PROPERTY FROM A PRIVATE COLLECTION, SYDNEY SALLY GABORI (c1924-2015) Dibirdibi Country 2012 synthetic polymer paint on linen 151.0 x 90.5 cm inscribed verso: ARTIST: SALLY GABORI/ TITLE: DIBIRDIBI COUNTRY/ CAT NO: 7712-L-SG-0612/ MEDIUM: SYNTHETIC POLYMER/ PAINT ON LINEN accompanied by a certificate of authenticity from The Estate of Sally Gabori, Queensland (stock no.ESG15-498)
Sally (Mirdidingkingathi Juwarnda) Gabori 1924 - 2015 Dibirdibi Country signed and titled (on the reverse) synthetic polymer paint on linen 39 by 77 ½ in. 99 by 196.9 cm. Executed in 2012.
SALLY GABORI (c1924-2015) Kayardild language group Dibirdibi Country 2009 synthetic polymer paint on linen 152.0 x 101.5 cm; 154.0 x 104.0 cm (framed) bears inscription verso: ARTIST: SALLY GABORI./ TITLE: DIBIRDIBI COUNTRY./ CAT NO. 4445-L-SG-0709./ MEDIUM: SYNTHETIC POLYMER/ PAINT ON LINEN. bears inscription verso: AK15406 accompanied by a certificate of authenticity from Alcaston Gallery, Melbourne
SALLY GABORI (c1924-2015) Kayardild language group Dibirdibi Country 2006 synthetic polymer paint on linen 121.0 x 137.0 cm bears inscription verso: Artist: Sally Gabori/ Title: Dibirdibi Country/ Cat No: 1650-L-SG-1006/ Medium acrylic on linen bears inscription verso: AK13146 accompanied by certificates of authenticity from Mornington Island Arts and Crafts, Queensland and Alcaston Gallery, Melbourne
SALLY GABORI (c1924-2015) Kayardild language group My Country 2006 synthetic polymer paint on linen 151.0 x 137.0 cm bears inscription verso: Artist: Sally Gabori/ Title: My Country/ Cat No: 1463-L-SG-0806/ Medium: acrylic on linen accompanied by a certificate of authenticity from The Estate of Sally Gabori
SALLY GABORI (c1924-2015) Kayardild language group My Country 2007 synthetic polymer paint on linen 151.0 x 135.0 cm bears inscription verso: Artist: Sally Gabori/ Title: My Country/ Cat No: 2013-L-SG-0207/ Medium: synthetic polymer paint on linen accompanied by a certificate of authenticity from Mornington Island Arts and Crafts, Queensland
Sally Gabori first picked up a paintbrush in 2005 at the age of 81. The Lardil people in the Kaiadilt community had little exposure to fine art, or any comparable form of mark-making prior to that time. Traditional tools, objects, or bodies were scarcely painted, and the only recorded art that relates these stories was a group of drawings, made at the request of ethnologist Norman B. Tindale during his expedition to Bentinck Island in 1960, now housed in the South Australian Museum. Her paintings are essentially concerned with meaningful sites, known through the artist's intimate association during a lifetime spent on Bentinck Island. These sites are associated with tidal movement, seasonal change, major climatic events such as drought, and flood, and the presence of plants, sea birds, animals, and aquatic life. Gabori was mindful of the ebb and flow of life over all the seasons that made up her long life. As Djon Mundine eloquently put it, 'Her works can be thought of as a memory walk, and a mapping of her physical and social memory of Bentinck Island'.* * Djon Mundine, The Road to Bentinck Island: Sally Gabori, in The Corrigan Collection of Paintings by Sally Gabori, Macmillan Art Publishing, Melbourne, 2015
This early work by Sally Gabori was painted 18 months after she first picked up a paintbrush in 2005 at 81 years of age. That artists statement provided in relation to this work states: "This painting is about a hunting ground on my brother's country, King Alfred, on Bentinck Island". Her paintings are essentially concerned with meaningful sites, known through the artist's intimate association during a lifetime spent on Bentinck Island. These sites are associated with tidal movement, seasonal change, major climatic events such as drought, and flood, and the presence of plants, sea birds, animals, and aquatic life. Gabori was mindful of the ebb and flow of life over all the seasons that made up her long life.
This work conveys the story places of Dibirdibi, the Rock Cod ancestor, and charts his creative journey along the Bentinck Island coastline. These stories belonged to her late husband, Pat, whose traditional name was also Dibirdibi. This and other late-career paintings by Gabori are increasingly abstract in nature but retain certain representational elements crucial to mapping her country, including the prominent Kaiadilt rock-walled fish traps.
