During a whirlwind painting career that lasted just eight years, octogenarian Emily Kam Kngwarray became Aboriginal Australia’s most successful living artist and carved an enduring presence in the history of Australian art.

By the time she passed away on September the 2nd 1996 her fame had achieved mythic status with the Sydney Morning Herald obituary reported the ‘Passing of a Home Grown Monet’. By this time comparisons with a number of great international artists including Pollock, Kandinsky, Monet and Matisse, had become commonplace. Emily was an artistic superstar, the highest paid woman in the  country, who created one of the most significant artistic legacies of our time.

Emily Kam Kngwarray (Anmatyerr, 1910-1996) was born in Alhalkere, Northern Territory, and lived most of her life in the Utopia region. A highly regarded contemporary Australian artist and celebrated female First Nations painter, her artistic journey began late in life. Joining the Utopia Women’s Batik Group in 1978 and transitioning to painting in 1988, her debut painting, Emu Woman, marked a prolific yet brief career.

A senior member of the Anmatyerre language group and custodian of cultural sites, she began as a traditional ceremonial artist, learning women’s ceremonies and Awelye designs. In 1988, she began painting on canvas, inspired by Dreamtime stories, employing an extraordinary array of styles. Her works are known for vibrant colors, abstract forms, and a deep connection to her land and culture. She developed the “dump-dump” style, using layered dots and later, minimalist line paintings.

In 1992, she received an Australian Artists Creative Fellowship. Her impact transcends national borders, with a major retrospective in Tokyo and participation in the 56th Venice Biennale. Her first large-scale European solo exhibition is currently showing at the Tate Modern.