Gauchet Fine Art

Yvonne belongs to a new generation of artists at Waringarri. Her work is characterised by fresh bold shapes and colour. "I was born in Kununurra Hospital and grew up on the Miriwoong...

EMILY KAM KNGWARRAY (1910 - 1996) Country: Central/Eastern Desert, NT Language: Anmatjerre Community : Utopia, Soakage Bore/ Alhalkere Merne Anooralya, 1995 Synthetic polymer paint ...

EMILY KAM KNGWARRAY (1910 - 1996) Country: Central/Eastern Desert, NT Language: Anmatjerre Community : Utopia, Soakage Bore/ Alhalkere Summer Abundance, 1993 Synthetic polymer paint...

EMILY KAM KNGWARRAY 1916 - 1996 Country: Central/Eastern Desert, NT Language: Anmatjerre Community : Utopia, Soakage Bore/ Alhalkere Octogenarian Emily Kam Kngwarray painted for jus...

EMILY KAM KNGWARRAY (1910 - 1996) Country: Central/Eastern Desert, NT Language: Anmatjerre Community : Utopia, Soakage Bore/ Alhalkere Merne Alhalkere Soakage, 1994 Synthetic polyme...

Daniel Walbidi comes from a small coastal community 250km south of Broome called Bidyadanga which is the traditional homeland of the Karrajarri people. Formerly La Grange Mission, it...

Mirdidingkingathi Juwarnda Sally Gabori began painting in 2005 at the age of 81, while living in aged care on Mornington Island. Having never previously used a paintbrush, she quickl...

An important figure in the contemporary East Kimberley painting movement, artist Paddy Nyunkuny Bedford was born on Bedford Downs Station where he worked as a stockman. As an Elder o...

Daniel Walbidi comes from a small coastal community 250km south of Broome called Bidyadanga which is the traditional homeland of the Karrajarri people. Formerly La Grange Mission, it...

Mixed-media contemporary artist from Miami via Corsica, France who has lead national ‪digital art campaigns, most notably for Warner Bros 75 Years of DC Comics, and the development o...

Born in Quairading (Ballardung Country) in the south-west of Western Australia, Shane Pickett was one of the foremost Nyoongar artists of his generation. Combining his deep knowledge...

EMILY KAM KNGWARRAY 1916 - 1996 Country: Central/Eastern Desert, NT Language: Anmatjerre Community : Utopia, Soakage Bore/ Alhalkere Octogenarian Emily Kam Kngwarrey painted for jus...

Evelyne Ballestra's work with signs, symbols and esoteric spirituality reflects her passion for the ancient past and represents a symbolic return to the ground from which we emerged....

Evelyne Ballestra's work with signs, symbols and esoteric spirituality reflects her passion for the ancient past and represents a symbolic return to the ground from which we emerged....

Evelyne Ballestra's work with signs, symbols and esoteric spirituality reflects her passion for the ancient past and represents a symbolic return to the ground from which we emerged....

Makinti Napanangka walked in to Haasts Bluff ration depot during the 1940’s with her young son when in her early 20’s and by the time she had moved to the new settlement of Papunya h...

Dorothy Napangardi spent her early childhood living a nomadic life at Mina Mina near Lake Mackay in the Tanami Desert during the late 1950s and early 1960s. This idyllic life came to...

Johnny Warangkula Tjupurrula 1925 - 2001 Born : Mintjilpirri, Kintore, NT Language group : Pintupi/Warlpiri Community : Papunya, NT Johnny Warangkula Tjupurrula was born in 1925 at ...

Archival photo print under museum acrylic. Dimensions: 48 x 48 in. Depth: 1/4 in. Edition of 5 Signed and numbered by the artist. Montreal-based artist and photographer Paul-Émil...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Jean Sanglar was born in France in 1926. He draws with taste and talent from an early age, however, his family will only consider this a mere hobby. After studying law, he later took...

