About the work
The painting 'Alhalkere', like all of her work, was painted directly on the canvas laid flat on the ground, using her arms and body to create sweeping movements and energetic marks (like the artist Jackson Pollock, who intuitively accessed the spiritual realm), to signify a horizontal consciousness, not a hierarchical one.
Knowledge is not privileged over wisdom. There is a balance between knowledge and wisdom—the knowledge gained through a life well lived and the wisdom of ancient stories that represent the intimacy of living on this world. The patterns and diversities of life complement each other and live in harmony.
‘Alhalkere?', Emily Kame Kngwarreye answered, when questioned by Rodney Gooch about her imagery is, ‘A whole lot, that’s whole lot, that’s what I paint, whole lot’. Not only the place of her birth, Alhalkere was ultimately the nexus of everything that empowered Kngwarreye’s life, reflecting her participation in ceremony and a lifetime of traditional cultural practice. This small triangular shaped land was the place and the law that she continually re-created in her art.
Bears AGOD numbered inscription on verso
This work is accompanied by a certificate of authenticity
Provenance
Aboriginal Gallery of Dreamings, Victoria, Australia. Cat No. AGOD/ 4150
Private collection, Victoria, Australia
Deutscher-Menzies, Sydney, NSW, Australia. September 2007, Lot No. 44
Menzies Estate Collection, Victoria, Australia
Private collection, The Netherlands
Exhibited
Emily Kngwarreye Paintings, Oude Kerk, Amsterdam, The Netherlands. 1999
Please note that all Aboriginal Art is created from a so called ‘Birds Eye’ view. This means that the paintings can be hung either horizontally as well as vertically.
SmithDavidson Gallery represents a wide range of Australian Aboriginal Art, please contact for additional information.