Artist Profile for Tjunka Lewis < Back Tjunka Lewis Tjunka Lewis ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE TJUNKA LEWIS - WALPAPUKA SOLD AU$2,500.00 TJUNKA LEWIS - UNTITLED SOLD AU$280.00 TJUNKA LEWIS - UNTITLED Sold AU$0.00 TJUNKA LEWIS - WALYKUMUNU Sold AU$0.00 TJUNKA LEWIS - WALYKUMUNU SOLD AU$280.00 TJUNKA LEWIS - WAKALPUKA SOLD AU$280.00 TJUNKA LEWIS - PATJARRTJA Sold AU$0.00 TJUNKA LEWIS - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Tjunka Lewis ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

GENERAL MANAGER < Back Hayley Cotton GENERAL MANAGER Hayley completed her Bachelor of Fine Arts at National Art School here in Sydney. Since then, she’s traveled and worked at many places including NG Art Gallery, Sculpture by the Sea and for 4 years she was Gallery Assistant at Liverpool Street Gallery. In September 2019 she joined Art Leven (formerly Cooee Art) as the Paddington Gallery Assistant and is now the Gallery and Operations Manager in Redfern. A couple of her favourite artists are Makinti Napangka and Dorothy Napangardi. hayley@artleven.com +61 (02) 9300 9233

Artist Profile for Valda Napangardi Granites < Back Valda Napangardi Granites Valda Napangardi Granites ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE VALDA NAPANGARDI GRANITES - JUKURRPA (SNAKEVINE DREAMING) - MINA MINA SOLD AU$1,400.00 VALDA NAPANGARDI GRANITES - NGALIYIPI JUKURRPA (SNAKEVINE DREAMING) - MINA ... Sold AU$350.00 top Anchor 1 PROFILE Valda Napangardi Granites ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

GENEVIEVE LOY KEMARR | AKWERLKERRMWERLKERR | PADDINGTON Location: Cooee Art Paddington From 16 January to 08 February 2020 Viewing Room GENEVIEVE LOY KEMARR | AKWERLKERRMWERLKERR | PADDINGTON Artist: Genevieve Loy Kemarr From 16 January to 08 February 2020 Location: Cooee Art Paddington Cooee Art Gallery is pleased to present a wonderfully colourful and exciting solo exhibition by Genevieve Kemarr Loy, an emerging artist from the Utopia region. Genevieve is the granddaughter of Artist Nancy Petyarr and daughter of Cowboy Loy Pwerl, from whom she learned how and what subjects to paint. She paints her father’s country, which lies on the western side of Sandover River on Utopia Station. Her story is of the Bush Turkey, for which her father is senior custodian. She is one of the most naturally gifted and inspiring painters to have come out of the Utopia region in some time. Since 2010, she has been a finalist in the Blake Prize, the Waterhouse Natural Science Art Prize, the Paddington Art Prize, the Fleurieu Art Prize, the Churchie, the National Emerging Art Exhibition, and the Alice Prize. Her works have been acquired by the Art Gallery of South Australia, Deakin University, Melbourne, along with numerous private collections around the world. Genevieve’s works show a natural grasp of colour, design, and resolved aesthetic direction. Her Arwengerrp (Bush Turkey) and Akwerlkerrmwerlkerr (Green Plant) paintings combine the traditional meticulous dots with elegant wisps, creating vibrant, pulsating, and richly textured surfaces. Genevieve’s paintings are characterised by the gently beautiful handling of paint, a harmonious sense of colour and great control of the delicate spidery marks that make their way across her canvas. While these works are solidly planted within the established cultural conventions, Genevieve’s paintings are original and independently inspired; they represent her own re-imagining of the Dreaming stories. The strong diagonals that anchor each painting are a stylistic choice that represent the spatial ‘Dream lines’. To borrow from Margo Neale, they evoke ‘a sense of the timelessness embodied in ancestral continuity’. The works all relate directly to the ‘creator of her country’, the Bush Turkey, and while Cowboy Loy depicts the nesting place of the Bush Turkey, Genevieve shows its tracks as it travels between its nesting place and various waterholes searching for seeds and other tucker. On a more complex cultural level, her works relate to Anmatyerr ceremonies, offering a significant depiction of the relationship between Genevieve and her country in Utopia, Central Australia. Dr. Christine Nicholls has referred to the paintings of Iylenty artists, of which Genevieve is the most inspired descendent, as being “more than simple reconstructions of visible spatial features”. They offer “an integrated spatial, environmental, economic, spiritual and moral ‘reading’ of the land”. VIEW CATALOGUE EX 195

Artist Profile for Cory Warkatu Surprise < Back Cory Warkatu Surprise Cory Warkatu Surprise ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE CORY WAKARTU SURPRISE - PITILL JILA SOLD AU$4,800.00 CORY WAKARTU SURPRISE - ROUND ONE WATERHOLE THIS ONE Sold AU$0.00 top Anchor 1 PROFILE Cory Warkatu Surprise ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

