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KITTY KANTILLA
( other name, Mary Campion Kantilla, Kutuwalumi Purawarrupatu )
Bathurst and Melville Islands are beautiful tropical islands that are home to nearly 2500 tiwi-speaking people. These islands are 100 km away from mainland and separated by the most dangerous water in Australia. The aboriginal art and painting is less affected by other area, even Arnhem Land. There are three major art centres located on the Tiwi Islands: two on Melville Island ( Munupi Arts and Crafts Association at Pirlangimpi and Jilamara Arts and Crafts at Milikapiti), and one on Bathurst Island ( Tiwi Design at Nguiu ).
BATHURST和MELVILLE島是具有熱帶氣候的美麗的島嶼,有2500說KIWI語的人生活在那裡. 這些島嶼離澳大利亞大陸約100公里,並且被澳洲最危險的水域隔離.這裡的土著藝術很少被其他地方影響,即便是ARNHEM LAND(離它在地理最近的澳洲地區).在島上有三個藝術中心,二個在MELVILLE島(在PIRLANGIMPI的MUNUPI ARTS AND CRAFTS ASSOCIATION, 和在MILIKAPITI的JILAMARA ARTS AND CRAFTS),一個在BATHURST ISLAND(在NGUIU的TIWI DESIGN)
Kitty Kantilla was born 1928 on Melville Island. Her father was in Yimpinari and her mother was from Jamularpi country. She had a traditional life and residency pattern at her father』s Yimpanari country near Cape Keith on the east coast of Meville Island and later moved to the former buffalo shooters』 camp at Paru during the Second World War. As Paru is Jamulampi, her mother』s country, before she moved to the Catholic mission at Nguiu on Bathurst Island. There she established herself as one of a number of artists who produced occasional carving, bark baskets and ornaments for sale.
KITTY KANTILLA1928年生於MELVILLE島.她父親在YIMPINARI,她母親來自JAMULARPI鄉村.在MEVILLE島的東海岸靠近CAPE KEITH的她父親的鄉下YIMPANARI,她有過一個傳統生活經歷,後來在二戰時搬到了在PARU的THE FORMER BFFALO SHOOTERS'營地(土著),這也是她母親的鄉村JAMULAMPI,在這之前她在BATHURST島的NGUIU也住過教會的房子.在那裡,她在一些出售雕刻品,樹皮藍和裝飾品的藝術家裡建立了自己的名氣.
 Kitty Kantilla (Kutuwalumi Parawarrumpatu)
Tiwi born c. 1928
Pumpuni jilamara, 2002
earth pigment on canvas
71.0 x 120.0 cm
Private collection
Originally, she sold her work to buyers and collectors such as Dorothy Benett and Sandre Holmes, until Tiwi Pima was established in 1976 to assist with the purchase and marketing of traditional art and crafts. Kitty was initially a carver and during her carving days she produced distinctive male and female figures carved in ironwood.
一開始,她只是把她的作品賣給一些買家和收藏家如DOROTHY BENETT和SANDRE HOLMES,直到1976成立了TIWI PIMA(一個幫助土著藝術市場的組織).她最初是搞些雕刻,在這期間,她出過些用IRONWOOD刻制的非常有特色的男女雕像.
Kitty KANTILLA (Kutuwalumi PURAWARRUMPATU)
Australia 1926 /1930 C Australia 2003
Female figure
Figure with lines of dots on torso and face, brown legs and yellow breast c.1996
Sculpture
natural pigments on iron wood
76.0 (h) x 19.4 (w) x 16.0 (d) cm
Purchased 1996
NGA 1996.865
In the mid-1980s she returned Melville Island. For many years, Kitty Kantilla was known as one of the Paru Mob, a small group of mostly widowed women who lived in splendid isolation in a small Melville Island community. As an artist, she focused on painting either paper canvas or bark, working in ochres and gum. She established a reputation through a series of group exhibition before joining Jilamara Arts and Crafts Centre in 1990s and became one of Australia』s most collectable and sought after artists.
在1980'年代的中期她回到了MELVILLE島.作為在一群與外界幾乎隔離的孤身女人中的一員,在小的MELVILLE島的社區里生活了許多年.作為一個藝術家,她使用OCHRES(一種甲殼蟲,搗碎后當顏色用)和桉樹,把精力集中在畫布和樹皮上.她在一系列的展出中建立的名聲,然後在1990加入了JILAMARA藝術和手工品中心,並且成為多年裡在澳大利亞最具有收藏價值的藝術家之一.
