The World’s Local Fine Art

Kay Willis Napurrula 1969-2021

Ancient culture of 60 thousand years gave the World its most exciting Contemporary Art

Kay Willis Napurrula (also known as Kay Rubuntja Napurrula) was a distinguished Central Desert artist born in Willowra. She began her professional career in 1991, originally painting through the Jukurrpa Artists co-operative in Alice Springs.

Heritage: Pintupi (Kintore, NT) - Kay gained recognition for her refined, rhythmic line work and intricate patterns that capture the undulating terrain and geological reliefs of the Western Desert. By translating ancestral "Dreaming" stories into sophisticated, minimalist landscapes, her paintings serve as both spiritual maps and contemporary explorations of desert topography. Her work is deeply rooted in the ancestral travels of the Tingari women, utilizing traditional iconography to map sacred sites, rockholes, and ancient water sources, often depicted themes like the Bush Tomato, Women Ceremony and Witchety Grub Dreaming. 

Kay Willis Napurrula
 Bush Tomato Dreaming
 Acrylic on linen
Size: 95 x 65 cm
Framed:
Price: Enquire

Kay Willis Napurrula
'Awely' Women Ceremony
 Acrylic on linen
Size: 95 x 65 cm
Framed:
Price: Enquire

Kay Willis Napurrula
 Bush Tomato Dreaming
 Acrylic on linen
Price: SOLD 

Kay Willis Napurrula
 Bush Honey Dreaming
 Acrylic on linen
Price: SOLD 

Kay Willis Napurrula biography

Kay Willis Napurrula (1969–2021)

Heritage: Warlpiri / Pintupi (Kintore, NT)
Region: Willowra / Kintore, Northern Territory
Language: Warlpiri

Biography:

Kay Willis Napurrula (also known as Kay Rubuntja Napurrula) was a distinguished dedicated artist from the Kintore community Central Desert artist born in Willowra.

She began her professional career in 1991, originally painting through the Jukurrpa Artists co-operative in Alice Springs. After the co-operative's closure in 2004, Kay continued on working as an independent artist in Alice Springs.

Her work is deeply rooted in the ancestral travels of the Tingari women, utilizing traditional iconography to map sacred sites, rockholes, and ancient water sources, often depicted themes like the Bush Tomato, Women Ceremony and Witchety Grub Dreaming.

She gained recognition for her refined, rhythmic line work and intricate patterns that capture the undulating terrain and geological reliefs of the Western Desert. By translating ancestral "Dreaming" stories into sophisticated, minimalist landscapes, her paintings serve as both spiritual maps and contemporary explorations of desert topography.
 

Exhibitions & Recognition:

• Selected Group Exhibitions: Featured in numerous group shows across Australia focusing on Central Desert and Jukurrpa artists, including exhibitions at the Japingka Aboriginal Art Gallery (WA) and various Alice Springs community showcases.
   

• International Presence: Her works have been included in international surveys of Australian Indigenous art, notably in European galleries specializing in Oceanic and Aboriginal art.
  
   

• Artistic Evolution: Transitioned from the structured cooperative environment of Jukurrpa Artists to working as a prominent independent artist following the cooperative's closure in 2004.

COLLECTIONS
Public & Private Collections:

National & State Galleries: Represented in various private and institutional collections that focus on the Papunya Tula movement and its subsequent influence on Warlpiri and Pintupi artists.
 

"Aboriginal Artists of the Western Desert - A Biographical Dictionary" by Vivien Johnson, published by Craftsman House 1994,
"The Oxford Companion to Aboriginal Art and Culture" edited by Sylvia Kleinert and Margo Neale published by OUP 2000,
“Australian Aboriginal Artist Encyclopedia” – dictionary of biographies” Kreczmanski, Janusz B & Birnberg, Margo (eds.): Aboriginal Artists: Dictionary of Biographies: Central Desert, Western Desert & Kimberley Region (JB Publishing Australia, Marleston, 2004). Brody, A. 1989 Utopia women’s Paintings: the First Works on Canvas, A summer Project, 1988-89 exhib. Cat. Heytesbury Holdings, Perth Brody, A. 1990 Utopia, a picture Story, 88 Silk Batiks from the Robert Homes a Court Gallery and gallery Collection, Heytesbury Holdings LTD Perth NATSIVAD database.

women stories

Aboriginal Women apply body paint with a tool that is flat soft padding stick called (typale) like a Makeup brush. They paint their designs on the faces and also, used the body paint, on Women chest, breasts, arms as well as their thighs. Each woman can play a makeup Artist and takes her turn to be “painted-up”. During the Ceremony Aboriginal Women sing the songs associated with their (awely).  

Women perform (Awely) ceremonies to feel good and to demonstrate respect for themselves, their country and the total well-being and health of the community as well as their own.

The natural Mineral Makeup was used by Aboriginal women for over 6000 years in women ceremony and the designs of body paint (Awely). Aboriginal Women include natural earth grounded Powders (red and yellow clays (ochre ), charcoal and Ash. Aboriginal Woman have been applying natural grounded earth powders. However the first archaeological evidence of cosmetics usage was found in Egypt around 3500 BC during the Ancient Egypt times with some of royalty owning make-up, such as Nefertiti, Nefertari, mask of Tutankhamun.

In Europe in the Middle Ages women like a pale-skinned complexion, which was achieved through either applying pastes of lead, chalk, or flour, or by bloodletting, also put white lead pigment that was known as ceruse (white lead) on their faces to appear to have pale skin. Cosmetic use was frowned upon at many points in Western history.

For example, in the 19th century, make-up was used primarily by prostitutes, and Queen Victoria publicly declared makeup improper, vulgar, and acceptable only for use by actors. European Women in the 19th century liked to be thought of as fragile ladies. They compared themselves to delicate flowers aimed always to look pale and interesting. Sometimes ladies discreetly used a little rouge on the cheeks, and used "belladonna" to dilate their eyes to make their eyes stand out more. Make-up was frowned upon in general especially during the 1870s when social etiquette became more rigid. Actresses however were allowed to use make up and famous beauties such as Sarah Bernhardt and Lillie Langtry could be powdered.