Emily Kam Kngwarray Anmatyerr language group, circa 1914-1996
Provenance
The Artist, painted at Delmore, Northern Territory
Delmore Gallery, Northern Territory, cat. no. 96G007
William Mora Galleries, Melbourne, Victoria
The Applied Chemicals Collection, Melbourne, Victoria, acquired from the above
D Lan Galleries, Melbourne
Collection of Steve Martin and Anne Stringfield, New York, acquired from the above
Exhibitions
Of My Country: Emily Kame Kngwarreye, The Applied Chemicals Collection, Bendigo Art Gallery, 1–30 May 1999Literature
Of My Country: Emily Kame Kngwarreye, The Applied Chemicals Collection, Bendigo Art Gallery, Bendigo, 1999, (illus.)
A play of line is evident here in what is an exciting painting of ease and confident pace. The abandoned gestural strokes are closely concentrated all over the canvas, giving rise to the idea of yam increase centres - the place from which life erupts and spreads forth, and the wild fertility that is always demonstrated after drought breaking rains. The energy that exudes from this composition of line is undeniably strong, with the coloured palette adding stunning visual power. "Awelye" - or ceremonial expression, releases the spiritual power that maintains natures fertility and hardiness. The belief that good seasons always return, that the yarn "always comes back", is fundamental to understanding the desert environment, and therefore survival. A parallel layer of expression runs with the fundamental understanding of "awelye", that being of basic human nature, understanding it, and abiding by the rules set down by society in order that it too, will survive.
—Janet Holt
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Emily Kam Kngwarray, Untitled – Alhalkere, 1992 -
Emily Kam Kngwarray, Untitled (Alhalkere), 1990 -
Emily Kam Kngwarray, Untitled (Alhalker), 1993 -
Emily Kam Kngwarray, Untitled, 1996 -
Emily Kam Kngwarray, Untitled, 1990 -
Emily Kam Kngwarray, Song of the Emu, 1991 -
Emily Kam Kngwarray, Untitled (Alhalkerre), 1995 -
Emily Kam Kngwarray, Kame Yam Awelye, 1996
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