Kitty Kantilla
Untitled 1999
natural pigment
and acrylic on canvas
81 x 91.5 cm
Photograph Lucio Nigro
She is the best know for her distinctive use of ochres on paper, canvas, bark and ironwood. Drawing on her dreaming stories for inspiration, Kantilla produces both paintings and sculpture. Her work is based on traditional design, including those used during the Pukamani ceremony, the traditional Tiwi burial ceremony which is one of the cornerstones of the Tiwi』s traditional and spiritual beliefs. A wide variety of geometric designs are painted on the burial poles and body of participants during the ceremony and this is what Kitty draws upon in her work. Every line, dot or marking has an important meaning. She said about her work 『 The Jilamara that I do, it』s my father』s design, I watched him as a young girl and I』ve still got the design in my head. Many Kitty』s work has been titled 『Jilamara』 which means a type of painting or design.
她非常擅長在紙,畫布,樹皮和IRONWOOD上使用OCHRES.為實現精神,她把她的夢體現在畫布和雕刻上.她的作品是基於傳統工藝設計,包括用於PUKAMANI儀式的,TIWI傳統和信念的悼念儀式.在這一活動中,許多幾何圖形畫在悼念的木柱和參與人的身上,這也就是體現在KITTY的作品中的.說到她的作品,她說'在我畫的JILAMARA里,每個點每條線都包含的重要的意義,它是我父親的畫法,當我還是個小女孩是我就看著他畫,它早已深深地印在我的記憶里.許多KITTY的作品都冠名'JILAMARA',就指這類畫法和圖形.
She translate traditional into new and abstract design. Her work is both subtle ( light ) and strong, with intricate ( complicated ) lines of dots, bold areas of solid ochre and sections of delicate line work. Many of Kantilla』s work have been titled 『Jilamara』 which means a type of painting or design ( which indicated rectangular area with bold ochre color in the middle part and solid, wide boundary, Jilamara, I think, still is some sort of ceremony ), other tiles of the work 『yoy』 ( dance ceremony, usually, you can find circle area with bold ochre color inside and fine dots around outside, I think, circle area means ceremony fire or water hole, ceremony with dance in Tiwi culture usually lasted three days ), Yintiki ( bush tucker, most work with wide solid, horizontal line on up and lower boundary and a lot of fine, doted, colored line in between, some of them with circle in squar in line or a few together ). The most Kantilla』s work with 『untitled』, these feature can not be found. These titles show us that the mark making of Kitty Kantilla resist verbal explanation, it』s inner meaning cannot be put into words because it is associated with art made for and danced in Pukumani ceremonies.
把傳統轉變成新意和抽象的.她的作品有柔和的也有強烈的,摻和著點線,全OCHRE色的色塊和由精細線條分成區域.許多KITTY的這類設計的作品都叫'JILAMARA'(特徵為中間有一個有實邊的長方形的OCHRE色塊,我想,JILAMARA也應是某種意義的土著儀式),有些標名為'YOY'(跳舞儀式,通常,你可看到畫有OCHRE色圓形區域並由許多細點圍在外邊,中間部分可能意味這篝火或水塘,跳舞儀式在TIWI傳統中要持續三天),還有標名為'YINTIKI'(叢林聚餐,大都可見寬實水平線條位於上下邊界,中間為點線和細線條,和一些外方內圓的圖形排成線或幾個在一起).在KITTY的大多數'無命名'作品中,幾乎看不到這些特徵.在KITTY的冠名作品中隱藏著KITTY不想解釋的,難以用文字表達的內涵,因為它和PUKUMANI儀式里的藝術和舞蹈有關.
Materials and technics,Earth pigments, ochre on bark, paper and canvas.
材料和技法,礦物顏色,OCHRE用於樹皮,紙和畫布.
『Bark is very important to Tiwi people from Bathurst Island and Melville Island and collecd the Eucalytus bark during the wet season when the rain comes. The first have to strip the skin of bark when it is wet, then there are two ways of working with bark. After striping the skin, we make a fire and lay the bark on the top of the fire to flat it, make it straight. This』s for the bark painting. We can fold it and make the traditional basket or tunga. We fold it and sew each ends with bush string made from the bark of the Alabanjar tree.
樹皮對於來自於BATHURST島和MELVILLE島上的TIWI人是非常重要的,這些樹皮是在雨季時從桉樹上採集的.先剝樹皮,然後有二種加工方法,用火烘烤平整,直接用於樹皮作畫,還有用BUSH線(也是一種植物上取得的)把ALABANJAR樹皮縫合起來,用於作畫. |
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