Untitled, 1995, was painted in October of that year, soon after Kngwarreye had completed two related major, monumental works: Big Yam Dreaming, now in the collection of the National Gallery of Victoria, Melbourne, was completed over two days in July 1995; and Yam Awleye in the collection of the National Gallery of Australia, Canberra, in August 1995.1 Each of these paintings reveals the physical relationship between the artist and the canvas, the span of her brush stroke, where she would sit cross-legged either on the canvas lying flat on the ground, or beside it, reaching in. In either case, her technique reinforced the relationship between ceremonial painting and art made for the public sphere.
1 Big Yam Dreaming and Yam Awleye are illustrated in Isaacs, J. et al., Emily Kngwarreye Paintings, Craftsman House, Sydney, 1998, pp.168-9, plate 71, and pp. 170-1, plate 72 respectively. Big Yam Dreaming is also illustrated in Neale, M (ed), Emily Kame Kngwarreye. Paintings from Utopia, Brisbane: Queensland Art Gallery and Macmillan, 1998, plate 85, catalogue number 92, pp.130-1, and Neale, M. et al, Emily Kame Kngwarreye. Utopia: The Genius of Emily Kame Kngwarreye, The National Museum of Art, Osaka, 2008, catalogue number Y-11, pp.194-5
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