Emily Kame Kngwarreye: Life and Art

Her family's artistic prowess was notable. Being the youngest of three siblings, she was related to the acclaimed artist Minnie Pwerle and the accomplished artist Barbara Weir, her niece. This familial connection to prominent Aboriginal artists underscores the rich artistic heritage that Emily was part of.

Emily's early life was marked by traditional activities typical of Aboriginal women of her time. She engaged in ceremonial practices and was involved in manual labor on cattle stations, which provided a distinct contrast to her later artistic endeavors. In June 1934, her work at the MacDonald Downs Homestead marked a significant phase of her life, laying the groundwork for her resilience and adaptability, traits that would later define her artistic career. 

Her journey into the world of art began relatively late in life. It wasn't until around 1988, when she was about 80 years old, that Emily underwent a transformative artistic metamorphosis. She transitioned from the traditional batik textile art, which she had been practicing since 1977, to the then-unfamiliar medium of acrylic painting. This transition was not just a personal milestone but also a significant event in the history of Australian art, marking a shift in the perception and expression of Aboriginal art.

 

Emily Kame Kngwarreye's first acrylic painting, Emu-Woman, National Museum of Australia

 

Before her acrylic painting, Emily's artistic endeavors were primarily focused on traditional ceremonial painting in the Utopia region. Her foray into batik, a textile dyeing technique, began under the tutelage of Yipati, a Pitjantjatjara artist. This guidance was augmented by Suzanne Bryce, Jenny Green, and Julia Murray. The batik technique, introduced to the Northern Territories in 1974 by Bryce and Green, was a method involving the application of hot wax to fabric before dyeing, resulting in intricate patterns. Aboriginal artists, including Emily, adapted this technique to align with their artistic sensibilities, using brushes instead of the traditional Indonesian canting. This led to the creation of broader, more animated patterns on the fabric, a stylistic innovation that marked a transformative period for Aboriginal women artists, who had traditionally been relegated to supporting roles behind male painters.

In 1978, Emily, along with several other prominent Aboriginal artists, founded the Utopia Women's Batik Group. This group initially started as a communal endeavor but eventually evolved into a platform where individual artists could cultivate and express their unique artistic identities. It played a crucial role in empowering Aboriginal women artists and fostering a sense of community and collective artistic expression.

The year 1988 was pivotal for Emily. The 'A Summer Project,' initiated by CAAMA Shop and Utopia Art Sydney, was a watershed moment in her career. Rodney Gooch, the manager of the Central Australian Aboriginal Media Association (CAAMA), provided crucial support by distributing canvases and paints to the women of Utopia, encouraging them to experiment with acrylics without the pressures of commercial demands.

During this project, Emily and 79 other painters produced a collective total of 81 works. This was a groundbreaking moment for Aboriginal women in the art world, as it provided them with a platform to showcase their talent and creativity on a larger stage. Emily's approach to painting was distinctive and unconventional. She would spread large sections of canvas on the ground and paint in a cross-legged position using an extended brush. This method, sometimes resulting in the accidental inclusion of dog prints in her work, highlighted her authentic and unpretentious style.

Her initial paintings were distinguished by a daring and inventive application of the dotting technique. While this style is prevalent in Central Desert Aboriginal art, Emily's interpretation was distinctively her own. Her dots were intricately layered and multifaceted, imparting a sense of dynamic movement and depth.

Emily's art was deeply rooted in her connection to her tribal homeland of Alhalkere. Her works depicted the local flora, fauna, and Dreamtime figures, integral aspects of her Anmatyerre culture. The dots in her artwork radiated the liveliness and vigour of the Australian landscape, marked by rhythmic patterns and vivid, contrasting hues.

A recurring motif in her art was the yam plant, a vital source of sustenance in the desert environment. Her middle name, 'Kame,' meaning 'yellow yam flower,' signified her deep connection to this vital plant. Her art was not just a visual feast but also a narrative medium, encapsulating the multifaceted essence of her community's life and culture, including the significance of the yam plants.

With growing confidence in this medium, Emily expanded her artistic range. She began to experiment with bold line work, another crucial element in her artistic development. Her line paintings, marked by sweeping, fluid strokes, signified a shift from the detailed dotting of her earlier pieces. These lines, often large and continuous, traversed the canvas, capturing the vastness and openness of the Utopian desert. This approach stood in stark contrast to her dense dotting technique, yet it was equally effective in conveying the essence of her cultural and environmental roots.

A notable feature of Emily's work was her 'dump dump' method, where she applied paint in large, sweeping strokes. This technique produced textured, almost three-dimensional surfaces on her canvases, introducing an additional layer of depth and intricacy to her work. The 'dump dump' method illustrated her readiness to diverge from traditional norms and discover novel avenues for articulating her connection to her homeland and culture.

In her later years, Emily's works also embraced what is often termed 'line work'. This stage was characterised by a more minimalist approach, utilising fewer colours and simpler, more abstract designs. These pieces were deeply reflective and introspective, mirroring a mature artist at the zenith of her creative abilities, confidently eliminating the extraneous to concentrate on the core of her message.

Throughout her career, Emily consistently honoured her heritage while pushing the boundaries of Aboriginal art. Her pioneering techniques and audacious use of colour and form garnered her both national and international recognition. Her art transcended mere depiction of her physical surroundings, embodying instead her spiritual affinity with the land and her culture.

Emily's artistic talent garnered international acclaim. In 1992, she was honored with an Australian Artist's Creative Fellowship by Prime Minister Paul Keating and the Australia Council. Her participation in the 1993 Venice Biennale further solidified her stature as a global artistic luminary. Her representation in such a prestigious international event was not only a personal achievement but also a moment of pride for the Aboriginal community, showcasing their rich cultural heritage on a global platform.

The demand for Emily's artworks soared both nationally and internationally, with her paintings achieving remarkable auction prices. Her masterpiece 'Earth's Creation I' set a record in the art market, becoming the highest-priced artwork by an Australian female artist when it sold for A$1,056,000 in 2007. This record was further surpassed when the same painting fetched A$2,100,000 in 2017, a testament to her enduring influence and the growing appreciation for Aboriginal art.

However, the 1990s surge in demand for Indigenous art brought its own set of challenges. The market attracted opportunistic art dealers, and Emily, as a revered artist, faced relentless attention from individuals(carpet baggers) seeking quick financial gains.

Emily Kame Kngwarreye's artistic journey serves as a testament to her resilience, adaptability, and unwavering dedication to her culture and heritage. In a significant development, a major exhibition of Emily Kame Kngwarreye's body of work is on display at the National Gallery of Australia until 28 Apr 2024. This prestigious exhibition stands as a testament to her enduring influence on the art world and is poised to grace the Tate Gallery in London, further cementing her position as an international icon of the arts.

Her story transcends the boundaries of art, serving as an inspiring narrative of cultural preservation, artistic innovation, and the power of creative expression to bridge communities and cultures. Emily's work remains a vibrant and dynamic testament to a rich  Aboriginal culture and its vital place in the global art narrative. Her legacy continues to inspire new generations of artists, both within Australia and worldwide, and her contributions to the art world are celebrated as a beacon of cultural resilience and artistic brilliance.