TJURUPARU WATSON - ILLURPA
TJURUPARU WATSON
ILLURPA, 2003
140 x 90 cm
synthetic polymer acrylic paint on linen
REGION
Irrunytju NT
PROVENANCE
Irrunytju Arts, NT Cat No. IRRTJW03196
Private collection, NSW
Art Leven, Gadigal NSW
Accompanied by a certificate of authenticity from Irrunytju Arts
STORY
“That rockhole’s called Alalurtja. This is kuniya Tjukurpa (snake dreaming). All the soldier snake men were sitting down sharpening their spears. The minyma kuniya were singing to protect the men and to make their spears go straight. A young boy got onto the shoulders of one of the soldier men to look out for the smoke of the minyma and wati linga (lizard man and wife). The snake men speared that lizard family. One child escaped and ran away. He was all by himself. Ngaltutjara (poor thing).” – Tjuruparu Watson
In Illurpa, senior Pitjantjatjara artist Tjuruparu Watson renders a powerful and layered interpretation of his ancestral Country in the Great Victoria Desert, east of the APY Lands. Far more than a landscape, the painting is a living document of Tjukurpa—an epic, interwoven network of law, history, cosmology and kinship that governs the Aṉangu way of life.
The work centres on a sacred rockhole site known as Alalurtja, connected to the kuniya Tjukurpa—the Snake Dreaming. In this ancestral story, a group of kuniya (snake) men, described as 'soldier men', are gathered at the site, meticulously sharpening their spears. Nearby, the minyma kuniya (female snakes) sing protective songs—spiritual acts intended to empower the men and guide their spears in flight.
The narrative takes a dramatic turn when a young boy, perched on a soldier man's shoulders, scans the horizon for signs of the lizard couple—wati linga and his wife. Upon seeing their smoke, the snake men prepare for conflict. They spear the lizard family, an act of ancestral warfare, leaving one lone child to flee into the desert. His fate—running alone, orphaned—is remembered with tenderness in Watson’s simple but profound closing word: ngaltutjara, meaning ‘poor thing’.
This is a story of survival, loss, and cosmic justice, carried across generations and landscapes. Watson’s bold, earthy brushwork maps not only the terrain of Illurpa, but the spiritual tension embedded within it. The land itself is a witness—etched with memory, songlines, and sacred responsibility. The painting is built in rhythmic blocks of ochre, sandstone, and iron-rich reds, evoking the open plains, stone ridges, and ancestral pathways of the Great Victoria Desert. The composition pulses with energy, echoing the presence of the snake men, the echoes of ceremony, and the aftermath of the spear-throwing.
Watson paints with deep authority. As a senior custodian of this story, he does not merely illustrate the Dreaming—he enacts it. Every dot and mark is a performative gesture, a renewal of his obligation to Country and to the ancestors who walked before. At the same time, his work opens a space for the next generation to learn, remember, and uphold these truths.
Illurpa is both a tribute and a warning—a testament to the laws that shaped the world, and to the emotional depth of the stories that continue to animate it. Through his painting, Watson ensures that the kuniya Tjukurpa remains present, pulsing through the canvas and into the future.