MoffattTrace Tracey Moffatt Tracey Moffatt 1960 It was no doubt the experience of growing up ‘between cultures’ that sharpened photographer and filmmaker Tracey Moffatt’s acute perceptive faculties. Born to an Aboriginal mother and Irish father, she was adopted by a white working-class family and brought up in the suburban sprawl of outer Brisbane. Her birth mother would visit her there and, as Moffatt describes it, ‘attuned’ her to an Aboriginal identity. At the same time, the bedazzlements and bewilderments of popular European culture both provoked and fascinated her. From her early girlhood, she was intrigued by the images and the possibilities engendered by its purposeful arrangement. Staged neighbourhood snapshots already revealed her directorial talents and hinted at her future stellar career. Moffatt ‘manufactures’ her photographs or moving images rather than ‘takes’ them and consequently, imprints her own bodily self and her own sensibility upon them. She taps into areas of experience that are pushed to the edges of awareness out of habit, haste or social position. An early influence, she says, were the black and white, everyday-life photos that appeared in the 1960’s American Life magazine. To the innocuous ‘snap’ Moffatt applies a deconstructionist approach, looking beyond the obvious and the momentary, to touch upon the unseen forces at work. She brings these to the surface of the image in a surreal mesh of the past and present to reveal the imaginative and emotional ambiguity. The narratives that accompany her images are short and succinct but the power that they unleash in conjunction with these re-constructed visual renditions is often compelling and at times daunting. These narratives do not progress and resolve themselves in the customary manner. These are the frozen moments in the story that intrude on the plot and compellingly divert it, if only briefly. They open a pressure valve in what has been described as 'a boiling hot outburst' (Travis 2000: 555). Moffatt trained in her medium at the Queensland College of Art. Her early works addressed issues of identity and survival from the viewpoint of Indigenous Australians, though firmly focused upon modern motifs and stories rather than traditional ones. In her photo-series Scarred For life 1994, Moffatt’s own experiences of growing up, feed into themes about childhood memory and adolescent alienation, although photo-documentation and/or social comment are never her main imperative. Backyard nostalgia seems branded into the memory with pain. 'I think my imagery comes from my subconscious,' Moffatt says, '…I think my work is very dreamlike' (Summerhayes 2007: 256). Her reluctance to be thought of as an Indigenous artist stems from her wish to express universal human themes, as reflected more broadly in her work after 1995. Moffatt’s reputation as an exceptional and significant creative voice upon the international art stage followed upon the release of her short experimental film, Night Cries, A Rural Tragedy 1989, and her photo series Something More 1989. Both are tales of women trapped in an arid, rural environment. Issues of race and sexuality, hope and despair, love and cruelty, vie for attention but Moffatt refrains from defining the end result in terms of any of these. No moral lesson is conveyed. As a storyteller, Moffatt varies her strategies of presentation and performance in order to find the most successful manner of the telling. Her highly contrived scenarios draw upon the post-modern techniques of pastiche and (visual) quotation and are thereby ‘super-saturated’ with shifting levels of meaning. 'I am constantly thinking about composition in a photographic sense,' she says, 'and framing and textures are very important to me' (cited in Summerhayes 2007). Her eclectic working method is fuelled by a natural curiosity. In the age of mass-production, it has been said that the image as such has lost its ‘aura’ of contemplative distance (Walter Benjamin) but Moffatt strives towards it once again, employing artifice to create the hyper-reality of myth. In a series of videos made with Gary Hillberg in New York (now her part-time home), Moffatt edits together short snippets from Hollywood films to create a fast-paced, pressure-cooker of emotion and action. In Lip 1999 black women servants ‘give lip’ to their so-called superiors. Artist 2000 explores the act of creation while Love 2003, features the Hollywood romance, over and over, from go to woe. Repeated moments of high drama and impending disaster in Doomed 2007, amuse and startle us, but also somewhat worryingly reflect the mundanity that inures us to events in the nightly television news. Such repetitive gestures subvert our tendency to suspend disbelief and draws awareness to underlying cultural perspectives while glancing humour and brief moments of seeming recognition hold our fascination. After the 2000 Sydney Olympic Games, Moffatt threaded her way through miles of footage to pick up the experience of athletes who came in just below the line of medal-winning and intense public adulation. This was the subject of her psychologically intriguing photo-series Fourth 2001. Moffatt’s more recent work embraces the era of digital technology with a heavy though playful reliance on computerized manipulation of the image. Adventure Series 2004, plays with the slick, dramatic scenarios of the 1970’s comic strip. Her move towards portraiture is heralded in Being Under the Sign of Scorpio 2005, where she enacts forty photo-portraits of acclaimed women. This exhibition gives expression to Moffatt as a performance artist, using her own body to act/speak on life and individuality. 