Biography one of the leading Papunya Tula artists represented worldwide, including National Gallery of Australia

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Charlie Tjapangati is a senior Papunya Tula artist and one of the leading Papunya Tula Pintupi artists whose artworks are sought after by collectors worldwide. Charlie Tjapangati was born circa 1949, north west of Jupiter Wells of the Pintupi Tribe. He started painting for Papunya Tula in 1978 & in 1981 traveled to USA with Billy Stockman for the exhibition "Mr. Sandman bring me a Dream". The National Gallery of Australia (Canberra) along with other Major State Galleries hold his work.

Collections:
Australian Art Gallery
Art Gallery of South Australia (Adelaide)
Queensland Art Gallery (Brisbane)
National Gallery of Australia (Canberra)
Museum & Art Gallery Northern Territory (Darwin)
Art Bank (Sydney)
National Gallery of Victoria (Melbourne)
Gallery of Victoria (Melbourne)
Art Gallery of Western Australia (Perth)
Homes a Court Gallery and gallery Collection (Perth)
Tasmanian Museum and National Art Gallery (Hobart)
Kelton Foundation , California, USA
Flinders University Art Museum
Aboriginal Art Museum, Netherlands
University of Virginia USA
World Vision Australia - Birrung Gallery - Artists
World Vision Australia - Birrung Gallery - Artists

Exhibitions

• 1980 Contemporary Australian Aborigine Paintings, Pacific Asia Museum, Pasadena, California, USA;

• 1981 Australian Perspecta, A Biennial Survey of Contemporary Australian Art, Art Gallery of NSW Sydney

• 1982 Brisbane Festival, Brisbane

• 1982 Georges Exhibition, Melbourne

• 1983 Mori Gallery, Sydney

• 1989 Masterpiece Fine Art Gallery, Hobart

• 1990 Paintings from the Desert, Contemporary Aboriginal Paintings

• 1990 Plimsoll Gallery, Centre for the Arts, Hobart, Tasmania

• 1992 Crossroads-Towards a New Reality, Aboriginal Art from Australia

• 1992 National Museums of Modern Art, Kyoto and Tokyo

•  2004 21st Telstra National Aborigainal & Torres Strait Islander Art Award, Museum & Art Gallery Northern Territory

• 2005 Papunya Tula Artists, Gallery Gabrielle Pizzi, Melbourne

• 2005 Papunya Tula Artists - new work for a new space, Utopia Art Sydney

• 2005 Rising Stars Papunya, Gallery Gabrielle Pizzi, Melbourne.

• 2006 Papunya Tula Artists - across the board, Utopia Arts Sydney, Sydney

• 2006  Rising Stars 2006, Gallery Gabrielle Pizzi, Melbourne

Charlie Tjapangati works generally depict the significant ceremonial story of the Tingari Cycle. The surface narrative elements that are often termed the painting’s ‘story’ or ‘Dreaming’ are only one level of an Aboriginal painting’s true significance. The imagery employed by Aboriginal artists has a deep cultural resonance that often defies simple logic or narrative interpretation. The western viewer can, however, intuitively feel the power of this spiritual resonance without necessarily having to understand the details, which are essentially for the initiated only.

Dreamtime
The expression "Dreamtime" was coined in 1899 by Spencer and Gillen (who conducted formative anthropological work on Australian prehistory) from alcheringa of the Arrernte language. "Dreamtime" is often used as a collective term for all the Dreamings of the indigenous peoples, though "The Dreaming" is a synonym for "Dreamtime" and is culturally preferred by Indigenous Australian peoples. "The Dreaming" in modern scholarship often refers to the "time before time", "time outside of time" or "time of the creation of all things", as though it were the past. But The Dreaming in a real sense is also present and in the future. The anthropologist and historian W.H. Stanner preferred "the Dreaming" to "the Dreamtime" and saliently describes it as "the Everywhen".^[2] This is an apt and evocative approximation to what the Indigenous Australian Peoples refer to in translation as the "All-at-once" Time which is experienced as a co-existing confluence of past, present and future. This does not counter the Indigenous Australians People's concept of linear time, but it informs and qualifies it. Indigenous Australians considered the Everywhen of the Dreaming to be objective, whilst linear time was considered a subjective construction of waking consciousness of one's own lifetime. This is in the converse of the European concept which views dreams as subjective and linear time as objective.^{[citation needed]}

The Tingari men were a group of ancestral elders who − in the Dreaming they travelled over vast areas of the Western Desert, performing rituals and creating or "opening up" the country (Perkins & Fink 2000:278) They were usually accompanied by recently-initiated novices to whom they provided instruction in the ritual and law of the region (Myers 1986:59-64). The adventures of the Tingari groups are enshrined in numerous song-myth cycles which provide explanations for contemporary customs in Western Desert aboriginal life (Perkins & Fink 2000:278; Berndt 1970:222-223; Berndt & Berndt 1999:266-267). Deep knowledge of Tingari business is restricted to men possessing appropriate levels of seniority in Western Desert society, but many stories have "public versions" which do not disclose secret/sacred knowledge.

In the Tingari heartland of the Gibson Desert, three major journey-lines can be discerned (Myers 1986:62). One begins west of Jupiter Well and eventually runs due east, concluding south-east of Lake Mackay; another heads south-west from near Kintore for some 200 km, and then doubles back to end at Lake Macdonald; the third runs from south to north through Docker River and Kintore. At the many sites that make up these songlines, groups of Tingari people held ceremonies, experienced adversity and had adventures, in the course of which they either created or became the physical features of the sites involved. In mythological terms, Tingari exploits often add to or modify features at pre-existing sites, or revive and extend more ancient local Dreamings (Kimber 2000:273). The oral narratives that describe these adventures stretch to thousands of verses, and provide countless topographical details that would assist nomadic bands to navigatate and survive in the arid landscape (Petri 1970:263).

