Deutscher and Hackett

In the 1990s, Emily Kngwarreye, already in her eighth decade, publicly emerged as one of the world’s leading contemporary painters. Reflecting the total connectedness to the land to which she belongs, each painting became a metaphorical self-portrait and declaration of her people’s profound sovereignty over the land. Tackling massive canvases with confidence and verve beyond her years, Kngwarreye produced many masterpieces in her twilight years between 1992 and 1996.Her advancing years endowed her an increased motivation and impetus to visually express her country’s tjukurrpa, displaying extraordinary dynamism and nimble inventiveness in her varied mark making. Alhalkere, while extraordinarily remote, arid and hostile to life, is home to native yams, grasses as well as emus, dingos and lizards. The ceremonial cycles of many of these separate elements fell under Kngwarreye’s own purview as an elder within her community. Consequently, these multifarious dreamings coexist within her artworks – hidden amongst the densely packed dots and vigorous rhythmic parallel lines.