Mina Mina (2009)
Using a myriad of white dots set against a black background, Dorothy has created a shifting sea of movement that gathers and disperses across the canvas of her country Mina Mina.
This place is a major women’s ceremonial site whose topography is made up of two enormous soakages areas that, rarely filled with water, exist as clay pans. As water soaks into the ground, small areas of earth dry out and lift at the edges, becoming delineated by salt. In this work, Dorothy depicts the shifting sands and the crustrations of salt stretching infinitely onward and outward, etched by the tracks of the women as their paths stretch on, crossing and merging, telling their stories.
During the Jukurrpa Ancestral women of the Napangardi and Napanangka sub-section groups (aunt / niece relationship, in which knowledge is passed from one to the other) gathered to collect ceremonial digging sticks (karlangu) that had emerged from the ground. They then proceeded east, performing rituals of song and dance, to the place known as Jankinyi. A large stand of Desert Oaks (Allocasuarina decaisneana) now grow where these digging sticks emerged from the ground.
One of the leading artists of the contemporary Aboriginal art movement, Napangardi’s work is highly sought after by both collectors and curators worldwide. Her paintings and prints have been widely exhibited and are in all national collections within Australia and in major collections worldwide including most recently the MET, New York. Napangardi had the honour of being the 2nd indigenous artist to be given a solo survey exhibition at the MCA (Museum of Contemporary Art), Sydney that traced 11 years of her painting career in 1991.