This is one of Dorothy Napangardi's 'Salt on Mina Mina' paintings from the central Australian desert. It is so amazing and inspiring in every way, that if I were ever to produce a work like this I would feel that my mission on earth had been accomplished and there was nothing more to do. Dorothy, like most of the recent wave of Aboriginal women painters, only started painting late in life with little or no previous art experience. How does this miracle happen? How does a race of people, living a simple life in some of Earth's harshest environments, come up with artworks that are so utterly contemporary that they strike a chord in every sensitive person's heart anywhere in the world?
As well as being one of the most marginalised, the Aboriginal culture is also one of the oldest with an unbroken history of 40,000 years. They have survived in the desert simply because they are so perfectly attuned to it. Anything less would have vanished. These artists are able to tap into a wellspring of knowledge and experience that we can only guess at. Their work expresses their sensitivity for, and integration with, the land like no other. In their existence lies our redemption. They claim that their paintings are a cry of help for the land to the West.
How can we hear and implement their message? In our cities we have lost a vital contact with, and respect for, the land which we need so much to support us with fresh water, fresh air, food and waste disposal. If we as designers can imbue our work with just a little of the qualities of these paintings, can we begin to rectify this impoverishment? Can we learn from, and apply, just some of the processes and sensitivity of artists like Dorothy? In her work I sense a total immersion and rhythmic articulation that blots out the twittering rational mind, allowing her to connect to her surroundings and heritage. Therein lies my goal.
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