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SHORTY LUNGKATA TJUNGURRAYI CIRCA 1920-1987 UNTITLED 1972 50.5 by 35 5 cm Synthetic polymer paint and natural earth pigments on composition board Provenance: Painted at Papunya in 1972 Lauraine Diggins Fine Art, Melbourne Private collection, Melbourne Literature: Diggins L. et al, A Myriad of Dreamings, Twentieth Century Aboriginal Art, Malakoff Fine Art Press, Melbourne, 1989 illus p.47, pl.44 Exhibited: A Myriad of Dreamings, Twentieth Century, Aboriginal Art, Lauraine Diggins Fine Art at Westpac Gallery, Victorian Arts Centre Melbourne, 5 - 22 October 1989, catalogue number 56, label on reverse of frame Cf. Untitled, 1972, in the collection of the National Gallery of Victoria, illustrated in Perkins, H. and H. Fink, Papunya Tula: Genesis and Genius, Sydney: Art Gallery of New South Wales, 2000, 47. An unusual example of the artist's work where he has created an atmospheric effect more prevalent in the work of some of his contemporaries. The thick white dots of varying size that overlay the surface of this painting produce a highly tactile patchwork where the sets of concentric circles are allowed to stand out against the background. The circles represent specific places and camps in the artist's country in the Gibson Desert. Shorty Lungkata was one of the last artists to join the Papunya painting group in 1971-72. At this time he was regarded as one of the senior Pintupi ritual men at Papunya, a great dancer and hunter. In his early work the artist experimented with a variety of styles, from plain linear images to more complex, atmospheric compositions that feature layers of dotting He also used a wide range of the conventional desert iconography. He is renowned for having produced some of the finest paintings at Papunya in the 1970s.