Gowaring (Hill and Waterholes - Hunting Place), c.1994

natural earth pigments on Belgian linen

107 x 107 cm

$5,000

Secure payment via Stripe. Prices in AUD.

Provenance: Kimberley Art Gallery, Melbourne, Vic, Cat No. A 62 Private Collection Vic Lawson Menzies, Aboriginal Fine Art, Sydney, November 2005, Lot 241 Private Collection NSW
Artwork story: Hector's work is known for its restrained use of colour and sombre tones, and his tendency to concentrate on the metaphysical. He gained renown for quirky figurative depictions and irregular hill formations rendered with an innate sense of spacial geometry. His subjects vary from minimal depictions of the landscape to mythological interpretations of Dreaming events. Hectors preference for traditional ocres was significant. Like the other old men that had been his contemporaries, he believed that 'you can feel that paint, you can feel that country' (cited in O’Riordan 2004: 235). It is this tangible connection that reflected Hector’s commitment to maintaining his spiritual obligations. One aspect of this spirituality is seen in his magical Krill Krill paintings, such as those created for the ceremony that took place at Warmun in 1994 the year that this particular painting is believed to have been painted.

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c.1929 – 2006

natural earth pigments on Belgian linen

107 x 107 cm

$5,000

Secure payment via Stripe. Prices in AUD.

Provenance: Kimberley Art Gallery, Melbourne, Vic, Cat No. A 62 Private Collection Vic Lawson Menzies, Aboriginal Fine Art, Sydney, November 2005, Lot 241 Private Collection NSW
Artwork story: Hector's work is known for its restrained use of colour and sombre tones, and his tendency to concentrate on the metaphysical. He gained renown for quirky figurative depictions and irregular hill formations rendered with an innate sense of spacial geometry. His subjects vary from minimal depictions of the landscape to mythological interpretations of Dreaming events. Hectors preference for traditional ocres was significant. Like the other old men that had been his contemporaries, he believed that 'you can feel that paint, you can feel that country' (cited in O’Riordan 2004: 235). It is this tangible connection that reflected Hector’s commitment to maintaining his spiritual obligations. One aspect of this spirituality is seen in his magical Krill Krill paintings, such as those created for the ceremony that took place at Warmun in 1994 the year that this particular painting is believed to have been painted.