EMILY KAME KNGWARREYE - ANKARA MRNE INTEKWE
EMILY KAME KNGWARREYE
ANKARA MRNE INTEKWE, 1990
acrylic on linen
122 x 92 cm; 126 x 96 cm (framed)
PROVENANCE
bears inscription verso: EMILY KNGWARREYE; 21-390
Painted in Utopia, March 1990
CAAMA Shop (Central Australian Aboriginal Media Association), Alice Springs, NT Cat No. 21-390
Utopia Art, Sydney NSW
Private collection, Vic
Accompanied by the signed original certificate of authenticity from CAAMA Shop
EXHIBITED
First Solo Exhibition, Utopia Art Sydney, NSW, April 1990
STORY
"Emily Kngwarreye’s First Solo Show was held at Utopia Art Sydney in April 1990. Not surprisingly it attracted attention from contemporary collectors from across the country, a few curators and a lot of artists, many of whom still express their deep regret at an opportunity missed!
Utopia Art Sydney in those days was at Stanmore at the top of two flights of stairs, and this painting was the first to come into view as you entered the gallery. Ankara Merne - Intekwe was catalogue number 6 in an exhibition of 19 paintings. It was snapped up on the opening day and its been in the same hands ever since.
Rodney Gooch, Emily Kngwarreye and I had discussed the concept of a solo exhibition the previous year, and Kngwarreye began work on the show soon after but this was one of the last works to be finished for the show, painted in March 1990. It is an outstanding example from this period.
Layer upon layer of fine dotting subtly reveals the underlying structure below. Earthy pinks and ochres form undulating, shifting fields. Touches of red and yellow ochre, and highlights of black and white, meld together to form a rich deep space that draws you in. You can see the very Kngwarreye touch of a few extra dots here and there that add spark and mystery to the composition. You can feel the artist working through the layers, energising the field with every mark.
The sides of the canvas are painted too, with the stripes which we know represent body paint or ‘awelye’. They border the composition and though not visible when looking head on, they nevertheless add to the real presence this painting exudes. These borders were a special element that was soon to disappear, until the major breakthrough paintings of 1994 when the ‘awelye’ took centre stage.
Today this painting is an absolute classic of its era, fine dotting with endless variation. Offered for the first time since it was collected 35 years ago, perfect provenance, from her First Solo Show. It’s a joy to see it again. Don’t miss the opportunity this time!"
Christopher Hodges
April, 2025
ARTIST PROFILE
