Minnie Pwerle 'Body Paint'  121cm x 180cm  #10205- A large work in strong blue tones

Minnie Pwerle

Iconic Australian Aboriginal artist from Utopia

NEW Minnie Pwerle 'Awelye Atnwengerrp'  126cm x 260cm #15022

Minnie Pwerle 'Awelye Atnwengerrp'  120cm x 90cm - 2003 #15003

Minnie Pwerle 'Awelye Atnwengerrp' 120cm x 90cm (2003) #15004 

Minnie Pwerle 'Awelye Atnwengerrp' 180cm x 122cm #14998 

Minnie Pwerle 'Body Paint' 60cm x 90cm (115cm x 145cm Framed) #10200

Minnie Pwerle 'Awelye Atnwengerp' 91cm x 61cm  (Painted in 2004) #14950

Minnie Pwerle 'Awelye Atnwengerp' 74cm x 56cm (Painted in 2005) #14941

Minnie Pwerle 'Awelye Atnwengerrp' Acrylic on linen 151 x 121 (Body Paint design by this great Aboriginal artist) #14517

Minnie Pwerle 'Awelye Atnwengerp' (Body Paint) 74cm x 56cm (Painted in 2001 at Utopia) #14944

Minnie Pwerle 'Awelye antwengerrep' acrylic on linen 91 x 60cm #14514

 

Minnie Pwerle's contribution to Australian Aboriginal Art began later in life, lasting from 1999 to her passing in 2006. Whilst her period of painting was somewhat short, the work produced was unique and rich, seeing her named as one of Australia's top 50 most collectable artists in 2004.

Born around 1910 – 1920 Minnie Pwerle one of eight children grew up in the Utopia Region of the Northern Territory around 250 kms North of Alice Springs. Minnie 's upbringing was traditional with art an ingrained part of her society. The 1970's batik making and its transition onto canvas in the 1980's was a strong feature of her Utopia region.

As a teenager Minnie had a daughter, Barbara, with Irish pastoral owner Jack Weir. Minnie and Barbara were separated, when at the age of nine Barbara was taken by native welfare under the government's assimilation policy.  Barbara became one of the stolen generation, as it was known in years to come. Barbara and Minnie reunited in the late 1960's, however Minnie was initially unable to accept Barbara into her life as she had married Motor car Jim and had six children. Whilst communication was challenging, over time Minnie accepted Barbara as her daughter. Barbara Weir became an esteemed artist in her own right and consequently in the late 1990's introduced Minnie to painting on canvas.

After a life spent painting ceremonial designs of the awelye onto the body, Minnie in 1999 transferred these designs onto canvas with great success. Evolving her style, Minnie began to paint her inherited dreaming, the 'Bush Melon'. Her choice of bold colours and the evident lucid freedom of her brush strokes inevitably attract much attention to her work. The bush melon paintings often consist of linear and circular movements or splashes of colour strewn across the canvas. What is often mesmerizing by Minnie's work is the spiritual connection with the land exuded on the canvas with touches of modern techniques.

Minnie Pwerle remains an important and prolific contributor to the Australian Aboriginal Art Scene. Minnie Pwerle's bold Aboriginal Art has been featured in many Aboriginal Art Galleries. The smooth rolling effects Minnie has created have attributed her with a distinctive style often linked to that of the esteemed Emily Kame Kngwarreye.