'Every piece I have ever made, be it film or photograph,' Moffatt says, 'is in some way autobiographical. Each work depicts a mood or current obsession' (cited in Summerhayes 2007). Since her first solo show in Sydney in 1989, Moffatt has proved herself an articulate and communicative artist, willing to share her thoughts and creative processes. Her works have been shown widely in solo exhibitions and international art events throughout Europe, the USA and Australasia since 1995. Moffatt had the honour of representing Australia in the 2017 Venice Biennale, where her work was lauded as a roaring success. Alongside her almost yearly exhibitions in major museums and galleries around the world, she engages in an ongoing dialogue with her now international audience. Her celebrity status has been the inspiration behind her ‘paparazzi-style’ exploration of portraiture in photo-series The Beautiful Human Face 2007. Moffatt captures family and friends at their greatest moments of power, energy and excitement. 'These portraits are in a way a mirror of myself, because the gleam in the eye you see here is my gleam, reflected back to me' Moffatt says (www.roslynoxley9.com ). To her long list of honours and prizes, Moffatt has recently added the Infinity Award (2007) from the International Centre of Photography in New York for her outstanding contribution to the field. While she does not promote herself as an Aboriginal artist per se, Tracey Moffatt’s Aboriginal heritage ensures that she is included in the top 100 Aboriginal artists survey. She enjoys a very successful career through Roslyn Oxley’s representation in Australia and with works sold across a number of continents. However, her ranking amongst the most important Aboriginal artists of all time is principally due to the repeated sales of one particular photographic image created in 1991, as well as the most popular of those additional images in the same body of work. Her photographs first appeared at auction in 2000 when three works were offered, of which two sold. The following year all 11 works offered found new homes and this spectacularly continued into 2002 when 17 of 21 works were successful. By this time her clearance rate was a very impressive 86%, which dropped slightly to 83% at the end of 2003. While her career record price was reached the following year when a suite of six Cibachrome prints from the Something More series and three black and white photographs sold for $227,050, her secondary market results have been on a downward spiral ever since. Throughout the 2010s, only about a third of the works offered have managed to sell. Moffatt's top 30 results at auction almost all consist of the same images from her Something More series. Unfortunately for Moffatt, the secondary market, in Australia at least, has considered her a one-trick pony. Little wonder she has refused auction houses copyright over this ubiquitous image in order to avoid being stereotyped. Nevertheless, Moffatt can hardly avoid it. Even Baz Lurhman, in his epic movie Australia, couldn’t resist dressing Nicole Kidman in a Cheongsam with a weatherboard backdrop as an homage. All this must be the stuff of nightmares for Moffatt, who is a very fine artist. She is equally at home with prints and graphics as she is with photography. Her inclusion in important international exhibitions and the range of work she produces is likely to continue well into the future and this should, in time, round out her auction results. One thing is definite, however. Tracey Moffatt’s work is more worthy than her auction results indicate. Collectors would be well advised to delve deeper into her oeuvre. Her Up In The Sky series created in 1997, Scarred for Life 1994 and Some Boys are good examples of works very much worth collecting, especially given their currently reasonable prices. Explore our artworks See some of our featured artworks below ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 BRONWYN BANCROFT - UNTITLED Out of stock JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00 SHOP NOW