Archival photo print under acrylic glass. Signed and Numbered by the artist. Edition of 3. Dimensions: 18x 15 x 15 in. Depth: 1 in. Total Dimensions: 48in X 97.4 in Artist and pho...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Observing and understanding the world around us are the foundations of her reflections. Her approach to the world of Art has been largely influenced by the diversity of media underwr...

Masterprint with NFT with Certificate of Authenticity. Signed and Numbered by the artist. Edition of 3 Archival photo print under acrylic glass. Dimensions: 60x60 in. Depth: 1/8 i...

Evelyne Ballestra's work with signs, symbols and esoteric spirituality reflects her passion for the ancient past and represents a symbolic return to the ground from which we emerged....

Evelyne Ballestra's work with signs, symbols and esoteric spirituality reflects her passion for the ancient past and represents a symbolic return to the ground from which we emerged....

Evelyne Ballestra's work with signs, symbols and esoteric spirituality reflects her passion for the ancient past and represents a symbolic return to the ground from which we emerged....

Born 1949, Fréjus, France French artist Evelyne Ballestra studied painting in the South of France before moving to Switzerland where she met her mentor, Rolf Dürig, a master of the ...

Archival photo print under museum acrylic. Dimensions: 48 x 48 in. Depth: 1/4 in. Edition of 5 Montreal-based artist and photographer Paul-Émile Rioux has been creating virtual wor...

Archival photo print under museum acrylic. Dimensions: 48 x 48 in. Depth: 1/4 in. Edition of 5 Montreal-based artist and photographer Paul-Émile Rioux has been creating virtual wor...

Archival photo print under museum acrylic. Three prints, 3 x 24x24" (each) Signed & Numbered by the artist Edition of 5 Montreal-based artist and photographer Paul-Émile Rioux has...

Born in the South of France in 1926 and raised by very strict parents, Jean Sanglar was prohibited from playing with same age mates. Truly talented, as a young boy he drew frequentl...

Born in the South of France in 1926 and raised by very strict parents, Jean Sanglar was prohibited from playing with same age mates. Truly talented, as a young boy he drew frequentl...

Born in the South of France in 1926 and raised by very strict parents, Jean Sanglar was prohibited from playing with same age mates. Truly talented, as a young boy he drew frequentl...

Born in the South of France in 1926 and raised by very strict parents, Jean Sanglar was prohibited from playing with same age mates. Truly talented, as a young boy he drew frequentl...

Archival pigment print under acrylic glass. Numbered & signed by the artist. 9x 24x24 inches. Can be diversely assembled. If square, total of 72x72 inches (add 2 or 3 inches in be...

Born in the South of France in 1926 and raised by very strict parents, Jean Sanglar was prohibited from playing with same age mates. Truly talented, as a young boy he drew frequentl...

Born in the South of France in 1926 and raised by very strict parents, Jean Sanglar was prohibited from playing with same age mates. Truly talented, as a young boy he drew frequentl...

Born in the South of France in 1926 and raised by very strict parents, Jean Sanglar was prohibited from playing with same age mates. Truly talented, as a young boy he drew frequentl...

Johnny Warangkula Tjupurrula 1925 - 2001 Born : Mintjilpirri, Kintore, NT Language group : Pintupi/Warlpiri Community : Papunya, NT Johnny Warangkula Tjupurrula was born in 1925 at ...

Johnny Warangkula Tjupurrula 1925 - 2001 Born : Mintjilpirri, Kintore, NT Language group : Pintupi/Warlpiri Community : Papunya, NT Johnny Warangkula Tjupurrula was born in 1925 at ...

Johnny Warangkula Tjupurrula 1925 - 2001 Born : Mintjilpirri, Kintore, NT Language group : Pintupi/Warlpiri Community : Papunya, NT Johnny Warangkula Tjupurrula was born in 1925 at ...

