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Petyarre’s
evocative paintings have often been compared to those of rigorous minimal
modern artists as varied as Mark Rothko, Ad Reinhardt, and Agnes Martin,
not formally, as much as in the tension between what remains hidden within
her fields of shimmering dots and what is subtly revealed. “Her paintings
are ‘mental maps’ of the ancestral lands she traveled as a child,”
says Christine Nicholls co-author of the monograph on Kathleen’s
work, "the dotting is actually overlaying sacred areas, protecting
them from the predatory gaze." |
Kathleen Petyarre with a work in progress, 1997 |
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Time Magazines’s art critic, Michael Fitzgerald said, “Petyarre's dotted fields of ocher-red and hailstorm-white conjure up the sensation a passenger might feel in a light plane swooping in to land… they create an effect of spiritual uplift and endlessly eddying space. And infusing much of the work—suggested by a circular dance of footprints here, a cloud of dust there—is the ephemeral presence of Petyarre's custodial totem, the thorny or mountain devil lizard, arnkerrth-a tiny, miraculous creature adept at the art of camouflage and survival.” |
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12.
(TVU 23) Thorny Devil Lizard Dreaming Kathleen Petyarrre Acrylic on Canvas 60 x 60 inches 152 x 152 cms 1998  |
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13.
(TVU
22) My Country, Bush Seeds Kathleen Petyarre Acrylic on Canvas 48 x 48 inches 122 x 122 cms 1999 |
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All
paintings indicated with green dots |
are currently for sale. Prices and photos can be obtained by contacting
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