DACOU Gallery, Adelaide
Private collection, Brisbane
Fine Aboriginal Art, Deutscher-Menzies, 27 June 2000, lot. 111
Private collection, Melbourne
''Whole lot, that's whole lot, Awelye (My Dreaming), Arlatyeye (pencil yam), Arkerrthe (mountain devil lizard), Ntange (grass seed), Tingu (Dreamtime pup), Ankerre (emu), Intekwe (favorite food of emus, a small plant), Atnwerle (green bean), and Kame (yam seed). That's what I paint, whole lot.'' (Emily Kame Kngwarreye 1990, translation by Kathleen Petyarre)
As one of the five major Indigenous artists, Emily Kame Kngwarreye's work needs little introduction. Born at Utopia circa 1910, her paternal clan Country Alkahere spans one of Australia's most remote regions some 230kms northeast of Alice Springs.
After decades of responsibility to her Dreamings shown in mark making on body and in sand, as a senior Anmatyerre custodian her marks found enduring expression on canvas. Across a short but prolific period of production from 1988 to her passing in 1996, it is understood that she completed an average of one painting per day in testament to the Dreamings, which perpetuated her life force.
Her subject, Alkahere unendingly renewed itself and gave form to new expression in the passing of each day. In her work is to be seen, the visual expression of her lived experience as a part of her Country. These works each contain the hallmarks for which Emily was revered, the expansive shifting tonalities, and free-floating dots veiling linear undertrackings, applied with the innate mastery of one of the country's few true colourists.