Adrian Young Tjupurrula is an important initiated Pintupi man who paints dreaming stories associated with Tjukula, Kintore and surrounding areas. A bold series of horizontal and vertical lines represents ceremonial body paint designs worn by young men during ‘Malliera’ initiation ceremonies. The site associated with these designs is Pulpulna in the Gibson Desert of Western Australia, Adrian’s traditional country. The body paint designs appear to imply a strong association with the desert landscape, its soakages, sandhills and creek beds. One significant site is Lake Mackay.
Adrian’s family lineage includes many great artists. Adrian Young Tjupurrula is married to Marlene Young. His father-in-law is famous Dr. George Tjapaltjarri and his adopted father was Anatjari Tjakamarra (deceased). Adrian’s brother was Nosepeg Tjupurrula (deceased) and Fred Ward Tjungurrayi and Turkey Tolson (deceased) are his uncles.
Adrian Tjupurrula was given permission to paint the important ‘Tingari’ stories by his late father, and more recently from Dr. George Tjapaltjarri. Adrian’s initiation status and family lineage allow him to paint the ‘Tingari’. Dreamings associated with the ‘Tingari’ are of a secret and sacred nature, as it is important ‘men’s business’ that forms the foundation of much of their law. Colours in relation to painting hold great significance in the Western Desert. Adrian Tjupurrula utilises the traditional colours present in raw pigment, clay and charcoal- red, yellow, white and black. The concentric circle design is typical of ‘Tingari’ dreaming and in part relates to the great expanses covered by the ‘Tingari’ in the Mythological creation period. The ‘Tingari’ travelled to particular desert regions in order to create landforms and teach law. The colour white is significant, usually depicting the presence of much needed water.
Adrian Tjupurrula’s style is an excellent example of the multivalent nature present in Aboriginal art, meaning the designs used in the paintings often have many inter-related and symbolic meanings. The surface narrative elements, or the painting’s ‘story’ or ‘dreaming’, is one of the many layers of an Aboriginal painting’s meaning. The imagery utilised by Aboriginal artists has deep cultural resonances that defy logic and narrative interpretations. The western viewer can however intuitively feel the power of this spiritual resonance without necessarily having to understand the details which are known by the initiated.
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