In Pintupi narratives, the male Tingari groups are usually followed by groups of women who may be accompanied by children. The more public women's stories usually revolve around the gathering and preparation of bush foods (Perkins & Fink 2000:281-290). However, other narratives relate to a group of powerful ancestor women – the Kanaputa (Ganabuda) or Mungamunga (Berndt 1972:208; Poirier 2005:130) – who often travelled in a Tingari ritual group (Myers 1976:188). These Tingari women were sometimes accompanied by young girls, whom they provided with ritual education (Berndt 1970:225), and were often followed by (or following) groups of Tingari men. Many of the Kukatja stories collected at Balgo relate to the Kanaputa (Berndt 1970:222; Poirier 2005:77-79).

Tingari-related visual designs, such as those used in ceremonial body and ground paintings, are usually considered "dear" rather than "dangerous" by traditional owners, which may explain why so many artists have concentrated on the Tingari in paintings produced for public display and sale by Papunya Tula (Myers 1989:179). Even so, the more esoteric elements of these designs were usually modified or omitted by the artists (Myers 2002:64-66), and this is particularly true of recent works. "Classical" Tingari cycle paintings typically contain a network of roundels (concentric circles, which often signify sites) interlinked by lines (which often indicate travel) (Bardon 1991:66, 85-86, 94, 128; Perkins & Fink 2000:180-181, 229).

Dreamtime Return - Wikipedia, the free encyclopedia 

From Wikipedia, the free encyclopedia - see Dreamtime Return - Wikipedia, the free encyclopedia

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CT0702 Tingari

Charlie Tjapangati

95 x 95 cm

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This painting depicts an ancient story of Mythological Times when a large group of Tingari men, a group of ancestral elders who − in the Dreaming travelled over vast areas of the Western Desert performing rituals and creating or "opening up" the country. They camped at the site of “Yatturlnga” before traveling east passing through “Kiwirrkura” area.

The men travel on to “Tarkul” North of Mount Webb and then North to Lake Mackay. The travel of Tingari men is depicted in the centre of painting. The wavy lines depict the sand hill surrounding the soakage water site of Yatturlnga, southwest of Jupiter Well. Since events associated with Tingari Cycle are of a secret nature no further details are given.

The Tingari men were a group of ancestral elders who − in the Dreaming they travelled over vast areas of the Western Desert, performing rituals and creating or "opening up" the country (Perkins & Fink 2000:278)

They were usually accompanied by recently-initiated novices to whom they provided instruction in the ritual and law of the region (Myers 1986:59-64). The adventures of the Tingari groups are enshrined in numerous song-myth cycles which provide explanations for contemporary customs in Western Desert aboriginal life (Perkins & Fink 2000:278; Berndt 1970:222-223; Berndt & Berndt 1999:266-267).

Deep knowledge of Tingari business is restricted to men possessing appropriate levels of seniority in Western Desert society, but many stories have "public versions" which do not disclose secret/sacred knowledge. In the Tingari heartland of the Gibson Desert, three major journey-lines can be discerned (Myers 1986:62).

One begins west of Jupiter Well and eventually runs due east, concluding south-east of Lake Mackay; another heads south-west from near Kintore for some 200 km, and then doubles back to end at Lake Macdonald; the third runs from south to north through Docker River and Kintore.

At the many sites that make up these songlines, groups of Tingari people held ceremonies, experienced adversity and had adventures, in the course of which they either created or became the physical features of the sites involved. In mythological terms, Tingari exploits often add to or modify features at pre-existing sites, or revive and extend more ancient local Dreamings (Kimber 2000:273).

The oral narratives that describe these adventures stretch to thousands of verses, and provide countless topographical details that would assist nomadic bands to navigate and survive in the arid landscape (Petri 1970:263). In Pintupi narratives, the male Tingari groups are usually followed by groups of women who may be accompanied by children.

The more public women's stories usually revolve around the gathering and preparation of bush foods (Perkins & Fink 2000:281-290). However, other narratives relate to a group of powerful ancestor women – the Kanaputa (Ganabuda) or Mungamunga (Berndt 1972:208; Poirier 2005:130) – who often travelled in a Tingari ritual group (Myers 1976:188).

These Tingari women were sometimes accompanied by young girls, whom they provided with ritual education (Berndt 1970:225), and were often followed by (or following) groups of Tingari men.

Many of the Kukatja stories collected at Balgo relate to the Kanaputa (Berndt 1970:222; Poirier 2005:77-79). Tingari-related visual designs, such as those used in ceremonial body and ground paintings, are usually considered "dear" rather than "dangerous" by traditional owners, which may explain why so many artists have concentrated on the Tingari in paintings produced for public display and sale by Papunya Tula (Myers 1989:179).

Even so, the more esoteric elements of these designs were usually modified or omitted by the artists (Myers 2002:64-66), and this is particularly true of recent works. "Classical" Tingari cycle paintings typically contain a network of roundels (concentric circles, which often signify sites) interlinked by lines (which often indicate travel) (Bardon 1991:66, 85-86, 94, 128; Perkins & Fink 2000:180-181, 229).

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