Sally Gabori unleashed

This extraordinary Sally Gabori painting is the latest in my stable of works – measuring 1500 x 2000mm it is an amazing example of Sally’s bold unfettered approach to shape, colour and contrast. Now in her late 80’s, Sally continues to consolidate a new language in contemporary Aboriginal iconography – challenging abstract non indigenous art and yet finding her historical expression and motivation in the world’s oldest living culture

A little Minnie

Sometimes its the smaller works that capture our hearts! The luminescence of Minnie Pwerles “Body Paint” 300 x 450mm, is as strong and striking as many larger paintings. You can really see the hand of the artist in small paintings, simple brush strokes, applied with spontaneity and confidence, working across the canvas while the paint is still wet – creating that beautiful mix of colour and blending from one tone to the next.

A dynamic, dramatic depiction of an ancient story

Sally Gabori has taken the art world by storm since her introduction to paint and canvas in 2005, and is one of the most highly regarded and sought after contemporary Australian artists.

Her work has recently been exhibited at the prestigious Melbourne Art Fair 2012, the Cairns Indigenous Art Fair 2012 and the Korea International Art Fair 2012 (13 – 17 September). Awarded winner of the inaugural Gold Award for contemporary Australian painting earlier this year, Sally Gabori continues to receive accolades, having been named as finalist in both the Togart Contemporary Art Award 2012 and the Geelong Contemporary Art Prize 2012.

This latest acquisition came via Tim Melville Gallery in Auckland and is a stunning example of Sally’s dynamic, dramatic depiction of her country. It is extraordinary how she achieves such drama with such a minimal palette and large blocks of colour. Gentle pinks sit next to acid yellow and big bold black and white.


I recently had the honor of meeting Yammina Tommy Watson at the launch of Marie Giessler’s book, “Yannima Pikarli Tommy Watson” at Ariel Book Store in Sydney, 24 March 2011.
I was unaware that Tommy would be present at the book launch. As I entered the store, the first thing I saw was an array of amazing book covers, red orange yellow and white dots, so typical of Tommy’s bold vibrant, almost shocking paintings. Further into the store, on a platform, was a large recent work that Tommy had painted and there sitting in a wheelchair, was the man himself. Much smaller than his works suggest, Tommy had an amazing quiet demeanor, quite unfazed by the gathering buzz that was accumulating around him.
After a moving address and official launch of the book by Marie Giessler, I introduced myself to Tommy and thanked him for the remarkable impact that his art has had on me. I asked him not to stop painting because I truly believe that what he conveys in his art, is so pure and unadulterated by fashion or phase.
The head-line in the next morning’s paper was that Tommy will not paint for much longer – this tour was promoted as a swan-song, I certainly hope not.
The book is a beautiful coffee table explosion of Tommy Watson power and energy, not dissimilar to the small version published by Macmillan Mini Art Series last year.