As one of the last generation to remember a childhood lived in the desert hunting and gathering with her family, Walangkura Napanangka's paintings recall the stories of country and the location of specific sites in her traditional homeland west of the salt lake of Karrkurutinjinya (Lake Macdonald). Born around 1946, at Tjitururrnga west of Kintore, in the remote and arid country between the Northern Territory and Western Australia, she lived with her father Rantji Tjapangati and mother Inyuwa Nampitjinpa and later, while still a teenager, travelled by foot with her family over the hundreds of kilometres from their remote desert home eventually joining Uta Uta Tjangala's group as they walked in to the settlements of Haasts Bluff and then Papunya. The lure of settlement life with its promise of plentiful food and water belied the harsh conversion they would make to an alien lifestyle with its many problems and unfamiliar demands. The upheaval however, was ameliorated to some degree by the proximity of her immediate family including her mother Inyuwa, adoptive father Tutuma Tjapangati, and sister Pirrmangka Napanangka (now deceased) all of whom became artists. Relocated to the community of Kintore in 1981 when the outstation movement began, Walangkura participated in the historic women's collaborative painting project (1994) that was initiated by the older women as a means of re-affirming their own spiritual and ancestral roots. It was a time of specifically female singing, ceremony and painting, away from the gaze of outsiders and men folk. The huge and colourful canvases that emerged from the women's camp were 'alive with the ritual excitement and narrative intensity of the occasion' (Johnson 2000: 197). Within a year, Papunya Tula Artists, now established at Kintore, had taken on many of these women as full-time artists, revitalising the company after the deaths of many of the original 'painting men'. While individual women forged their own stylistic trajectory, these paintings were immediately distinguishable from the men's more cerebral and symmetrical style. They radiated an exuberant and vibrant energy, the felt heart-beat of women's affinity to country and spirit. Walangkura's early works, created from 1996 onward, are characterized by masses of small markings and motifs covering large areas of canvas. Her favorite colour, a deep sandy orange predominates, accentuated against more somber blacks and reds and dusky greens or yellows. More recent works show a gestural quality though still tightly packed with an intensity of geometric line work representing sandhills. In a sense this provides a strong visual and contextual link to the men's linear style as exemplified by the works of George Tjungurrayi...

Yannima Tommy Watson is a Pitjantjatjara artist born around the 1930s, in the bush some 44km west of the small isolated community of Irrunytju. Not yet very well known to the French public, despite his participation in the architectural project of the Musée du Quai Branly, Tommy Watson is nevertheless often considered the greatest living Aboriginal artist. Like many aborigines of his generation, he lived a traditional, nomadic or semi-nomadic life before his contact with Western civilization; then he will occupy the only jobs that the Aborigines find: herdsmen (until Yuendumu), laborers for the construction of infrastructures in the desert. Throughout this period he became familiar with his "country", a harsh region, and deepened his knowledge, both profane and sacred, relating to Dreams and Dreamtimes, to the connections between sacred sites and the Ancestors. He will even work in Papunya, where the artistic movement started. But the Pijantjarra are intransigent with tradition…no question at this time of revealing the motives and the secret stories. The North of South Australia, the region where he is from, was touched by the pictorial movement only at the very beginning of the 2000s. In 2001, Tommy began his career as an artist in Irrunytju (Wingellina). He is a young artist… He learns by observing other painters and draws on the experiences of a long life and on the exceptional knowledge he has stored up. But quickly he will find his way, a radically new style where color plays a major role. Very quickly, the iconography now well known by the artists of Yuendumu, or the Western Desert, Balgo or Lajamanu disappeared. The symbols are no longer there. As Rover Thomas, Emily Kame or Paddy Bedford had done before him, this is a real artistic revolution. For Tommy, it is not a question of describing his Dream (Caterpillar), the routes taken by the Ancestors. He concentrates on a site, a story, sometimes very profane, the memory of a meeting, of a hunting party, tries to condense his memories, the information of which he is the depositary, to add a poetic touch to it, sometimes melancholy, and this gives a painting with a very abstract aspect. It is a painting where the emotion is very present, undoubtedly less cerebral than the art of the neighbors of the north the Pintupi, like Ronnie Tjampitjinpa, George...