5044

GEORGE (HAIRBRUSH) TJUNGURRAYI

Australia (Aboriginal), (c1943 - )

Mulkunupalkanya, 2019

acrylic on canvas
signed verso, with Certificate of Authenticity including numerous painting in progress and signing photos
202 x 252 x 3 cm. (79.5 x 99.2 x 1.1 in.)

  • Provenance: George (Hairbrush) Tjungarrayi was born around 1943 in his ancestral country northwest of Kiwirrkurra, deep in the Gibson Desert of Western Australia. He is part of a renowned artistic family, with his 'sisters' Naata Nungurrayi and Nganngi (Nancy) Nungurrayi also celebrated as prominent artists. George and his family lived a traditional nomadic lifestyle until they emerged from the desert via Mt Doreen Station and Yuendumu. In 1962, George played a pivotal role as a guide for Jeremy Long's Welfare Branch patrol, walking to Papunya.

    In 1971, the Papunya art movement was sparked when schoolteacher Geoffrey Bardon encouraged senior men to paint a mural on a school wall. George's ‘uncle', Charlie Tarawa Tjungurrayi, was among those who participated. This moment is widely regarded as the genesis of the contemporary Aboriginal art movement. George, then a young man, apprenticed under the senior artists of Papunya, learning from some of the most influential figures in Aboriginal art. Encouraged by Nosepeg Tjupurrula, a founding artist of the movement, George began painting independently in 1976.

    While his early works echoed the styles of the Papunya masters, George soon developed a distinctive visual language. His paintings are known for their minimalist, abstract compositions featuring rhythmic, parallel lines that create a subtle optical vibration. Though reminiscent of Western Op-art, George's work is deeply rooted in his cultural heritage. His paintings depict ancestral journeys, ceremonial body paint, and the sacred Tingari stories of his country—spanning sites such as Kiwirrkura, Lake Mackay, Kulkuta, Karku, Ngaluwinyamana, and Kilpinya.

    Art historian Professor Vivien Johnson has noted that George's striking imagery may also draw inspiration from the Western Desert tradition of ‘fluted' carving—fine, parallel incisions in ceremonial objects like boomerangs and shields, traditionally adorned with ochre.

    The Tingari Cycle, central to George's work, represents a vast network of Dreaming songlines that traverse the Western Desert. These stories, passed down through generations, recount the travels and rituals of ancestral elders. While much of the Tingari knowledge remains sacred and restricted to initiated men, public versions of the stories are shared through art.

    George held his first solo exhibition in 1997 at Utopia Art Sydney, followed by a sell-out show at Gabrielle Pizzi Gallery in Melbourne in 1998, which received high praise from critic Robert Rooney. By the end of the 1990s, he had become one of Papunya's most sought-after artists. His work has been exhibited widely across Australia and internationally. He was a finalist in the 2007 Wynne Prize and received a Highly Commended award in the 2006 Alice Prize. In 2003, Australian Art Collector named him one of the "50 Most Collectable Artists." His son, Jake James Tjapaltjarri, has followed in his footsteps as a respected artist.

    George's nickname, ‘Hairbrush,' is affectionately attributed to his wild, curly hair which is said to resemble a brush untouched by grooming.
  • Condition: All lots are offered on an "as is" basis. While we make every effort to identify and disclose imperfections, the absence of such details in the catalogue does not imply that a lot is free from defects. Catalogue descriptions and condition reports are provided as opinions only and should not be regarded as statements of fact. Lawsons reserves the right to amend catalogue entries or descriptions at any time prior to the sale without notice. Requests for condition reports must be submitted no later than two (2) hours before the scheduled closing of a timed sale or the start of a live auction.

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