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This website was developed for the exhibition Irriṯitja Kuwarri Tjungu | Past & Present Together: Fifty Years of Papunya Tula Artists that was on view at the Kluge-Ruhe Aboriginal Art Collection of the University of Virginia from 2021-23 and the Embassy of Australia in Washington, DC in 2024. It was made possible by our creative partnership with Papunya Tula Artists and the generous support of UVA Arts Council. Site design by Urban Fugitive for V21 Artspace.
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Tim Leura Tjapaltjarri

Honey Ant Dreaming
1973

Papunya rests on the Tropic of Capricorn in Honey Ant Country. Beginning in October each year, monsoonal storms move across the plain from the Tanami Desert. Below the ground, Tjarla (Honey Ants) hang suspended in the darkness of underground chambers. Unmoving, they wait to be fed by worker ants that bring secretions from the branches of mulga trees, under which the colonies reside. The chambers of the Tjarla are invisible from the surface, but well known to Aboriginal people, who follow the cryptic traces of worker ants across the ground to tiny holes that plummet three feet into the earth. From this cool place, numerous smaller tunnels reach to further chambers where more honey ants cling with their abdomens swollen with sweet nectar.

Honey ants are important to the people of Central Australia. Not only do they provide a rare source of sweetness but, more significantly, their interconnected chambers exemplify important aspects of Indigenous ontology. The subterranean honey ant colonies epitomize the notions of community and connectedness at the heart of Aboriginal belief. Their underground presence gives force to the concept of the earth as the original life giver.

Papunya has always been a site for the celebration of Honey Ant ancestors. The innumerable children conceived in the vicinity of Papunya are recognized as having ancestral connection to these eternal honey ant forebears. Papunya is Honey Ant country.

JOHN KEAN

Language Group: Anmatyerr
Dates: 1929-1984

Tim Leura Tjapaltjarri was born in Napperby Creek and moved to Papunya in the late 1950s with his wife and their family. Before painting for Papunya Tula Artists in 1971, Tim Leura was recognized as a talented craftsman. His paintings are known for their atmospheric, fog-like effects, which he accomplished by using washes of paint or dotting onto wet surfaces. He is also recognized for incorporating human figures into his paintings. His painting Kooralia (1980) toured with the landmark exhibition Dreamings: The Art of Aboriginal Australia in 1988. This piece was later illegally copied onto carpets and sparked the landmark Aboriginal carpets copyright case (Milpurruru et al. v. Indofurn P/L) of 1995-96. With the rise of Aboriginal Australian art in the international market and the resulting debates on how to distribute the painting's profits, Tim Leura would maintain that “the money belongs to the ancestors.”

Are you related to this artist? Are you a scholar of artwork from the Papunya Tula movement? Please contact us at kluge-ruhe@virginia.edu if you would like to add something to this page or see something that is missing or incorrect.
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