Print only - 1226 x 1000mm
Framed - 1500 x 1270mm
Tommy Yannima Pikarli Watson (1935 - 2017) was a senior Pitjantjatara elder and Law man of Karima skin group. He was born around 1935 in Anumarapiti, 75 kilometers west of Irrunytju, also known as Wingellina, in WA, near the junction of its border with the NT and WA. His given names of Yannima and Pikarli relate to specific sites near Anumarapiti.
Tommy Watson began painting in 2001, and was one of a handful of painters establishing the Irrunytju community art centre in 2001. Watson’s work has received critical acclaim, both within Australia and internationally. In 2003 Watson was one of eight Indigenous artists, alongside Paddy Bedford, John Mawurndjul, Ningura Napurrula, Judy Watson and Gulumbu Yunupingu, who collaborated on a commission to provide works that decorate one of the Musée du quai Branly’s Paris four buildings completed in 2006.
In early 2013, Watson moved to live with family in Alice Springs in the Northern Territory. Following an improvement in his health he resumed painting, producing large works up to five meters long. Until the end of his career Tommy was selling large canvases and one selling for over $800,000 in 2013.
In 2014, a major work of 160 x 485 cm by Tommy Watson was exhibited at The European Fine Art Fair (TEFAF), one of the world’s most prestigious art fairs. Watson’s work was also on display as part of a group exhibition of First Contact Western Desert Masters also featuring Naata Nungurrayi, Esther Giles Nampitjinpa, and George Hairbrush Tjungurrayi in Sydney in June–July 2014.
In 2014 the Art Series Hotel Group named Watson as the first Indigenous artist to feature in the collection.Located in Adelaide, his namesake hotel The Watson
Tommy Watson’s was known for his use of strong vibrant colours, that symbolically represented the ancestral stories of his country.
Limited Edition print by Tommy Watson. This print comes with Certificate of Authenticity.
Only 20 prints available
Photographic paper is a heavy-weight, high-quality inkjet photo paper offering accurate reproductive qualities, extended longevity and a robust surface for exceptional yet durable prints. As with its gloss equivalent, this paper is created using the very latest universal inkjet coating technology, which ensures that prints are not only dry to the touch straight from the printer, but are compatible with all popular printer manufacturers. The satin surface is perfect for every type of image genre from stunning portraits and scenic landscapes to wildlife, mono conversions, abstracts, macros or architecture.
What is rag paper? We use 2 types.
Ilford Textured Cotton Rag - The new GALERIE 100% Cotton fourdrinier-made rag papers lead the way within the range of meeting the needs of professional fine art printers. Photographers and print-makers alike can rely on these new papers to produce the highest quality images they have come to know and love from ILFORD. With no optical brighteners and the longevity, image stability and clean matt surface required for the very best in fine art printing, Smooth Cotton Rag is offered as the perfect choice for crisp detail, while the Textured Cotton range features a contoured surface for enhanced creative expression.
Art Velvet Textured Rag - Matt, velvet textured, bright white, water-resistant fine art paper. This is a cold press paper that is strong and dimensionally stable made from 100% cotton fiber and is acid and lignin free. Capable of reproducing eye-popping colour gamut images that will last for generations.
What is canvas paper?
Natural White Solvent Canvas is a cotton/polyester blend canvas that is free of Optical Brightening Agents (OBAs) for a stable natural white tint and Satin finish for use with solvent and eco-solvent printers. Ideal for décor, fine art prints, portraits and commercial displays, this canvas offers excellent colour reproduction and image quality to give a true fine-art look to solvent prints.
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