Lorna Fencer Napurrula

Lorna Fencer Napurrula was born in approximately c. 1924, like many Aboriginal people born in that era, most were given a formal birthday of the 1^st of January. Sadly Lorna passed away in December 2006 however she lives on through her art and the legacy and influence she has left behind. Lorna was born at Yarturluyarturlu in Yumurrpa country in the Tanami Desert in the Northern Territory.

She was a Warlpiri and Ngaliya speaker and as a child up until her young adult life she lived a very traditional lifestyle in the bush. In 1949 like many Warlpiri people, she and her family were forcibly removed from their traditional lands and relocated to the government settlement of Lajamanu at Hookers Creek. This was approximately 250km from their own country around Yuendumu.

Although removed from her traditional homelands Lorna maintained her cultural connection and was able to strengthen her cultural identity through ceremonial activities and later through her art. At the time of her death she was a highly respected senior law woman who “painted up” ceremonies all her life. This further solidified her position as a prominent elder and teacher within her community. Not only a high respected elder and law woman Lorna was also influential in the Aboriginal Art Movement and like her counterpart from Utopia, Emily Kame Kngwarreye, Lorna was equally as influential from a Warlpiri standpoint.

Lorna first started painting on canvas in 1986, participating in “The Introduction of the Traditional Painting Course” which was held at Lajamanu. She then went on to paint for Warnayaka Art Centre. Like Emily Kame Kngawarreye, Lorna pioneered the women’s art movement away from the traditional iconography so often seen and created extravagant abstract artworks. Lorna depicted her Dreamings through her artwork which included Yarla (Yam), Wapirti and Marlujarra. These Dreamings allowed her to paint subjects such as the Bush Yam, Ngalatji (Little White Flower), Bush Tomato, Caterpillar, Wallaby and certain Men’s stories.

Painting for most of her adult life Lorna caught the attention of art collectors around the world. Her paintings have been exhibited all around Australia as well on the international stage. She has been a selected entrant in Australia’s most prestigious Aboriginal art award on two separate occasions as well as winning the Gold Coast City Art Award in 1997 and the John McCaughey Memorial Art Prize in 1998. Her paintings are characterised by liberal quantities of paint which is layered one upon the other with a variety of different colours. Lorna Fencer Napurrula's seniority in her tribe and her strength of character is reflected in her paintings. Lorna visually describes the important information on when and where to gather food with her distinctive style. This colourful layering style with an exuberance and depth not often seen in paintings from this region.

She is considered to be a highly collectable artist. The Australian Indigenous Art Market has her ranked as the 90^th most collectable Aboriginal Artists of all time and in 2013 was ranked 69^th in that market. Central Art is honoured to still have one of her works available. The painting depicts Lorna’s “Yarla” Dreaming and refers to the Napurrula and Nakamarra women as they would gather bush yam. It is a stunning artwork with a colour scheme that is bright and feminine.

Central Art has created an artist tribute page for Lorna Fencer. To read this just click on the link /aboriginal-art-culture/artist-tributes/lorna-fencer-napurrula/

Central Art wish to note that we have removed Lorna’s picture from our website as a sign of respect for her family and culture. This is in recognition of Aboriginal customs and cultural practices. We do wish to note that we have continued to use her name as without doing so it would be difficult to promote her art. In Aboriginal culture it is considered inappropriate to refer to someone who has passed away by their name, for fear that by doing so it will keep their spirit from leaving.