Kuchi Puppy Tora Bora, Afghanistan, 2016

$200.00
+ free delivery Australia-wide
Ships from
Sydney NSW
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This product can be customised, so please select one of the options shown in the drop down.

Each signed print is one of a limited edition of just 150, and printed using the highest quality inks on archival-quality paper, which allows for a life of more than 100 years if cared for properly. Prints are accompanied by a certificate signed by the Editors of The Sydney Morning Herald, The Age, and The Canberra Times.

“We have a circus in Jalalabad, which has a beautiful tent lined in silk and a high centre pole for my monkey, Dali, to climb. We take the circus to villages where the children have never seen theatre or even heard music, let alone had a monkey perform tricks for them.

American drones continually fly overhead and every village tells sad stories of families targeted and destroyed by “hell fire” missiles. The only survivor is usually the family’s pet dog. I drew and painted this kuchi pup at a village in the Tora Bora mountains. It sat in the ruins of a house, waiting and pining for its human family. No one could persuade it to stop its vigil, even with the offer of food. As I painted, the little pup shivered in the cold of an oncoming snowstorm. In my heart, I wanted to take it back to the Yellow House but we already had two other pups we had rescued. I have written a story about this pup called War Dog and hope to publish it as an illustrated graphic novel.”

Gittoes returns to the Sydney Yellow House, September 9 to September 29, exhibiting works from his Yellow House in Jalalabad, Afghanistan. 

Sizes

Small: 23cm x 30cm

Large: 33cm x 42cm

Frames

  • Box frames are sourced from sustainable plantation timber

  • Frame dimensions are 20mm face and 37mm depth

  • Available in Classic White, Matte Black, Tasmanian Oak and Dark Timber

  • 2mm clear acrylic with 80% UV protection rating

  • Artworks are mounted to acid-free foam core

  • Artworks are set to the rear of the frame with a 20mm space to the acrylic

  • Crafted by Amarisco Picture Framing, Sydney. Ph 02 9439 3133, amarisco.com.au.

Paper quality

  • The high quality of the paper and inks should ensure a life of more than 100 years if cared for properly.

  • A museum-quality, smooth cotton high white is used. It is 315 gsm with 100% cotton linters and a silky smooth matte surface.

  • It is acid and lignin free with an excellent colour gamut.

  • The surface has a special matte coating, designed for high-quality fine art and photographic reproduction.

  • Images are printed with archival quality Ultrachrome pigment-based K3 inks onto smooth fine art paper.

  • The term 'giclée print' (pronounced zhee-clay) refers to an elevation in printmaking technology.

Our printing partner

Vision Image Lab, our professional printing partner, also arranges framing and delivery. You can contact them directly regarding any delivery enquiries regarding this print.

Email: accounts@visionimagelab.com.au

Contact: (02) 9319 3300


“I have never been able to experience darkness the way most other people seem to do. At night in my dark bedroom, as a child, the space would fill with animated coloured shapes like thousands of butterflies darting between larger slower moving and luminous paisley patterns. My original mission as an artist was to paint the visions of a mystic, to open doorways to the reality of ‘the other side’. But instead, for most of my life I have gone to war.”

In 1968, at the age of 18, artist and aspiring photojournalist George Gittoes travelled to New York. where he experienced firsthand the social revolution unfolding in the US. He met the Black Panthers, shot experimental film for Andy Warhol and photographed anti-Vietnam protesters in the streets. These experiences set his course to place himself “where history was happening”, working in film, photojournalism, painting and drawing.

His work has taken him to Nicaragua, Somalia, The Philippines, Gaza, Lebanon, Western Sahara, Cambodia, Rwanda, Mozambique, Bosnia, Northern Ireland, Congo, South Africa, Tibet, China, East Timor, Bougainville, Syria, Iraq, the tribal belt of Pakistan and Afghanistan. Speaking of his darkest experience in Kibeho, Rwanda, he writes: “I’ve witnessed too much to remember and more than anyone should.”

It has also seen him awarded the Sydney Peace Prize in 2015, “For exposing injustice for over 45 years as a humanist artist, activist and filmmaker, for his courage to witness and confront violence in the war zones of the world, for enlisting the arts to subdue aggression and for enlivening the creative spirit to promote tolerance, respect and peace with justice.”

The original Yellow House in Potts Point, Sydney, was inspired by Vincent Van Gogh's hope to establish a collective for artists at his own Yellow House in Arles. So, too, William Morris’s Red House in England – an artist-designer collective set up in the late 19th century that included the likes of Dante Gabriel Rossetti and Edward Burne-Jones. But while Van Gogh was Gittoes’ “artistic saint and hero”, it was Morris’s Red House that was the model for his and his compatriots’ Sydney vision in 1971.

There were also similarities between their ambitions and Andy Warhol’s Factory project in New York – the multimedia nature of combining filmmaking with painting, and the promotion of music. But the aesthetic was very different. While Warhol saw it as a strength to eschew any trace of hand-applied techniques, the Yellow House collective set out to rebel against the mass-produced, the slick, the banality of mass-consumption.

And so, too, at the Yellow House Jalalabad (YHJ), where the aim is to make it as total in its beauty as any of the houses Morris & Co. designed and decorated. A place to showcase local design and craftsmanship – marble floor tiles, ceramic wall tiles in the best tradition of mosque decoration, handwoven carpets, objects forged in blacksmiths’ workshops , embroidered fabrics, carved furniture and ceramics. “In this way we can preserve this sanctuary of medieval skills lost from most of the industrialised world.”

For the past eight years, Gittoes has been funding the YHJ from the sales of his works, which he paints in its Secret Garden, before transporting them back to Australia. The proceeds from Gittoes’ Return to the Yellow House exhibition in September will go towards funding the purchase of the building in Jalalabad, to make it YHJ a permanent enterprise.

“My use of art as a weapon against war fills all the art books on Gittoes with images of humanity’s struggle and suffering. Therefore, at 68, I feel like I am cheating to have been able to go back to this original ambition and be painting mystical paintings which my 21 year-old-self would be pleased with. This 2017 exhibition leaps over the 46 years between 1971 and 2017 as if they never happened. I cannot wait to put the paintings up on the walls and know they will ‘sing’ with joy. Some of the joy will be my surprise that I have survived all the wars to bring this vision full circle, back to the Yellow House.”

He is represented by Nanda\Hobbs Contemporary (nandahobbs.com) in Sydney

All deliveries include tracking and require a signature on delivery.

Delivery within Australia Delivery time Price
Standard delivery Up to six weeks FREE
International delivery Delivery time Price
New Zealand Up to eight weeks

1 x print $30

2 x prints $30

3 x prints $60

4 x prints $60

Plus $30 for every 1–2 prints thereafter

Rest of world Up to eight weeks

1 x print $45

2 x prints $45

3 x prints $90

4 x prints $90

Plus $45 for every 1–2 prints thereafter

Sizes

Small: 23cm x 30cm

Large: 33cm x 42cm

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