By 1991 Emily’s fine dotting and symbolic under-painting gave way to works in which symbols and tracks were increasingly concealed beneath a sea of dots until eventually they were no longer evident at all. She began using larger brushes to create lines of dots that ran across vibrantly coloured, haptic surfaces. These works became progressively visually abstracted and ethereal.

Provenance: Utopia Art, Sydney Cat no. B8 91 Private Collection, USA.

Exhibited: 1994 Wadsworth Atheneum, Hartford, Connecticut; Utopia: Contemporary Aboriginal Art from the Centre of Australia 1997; Museum of Contemporary Religious Art (MOCRA), St.Louis University,St Louis. Utopia Body paint, Australian Aboriginal Art from St.Louis Collections.