May 6, 2022
SALLY M NANGALA MULDA - SULMAN ART PRIZE FINALIST
Congratulations to Sally M Nangala Mulda who is a finalist in the 2022 Sulman Art Prize.
The Sulman Prize is awarded for the best subject painting, genre painting or mural project by an Australian artist.
Sally Mulda's painting 'Old Days at Amoonguna' depicts the art centre's toyota picking up all the woman for painting. That kungka Nadine driving. Long time ago I use to get picked up at Little Sisters. Now Abbott’s Camp. Every day. We listen to CAAMA radio. Good ways. Everybody talkin’ talkin’. This one [middle] – three woman, they on the hospital lawn, playing card for money. Pay day. Night time [right panel] four woman by the fire at town camp. They sitting round the fire at night time. Keeping warm, talking story. Maybe they by the fire because no power card? This is town camp life. Every day.
Old Days at Amoonguna 2021
acrylic on linen
66 x 122.5 cm
July 22, 2021
SALLY M NANGALA MULDA, FINALIST IN THE ARCHIBALD PRIZE AGNSW 2021
This open competition is judged by the trustees of the Art Gallery of NSW. Finalists are displayed in an exhibition at the Gallery (although in the early years all entrants were hung). Although it is a non-acquisitive prize, several of the entries are now part of the Gallery’s collection.
Born in Titjikala in 1957, Mulda experienced a childhood accident that left her with impaired vision, but surgery has improved her sight. Exhibiting since 2008, she creates bright canvases with distinctive cursive text, depicting scenes of everyday life within Abbott’s Camp and drawing attention to social and political issues with emotional honesty.
In this portrait, the artist is wearing the stripey top and sits with her daughter, Louise Abbott. The other two people cooking roo tails on the fire represent all town camp women. As Mulda puts it: they are ‘maybe me and Louise, maybe any womans. This is town camp life. Every day.’
Mulda is also a finalist in this year’s Sulman Prize.
June 9, 2021
SALLY M NANGALA MULDA FINALIST IN THE BAYSIDE ART PRIZE
Established in 2015, the Bayside Acquisitive Art Prize is a celebration of contemporary Australian painting. The finalist exhibition brings together a broad range of artists, both established and lesser known, whose varied approaches to the painted medium conveys the breadth and diversity of painting in Australia today.
The annual prize is an important opportunity for Bayside City Council to add exceptional works of art to its collection and to promote art and artists as a valuable part of the Bayside community.
Sally Mulda's work 'Town Camp Stories' 2020 is a finalist in this year's prize.
May 16, 2019
SALLY NANGALA MULDA FINALIST IN THE SULMAN PRIZE AT THE ART GALLERY OF NEW SOUTH WALES
Sally Nangala Mulda has been selected as a finalist in the 2019 Sulman Prize, administered by the Art Gallery of New South Wales. The Sulman Prize is awarded for the best subject painting, genre painting or mural project by an Australian artist.
Sally says of her working this years prize:
This is me outside my home at Abbott’s Town Camp in Alice Springs feeding my cats. Little cat, mother cat. One woman, my family, playing cards. Nobody bothering anybody. No papa bothering the cats! We are just sitting quietly. I like quiet. Nobody talking.
Sally M Nagala Mulda, 2019
Image: Sally feeding little cat, mother cat, acrylic on linen, 76 x 92 cm
May 1, 2019
SALLY NANGALA MULDA FEATURED IN ART/EDIT
Louise Martin-Chew writes about Sally Nangala Mulda's life and painting for Art/Edit magazine. She says:
'WHAT IS MOST DISTINCTIVE about the paintings of Sally M. Nangala Mulda is that they tell us just how it is to live in Abbott’s Town Camp, not far from the mostly dry Todd River bed in Alice Springs (Mparntwe). Many of the paintings produced by Indigenous artists working out of the region use colour and pattern to evoke the romance of their connections to Country. However, Sally’s approach delivers the gritty reality of the place in which she lives, the interactions between police and Aboriginal people, the supermarket as the source of “a feed”, the tension around alcohol consumption and people sleeping rough, all set amongst saltbush, waterholes, homes and shops.'
April 25, 2019
SALLY NANGALA MULDA FEATURED IN RUNNING DOG FOR 'THE NATIONAL' AT THE AGNSW
On Sally Nangala Mulda's work for 'The National' at the Art Gallery of New South Wales, Snack Syndicate for Running Dog writes:
'Sally Mulda’s narrative style mimics the pedantic, forensic language of the state while at the same time showing that such language tends to obfuscate its subjects—people who live and die. Mulda’s frank descriptions of the Town Camp index the countless different ways that black life is both constrained by, and always in excess of, white law.
Together, the paintings in the exhibition are quietly unsettling, staging a series of encounters that produce both minor affects (annoyance, confusion, amusement, affection) and their major implications. Engaging with the paintings, we feel the enormity of living under occupation, as well as the conviction that such enormity can never be total.'
April 24, 2019
SALLY NANGALA MULDA FOR 'THE NATIONAL - NEW AUSTRALIAN ART'
April 17, 2019
SALLY NANGALA MULDA FEATURED IN 'THE NATIONAL - NEW AUSTRALIAN ART' AT THE ART GALLERY OF NEW SOUTH WALES
Curator Isobel Parker Philip talks about Sally Mulda's work for 'The National' at the Art Gallery of New South Wales:
'Sally Nangala Mulda is an artist who lives in Abbott's Town Camp in Alice Springs in the Northern Territory.
She paints scenes from her daily life. She paints people having breakfast. She paints going to the football. She paints people going to sleep. She also paints the routine and intrusive presence of the police amongst the indigenous communities in the Northern Territory.
All of these scenes are painted with the same frank and stark honesty. There is a normalisation of the police presence amongst the Indigenous community that is shocking to see at first and is amplified by the regularity with which Sally paints it and that we see it again and again across the installation.
This reminds us about what life looks like for a huge portion of our Indigenous people. In this work we see the lived effects of the 2007 Northern Territory intervention. It's a brutal reminder about what reality can really look like.
Sally paints her figurative scenes and then applies text on top of them to tether each work to a particular time and place. These are diaristic documents. They're paintings that do the job of photographs or snapshots. There's a kind of direct relationship between these scenes and the real world. We read them as snapshots. We read them as kind of episodes from life as it is lived.'
April 16, 2018
SALLY M NANGALA MULDA IN THE STUDIO
This is us, this is the way it is – that’s what Sally Mulda’s paintings of life seem to say. Paddy wagons in the river, policemen pouring out grog, an assortment of bottles and cans lying on the ground; four disconsolate people, probably men, walking away. Dogs, children sleeping and everything in between that makes up life in the Alice Springs Town Camps, are depicted in her paintings, raw and free.