Johnny Warangkula Tjupurrula

DOB: c.1925 – 2001
BORN: Mintjilpirri, Kintore, NT
LANGUAGE GROUP: Pintupi/Warlpiri

Johnny Warangkura Tjupurrula

Johnny Warangkula Tjupurrula was born in 1925 at Minjilpirri, an area northwest of Illipili and south of Lake Mackay. Close by is his major dreaming site Tjilkari. The son of mixed parents, his mother was of Luritja/ Warlpiri/Pintupi descent and his father Luritja/Warlpiri. Johnny was raised in a traditional manner, living an orthodox lifestyle in the desert and never attending European schools. He is of the Luritja language group and was initiated into manhood and learned his dreamings during his family’s stay at a mission in Hermannsburg.

Johnny can recollect his first contact with Europeans, remembering his fearful response when witnessing an aircraft fly over his land as a young boy. His people believed the aeroplane to be a ‘marnu’ or devil. At a later date, his people came into contact with camels for the first time and again hid in fright as they recognised the beasts as being evil.

Before the bulk of the Haasts Bluff population was moved to Papunya in 1960, Johnny was selected along with Nosepeg Tjupurrulas Aboriginal representative to meet the Queen. After settling in Papunya Johnny served on the Papunya Council with Mick Namarari (qv), Limpi Tjapangati and Kingsley Tjungarrayi.

Geoffrey Bardon’s arrival at Papunya inspired the community to begin using western art materials. Johnny rapidly developed a distinctive style of his own which came to be known as ‘overdotting’. He uses several layers of dots to depict his dreamings, which consist of Water, Fire, Yam and Egret stories. There are also stories from Nyilppi and Nyalpilala which are his father’s Dreamings. Geoffrey Bardon labelled this stylistic layering effect as ‘tremulous illusion’ and in his book, Papunya Tula Art of the Western Desert. Bardon fondly recollects images of Johnny painting with an “intense level of intuitive concentration”.

From the very beginning at Papunya, Johnny has always adhered to the idea that his paintings are stories – Aboriginal stories. He has never allowed any infiltration of European influence and rarely uses literal depictions of objects. Geoff Bardon advised the ‘painting mob’, of which Johnny was an important member, to paint in an Aboriginal way using Aboriginal signs and symbols that one might have found in body paint, tjuringa or sand paintings. Because of this ‘purity,’ his works retain integrity which places them amongst the most significant productions from the seminal art site that was Papunya.

Bardon pointed out that Johnny’s paintings, ‘can be measured on a scale of modern aesthetic’. And as if to qualify that remark, Bardon further offered the idea that the artist used, ‘calligraphic line with almost Baroque excitement’. A very insightful observation that holds true in 1999, particularly in regards to the very ‘late’ and hugely energetic works of this period. One of the great characteristics of the Baroque style, dominant in the seventeenth century, was the energy, rhythm and theatricality with which stories (usually Christian stories) were told. Johnny’s style was described this way: Tight organization of bands and lines, hatching and dot embellishment give his work a powerful, energetic visual strength. He uses convoluted spiral symbols for people, animal tracks and distorted figures as illustrations of ceremony not in a formal way but intuitively.

In early 1997, Michael Hollow made a great effort to revive Johnny’s painting career and commissioned him to do a series of small works. From this series Johnny began a new phase in his distinguished painting career and developed this new direction with other galleries and dealers over the next few years. This series, perhaps his final one due to failing health, includes a range of small to very large dynamic, powerful paintings in pure red, blacks with white, yellow and ochre highlights. Each of the works features the established imagery of Johnny’s Dreamings overpainted to hide the secret and sacred elements. These works have evolved slowly over an eighteen-month period during which time the artist has displayed once more his mastery of this unique form of art and storytelling. These important late works are made despite failing eyesight and poor health.

From 1999 Johnny painted with a newfound freedom, both in expression and technique. Where he was once known for his delicate and soft white dotting, he attacked the canvas to tell the story with great gusto. He jabbed large dots on to the surface and produced roundels and symbols for weapons with great sweeps of his arm and the brush. Red, black, white.

Had he painted in France during the 1950s he would have been labeled a ‘Taschist’. The audience who saw his paintings at the United Nations Building seemed generally to agree that Johnny was indeed a significant artist who in some sense retained an authenticity and timeless importance in his work that some of the younger painters were yet to achieve. All great painters, past and present, seem to have an additional level in their work that may defy description. This evasive quality is sometimes born of the synthesis achieved between colour, form, texture and meaning. When viewing paintings by Johnny Warangkula Tjupurrula we find ourselves in a position where the recognition of another elemental level is tantalisingly close and for a lucky few the spirit is moved beyond words. In the presence of great visual art, the employment of everyday language can become a futile and unproductive gesture.



Awards and Recognition

1956 He was presented to the Queen, together with Nosepeg Tjupurrula, at Towoomba, Queensland

Selected Solo Exhibitions

Selected Group Exhibitions

2021 50 Years of Papunya Tula Artists, Kate Owen Gallery, Sydney
2021 Lineage & Legacy, Araluen Arts Centre, Alice Springs
2021 Papunya Tula: 50 years 1971-2021, S.H. Erwin Gallery, Sydney
2020 Crossings, D’Lan Contemporary, Melbourne
2020 Pintupi Masters – Enduring Dreamings, Kate Owen Gallery, Sydney
2020 Director’s Choice 2020, Kate Owen Gallery, Sydney
2019 Defining Tradition: the first wave & its disciples, Kate OWen Gallery, Sydney
2018 Significant, D’Lan Contemporary, Melbourne
2017 A SWEEP: Old & New Works, FireWorks Gallery, Brisbane
2010 Desert Country, Art Gallery of South Australia, Adelaide
2011 Origins of Western Desert Art: Tjukurrtjanu, The Ian Potter Centre, National Gallery of Victoria, Melbourne
2001 Icons of Australian Aboriginal Art, Singapore
1999 Tjinytjilpa, Embassy of Australia, Washington, DC, USA
1999 Flinders Art Museum Flinders University, Adelaide
1999 Fine Arts Museums of San Francisco , USA
1993 Art Gallery of Western Australia, Perth
1991 Lowe Art Museum, University of Miami, FL, USA
1989 Westpac Gallery, Melbourne
1989 Mythscapes, National Gallery of Victoria, Melbourne
1989 Australian National Gallery, Canberra
1988 Wagga Wagga City Art Gallery, Wagga Wagga, NSW
1982 London, England
1982 Georges Gallery, Melbourne
1982 Brisbane Festival
1981 National Gallery of Victoria, Melbourne


  • Hank Ebes Collection, Melbourne
  • Holmes a Court Queensland Art Gallery
  • National Gallery of Victoria, Melbourne
  • Art Gallery of Western Australia, Perth
  • Art Gallery of South Australia, Adelaide
  • National Museum of Australia, Canberra
  • National Gallery of Australia, Canberra
  • Orange Regional Gallery, Orange
  • Alice Springs Law Courts, Alice Springs
  • Museum Art Gallery of the Northern Territory, Darwin
  • Flinders University Art Museum, Adelaide
  • South Australian Museum, Adelaide
  • Art Gallery of New South Wales, Sydney
  • Central Collection, Australian National University, Canberra
  • Department of Archaeology and Anthropology, Australian National University, Canberra
  • Donald Kahn Collection
  • Lowe Art Museum, University of Miami
  • National Gallery of Victoria, Melbourne
  • Queensland Art Gallery, Brisbane
  • The Holmes a Court Collection, Perth
  • The Kelton Foundation, Santa Monica, USA
  • Laverty Collection, Sydney
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