Artist Profile for Edwin Pareroultja < Back Edwin Pareroultja Edwin Pareroultja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE EDWIN PAREROULTJA - UNTITLED SOLD AU$3,200.00 EDWIN PAREROULTJA - UNTITLED Sold AU$0.00 EDWIN PAREROULTJA - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Edwin Pareroultja ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Rosie Napurrurla Tasman < Back Rosie Napurrurla Tasman Rosie Napurrurla Tasman ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE ROSIE NAPURRURLA TASMAN - SEED DREAMING SOLD AU$1,350.00 ROSIE NAPURRURLA TASMAN - SEED DREAMING SOLD AU$400.00 ROSIE NAPURRURLA TASMAN - SEED DREAMING SOLD AU$370.00 ROSIE NAPURRURLA TASMAN - SEED DREAMING SOLD AU$320.00 ROSIE NAPURRURLA TASMAN - PIGEON DREAMING OR KURLUKUKU JUKURRPA Sold AU$300.00 ROSIE NAPURRURLA TASMAN - HONEY ANT DREAMING Sold AU$0.00 ROSIE NAPURRURLA TASMAN - SEED DREAMING SOLD AU$650.00 ROSIE NAPURRURLA TASMAN - SEED DREAMING SOLD AU$370.00 ROSIE NAPURRURLA TASMAN - SEED DREAMING SOLD AU$370.00 ROSIE NAPURRURLA TASMAN - SEED DREAMING SOLD AU$300.00 ROSIE NAPURRURLA TASMAN - SEED DREAMING Sold AU$0.00 top Anchor 1 PROFILE Rosie Napurrurla Tasman ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Kenneth Jungarrayi Martin < Back Kenneth Jungarrayi Martin Kenneth Jungarrayi Martin ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Kenneth Jungarrayi Martin ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

MunkaraEnrae Enraeld Djulabinyanna Munkara Enraeld Djulabinyanna Munkara 1895 - 1970 The practice of Tiwi figure carving stems from Pukumani funeral carving: spectacular carved and painted poles that are placed around the grave during ceremonies for the dead. This figurative element is in keeping with the longstanding innovative and evolving nature of the Tiwi artistic tradition, even though it developed at the time of European arrival and influence. Enraeld Munkara was one of the most pre-eminent early sculptors, recognisable by the distinct expressiveness of his work as well as the characteristic stance of his hunched, mourning figures, their arms extending down from a bulbous head. They portray the characters of myth and are often double sided, or Janus-like, with negative spaces similar to they way they would be sculpted as part of Pukumani poles. Enraeld’s carvings capture the movement of the ritual dance. They seem alive and mobile, with delicately painted faces and the geometric body designs that are seen in Pukumani ceremony. Their haunting, human quality has made them highly regarded by collectors and major collecting institutions. Besides being a gifted artist, he was a ceremonial leader and a man of high ritual authority. Pukumani denotes a taboo and is a period of time in which certain tasks are forbidden, including the speaking of the deceased’s name. This accounts somewhat for the plethora of names that Tiwi often have or use and which have often confused outsiders. The dramatic rituals of Pukumani are mythic in origin. The enacting of the story of how death came into the world is performed over days. It is a story of human desire and misdemeanour that brought to a close an Eden-like creation period, similar to the Dreamtime. Artistic talent has always been greatly admired and rewarded in Tiwi culture, encouraging a committed professionalism amongst individuals and whole families. This in turn has allowed for a fascinating degree of creative control and experimentation within it. This explains the verve and vigour of these funerary carvings, even in the face of human mortality. Enraeld’s carvings were grave markers that were placed upon the grave after burial. They appeased the parting spirit who would stop to talk to them upon rising for its journey to the spirit world. The carvings evoke the powerful grief of the Pukumani period. This attention and sensitivity to the spirit world perhaps explains why Dorothy Bennett, a prolific collector of Tiwi art during the 1950s and 60s, would always find Enraeld waiting for her when she arrived to buy some of his work. At the time there was no phone available at Milikapiti on Melville Island where Enraeld was living. It was the preferred place for acquiring works due to its relative independence from missionary control. In 1957, the Art Gallery of NSW commissioned a large installation of Pukumani poles. It heralded a dramatic entry for the Tiwi into the mainstream art world. Many items from Dorothy Bennett’s private collection are now housed in the National Museum of Australia and other institutions. The electrifying geometric designs of Tiwi art reverberate with an energy and meaning that has been condensed and abstracted from the lived experience of generations. The dances that accompany the installation of Pukamani poles are no less riveting. Besides his enigmatic figures, Enraeld less frequently carved birds, usually ducks and owls. As an elder, he became the leader of the Tikalaru people in south-west Bathurst Island and is seen in archival photographs with a distinctive cloth covering his lower face. This is because he suffered the disfiguring effects of the tropical disease yaws. In the museums that now provide inspirational resources for present and future generations, Enraeld stands as a master. He was a gentle man whose dedication and dexterity are felt in the evocative character of his carvings Profile author: Sophie Baka Group Exhibitions: 2003 – Tactility: two centuries of Indigenous objects, textiles and fibre, National Gallery of Australia, Canberra. 