Sally Gabori first picked up a paintbrush in 2005 at 81 years of age. The Lardil people in the Kaiadilt community had little exposure to fine art, or any comparable form of mark-making prior to that time. Traditional tools, objects, or bodies were scarcely painted, and the only recorded art that relates these stories was a group of drawings made at the request of ethnologist Norman B. Tindale during his expedition to Bentinck Island in 1960, now housed in the South Australian Museum. Her paintings are essentially concerned with meaningful sites, known through the artist's intimate association during a lifetime spent on Bentinck Island. These sites are associated with tidal movement, seasonal change, major climatic events such as drought, and flood, and the presence of plants, sea birds, animals, and aquatic life. Gabori was mindful of the ebb and flow of life over all the seasons that made up her long life. As Djon Mundine eloquently put it. 'Her works can be thought of as a memory walk, and a mapping of her physical and social memory of Bentinck Island'.* * Djon Mundine, The Road to Bentinck Island: Sally Gabori, in The Corrigan Collection of Paintings by Sally Gabori, Macmillan Art Publishing, Melbourne, 2015
Sally (Mirdidingkingathi Juwarnda) Gabori circa 1924-2015 Big River at Thundi, 2008 Bears the Alcaston Gallery catalogue number AK14656 on the reverse Synthetic polymer paint on linen 77 ¼ in x 119 ¾ in (197 cm x 304 cm)
SALLY GABORI (c1924-2015) Kayardild language group My Father's Country 2008 synthetic polymer paint on linen 118.5 x 90.0 cm bears inscription verso: Artist: Sally Gabori/ Title: My Father's Country/ Cat No: 3164-L-SG-0508/ Medium: synthetic polymer paint/ on linen
SALLY GABORI (c1924-2015) Kayardild language group My Country 2009 synthetic polymer paint on linen 196.5 x 100.5 cm bears inscription verso: Artist: Sally Gabori/ Title: My Country/ Cat No: 4991-L-SG-1109/ Medium: Synthetic polymer/ Paint on Linen
MIRDIDINGKINGATHI JUWARNDA SALLY GABORI (c.1924 - 2015) DIBIRDIBI COUNTRY, 2009 synthetic polymer paint on linen 198.0 x 102.5 cm bears inscription verso: artist’s name, title, medium and Mornington Island Arts and Crafts cat. 4206–L–SG–0409 PROVENANCE Painted on Mornington Island for Mornington Island Arts and Crafts, 2009 Raft Artspace, Darwin The Laverty Collection, Sydney, acquired from the above in September 2009 EXHIBITED Laverty 2, Newcastle Region Art Gallery, New South Wales, 14 May – 14 August 2011 The Colin and Elizabeth Laverty collection – a selection of Indigenous and non–Indigenous art exhibition, Geelong Gallery, Victoria, 18 February – 15 April 2012 LITERATURE Beyond Sacred: Australian Aboriginal Art: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, pp. 382 (illus.), 395
MIRDIDINGKINGATHI JUWARNDA SALLY GABORI (c.1924 - 2015) DIBIRDIBI COUNTRY, 2009 synthetic polymer paint on linen 198.0 x 102.5 cm bears inscription verso: artist’s name, title, medium and Mornington Island Arts and Crafts cat. 4304–L–SG–0509 PROVENANCE Painted in 2009 on Mornington Island for Mornington Island Arts and Crafts Raft Artspace, Darwin The Laverty Collection, Sydney, acquired from the above in September 2009 EXHIBITED Sally Gabori – a new language in paint, Raft Artspace, Darwin, 13 August – 5 September 2009, cat. 3 Laverty 2, Newcastle Region Art Gallery, New South Wales, 14 May – 14 August 2011 LITERATURE Beyond Sacred: Australian Aboriginal Art: The Collection of Colin and Elizabeth Laverty, edition II, Kleimeyer Industries Pty Ltd, Melbourne, 2011, pp. 377 (illus.), 395
SALLY GABORI (c1924-2015) Kayardild language group Big River at Thundi 2011 synthetic polymer paint on canvas 121.5 x 91.5 cm bears inscription verso: Artist: Sally Gabori/ Title: Big River at Thundi/ Cat no: 6830-L-SG-0411
Dibirdibi Country conveys the story places of Dibirdibi, the Rock Cod ancestor, and charts his creative journey along the Bentinck Island coastline. These stories belonged to her late husband, Pat, whose traditional name was also Dibirdibi. This and other late-career paintings by Gabori are increasingly abstract in nature but retain certain representational elements crucial to mapping her country, including the prominent Kaiadilt rock-walled fish traps.
Sally Gabori first picked up a paintbrush in 2005 at 81 years of age. The Lardil people in the Kaiadilt community had little exposure to fine art, or any comparable form of mark-making prior to that time. Traditional tools, objects, or bodies were scarcely painted, and the only recorded art that relates these stories was a group of drawings made at the request of ethnologist Norman B. Tindale during his expedition to Bentinck Island in 1960, now housed in the South Australian Museum. Her paintings are essentially concerned with meaningful sites, known through the artist's intimate association during a lifetime spent on Bentinck Island. These sites are associated with tidal movement, seasonal change, major climatic events such as drought, and flood, and the presence of plants, sea birds, animals, and aquatic life. Gabori was mindful of the ebb and flow of life over all the seasons that made up her long life. As Djon Mundine eloquently put it. 'Her works can be thought of as a memory walk, and a mapping of her physical and social memory of Bentinck Island'.* * Djon Mundine, The Road to Bentinck Island: Sally Gabori, in The Corrigan Collection of Paintings by Sally Gabori, Macmillan Art Publishing, Melbourne, 2015
The Lardil people in the Kaiadilt community on Bentinck Island in Far North Queensland had little exposure to fine art, or any comparable form of mark-making, prior to 2005 when Sally Gabori first picked up a paintbrush at 81 years of age. Traditional tools, objects, or bodies were scarcely painted, and the only recorded art that relates these stories was a group of drawings made at the request of ethnologist Norman B Tindale during his expedition to Bentinck Island in 1960, now housed in the South Australian Museum. Gaboriâs paintings are essentially concerned with meaningful sites, known through the artistâs intimate association during a lifetime spent on Bentinck Island. These sites are associated with tidal movement, seasonal change, major climatic events such as drought, and flood, and the presence of plants, sea birds, animals, and aquatic life. Gabori was mindful of the ebb and flow of life over all the seasons that made up her own long life. As Djon Mundine eloquently put it. âHer works can be thought of as a memory walk, and a mapping of her physical and social memory of Bentinck Islandâ.* * Djon Mundine, The Road to Bentinck Island: Sally Gabori, in The Corrigan Collection of Paintings by Sally Gabori, Macmillan Art Publishing, Melbourne, 2015