1990 - Keepers of the Secrets, Aboriginal Art from Arnhemland, Art Gallery of Western Australia, Perth. 1989 - Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra. 1974 - Australian Aboriginal Art from the Louis A. Allen Collection, M. H. de Young Memorial Museum, California Palace of the Legion of Honor. 1972 - Australian Aboriginal Art, Field Museum of Natural History, Chicago. 1969 - Australian Aboriginal Art - The Louis A. Allen Collection, R. H. Lowie Museum of Anthropology, University of California, Berkeley 1966 - Art of the Dreamtime, the Dorothy Bennett Collection of Aboriginal Art, touring exhibition, Tokyo, Japan. 1963 - Art of Arnhem Land, David Jones, Sydney. Bibliography: Allen, L., 1975, Time Before Morning: Art and Myth of the Australian Aborigines, Thomas Crowell Company, New York. Caruana, W., 1987, Australian Aboriginal Art, a Souvenir Book of Aboriginal Art in the Australian National Gallery, Australian National Gallery, Parkes, Australian Capital Territory. (C) Caruana, W., 1993, Aboriginal Art, Thames and Hudson, London. (C) O'Ferrall, M., 1990, Keepers of the Secrets, Aboriginal Art from Arnhemland in the Collection of the Art Gallery of Western Australia, Art Gallery of Western Australia, Perth. (C) Enraeld Munkara created carvings from the hardest Eucalyptus ironwood. Before the arrival of Europeans and the development of a market for traditional Aboriginal sculpture, ironwood carvings were sculpted by successive burning over an open fire and scraping away the charcoal with shells. Even later, when metal tools were employed Tiwi sculpture was rough hewn and organic by comparison to the more refined carvings created from softer woods in Central and Eastern Arnhem Land. Enraeld carved during the 1950s and 1960s and died at the start of the 1970s. For this reason his output was very small and those works that do turn up for sale are hotly contested. It is a rare piece indeed that remains in private hands once its presence has been uncovered. It is a remarkable fact that no less than 11 of his auction sales were for a collection of sculptures that all appeared at Sotheby's in 1997. The works were all collected by Dorothy Bennett on her visits to Melville Island in the 1950s and were all catalogued as circa 1955. According to the accompanying documentation, when Dorothy Bennett would visit the island it was a mystery to the missionaries how Enraeld Djulabinyanna would know she was coming. In the early 1950s there was no way he could have heard as there were no phones, yet he was always waiting by the jetty when she arrived on the island. In this 1997 sale at Sotheby's, a rendition of Purukapali established the artist's record price when it sold for $18,400. Another piece sold for $17,250 and two more achieved $13,800. No other sculpture by Enraeld appeared at auction until July 2001 and when it did, Sotheby's sold it for a whopping $30,000. The double sided figure of Bima and Purukapali, created in 1957 bearing the Bennett collection number 67 along with its original label, measured 57 cms in height. Enraeld's record price was set the next time one of his works appeared for sale in 2006. On this occasion Sotheby's re-offered the Purukapali figure which originally sold from the Dorothy Bennett collection in its 1997 sale for $17,250. By this time any work on offer by Enraeld was bound to cause a real stir and the 75 cm high ironwood carving with attached beeswax and feathers sold for $60,000. In 2015 and 2016 no less than 5 works were offered for sale, three of which came from the collection of Dutch uber-collector Thomas Vroom. In 2016, the failire to sell a Pukumani pole marked the artist's first failure at auction, bringing his sale rate down to a still incredible 95%. Less than a month later, a double-sided figure representing Bima and Purukapali sold for $29,280, marking the artist's 3rd highest result at auction. Enraeld Djulabinyanna Munkara is an artist of supreme interest. There are so very few of his works around, and all will eventually be collected into important public and private museums. Lucky is the private collector who owns one. Explore our artworks See some of our featured artworks below ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 BRONWYN BANCROFT - UNTITLED Out of stock JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00 SHOP NOW

Artist Profile for Sonia Kurrara < Back Sonia Kurrara Sonia Kurrara ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE SONIA KURRARA - MARTUWARRA SOLD AU$2,000.00 top Anchor 1 PROFILE Sonia Kurrara ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Samantha Napurrurla Wilson < Back Samantha Napurrurla Wilson Samantha Napurrurla Wilson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE SAMANTHA NAPURRURLA WILSON - YURRAMPI JUKURRPA (HONEY ANT DREAMING) Sold AU$0.00 top Anchor 1 PROFILE Samantha Napurrurla Wilson ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .