Emily Kam KNGWARRAY, Anoranngait, healing plant Enlarge 1 /1

Emily Kam KNGWARRAY

Anmatyerr people

Australia 1908 /1912 – 1996

Anoranngait, healing plant [Acquired as : Untitled] 1990 Description: (OI24)
Place made: Utopia, Central Desert, Northern Territory, Australia
Materials & Technique: paintings, synthetic polymer paint on canvas

Dimensions: 212.0 h x 121.0 w cm
Acknowledgement: Purchased 1990
Accession No: NGA 90.1385
Image rights: © Emily Kam Kngwarray. Licensed by Viscopy

Emily Kam Kngwarray is regarded as a phenomenon in Australian art. She worked with immense speed and assurance for an elderly woman who, it is popularly believed, started painting in her seventies—moving from batiks to acrylic on canvas in 1988. In a brief eight-year painting career, Kngwarray produced an extraordinary number of canvases, reputed to be as many as 3000—an average of a canvas a day. To the art world, both her output and her seemingly ‘abstract’, gestural style were unlike anything previously seen from an Aboriginal painter. Far from being an overnight sensation, however, Kngwarray’s works are the culmination of a lifetime of making art for ceremonial purposes. By the time she took up a paintbrush and acrylic paints, Kngwarray was a truly experienced artist.

In Kngwarray’s paintings, symbols are used sparingly to transcend the narrative aspect of the Dreamings they evoke. Her strong marks and fields of colour express the resonance of ancestral power in the landscape, in the same way that rarrk (crosshatching) does in Arnhem Land bark paintings. The three paintings illustrated here reveal a range of approaches to painting that she developed over the span her acrylic painting career.

Traditionally, Kngwarray’s main concern was with the atnwelarr (pencil yam), a creeper with bright-green leaves, yellow flowers and edible roots. Her name, ‘Kam’, means the seeds and flowers of the pencil yam plant. The practice of naming a person after a particular feature of a Dreaming emphasises their connection to the Creation.

One of her earliest canvas paintings, Ntange Dreaming 1989, is akin to a self-portrait but not in the sense that Kngwarray has made an image of her face or her physical features. Rather it is an image of her identity expressed in terms of her ceremonial status, her role in Anmatyerr society and her intimate relationship with the ancestrally created landscape of her birth. Ntange Dreaming is composed of a series of awely, or designs that are painted onto women’s breasts, arms and torsos in ceremonies. Overlaying these, Kngwarray has applied lines of dots using her fingers directly onto the canvas, in the same way designs may be applied to the body. The dots themselves signify the seed of the native grasses (called ‘ntange’ in Anmatyerr) that women collect and grind into a paste to make damper.

Anoranngait, healing plant 1990, painted the year after Ntange Dreaming, reveals a more formal side of the artist’s oeuvre. The application of the paint is consistent with the 1989 painting but the palette is relatively subdued and the composition more regular. Kngwarray explained the related subject of the painting in the following manner.  When a child or adult falls ill in the artist’s country, women collect the leaves of a fuchsia-type shrub called anoranngait and boil them in water to produce a light but strong green liquid, which is washed over the body, particularly on the affected areas. The artist described the bathing motion with scooped hands and splashing motions over her chest and stomach. The painting is her adaptation of the traditional liturgies for aligning ceremonial participants with the healing powers of nature. The stippled patterns depict the medicinal plant, evoke the shimmering heat haze, suggest an aura of supernatural power, and can even extend to the all-encompassing canopy of stars in the night sky.

Yam awely 1995 was a major undertaking in the final year of the artist’s life. In contrast to the intimate detail of Ntange Dreaming and Anoranngait, healing plant, Kngwarray now extended her brush mark to the radius achieved by the full sweep of her arm, thus relating the painting directly to the human scale despite its monumentality, in a manner similar to that Jackson Pollock achieved in Blue poles 1952. The free-flowing gestural nature of the brush marks in Yam awelye is derived from another traditional source of inspiration, that being the palimpsests of sand drawings made by desert women as part of a spoken narrative and storytelling.

Kngwarray was intensely traditional in her life and outlook, yet her work challenges pre-existing notions of the ‘traditional’ in Aboriginal art.

Franchesca Cubillo and Wally Caruana


Text © National Gallery of Australia, Canberra 2010
From: Franchesca Cubillo and Wally Caruana (eds) Aboriginal and Torres Strait Islander Art: collection highlights National Gallery of Australia, Canberra, 2010

When a child or adult falls ill in the artist’s country, to the north-east of Alice Springs, women collect the leaves of a fuchsia-type shrub called anoranngait and boil them in water to produce a light but strong green liquid, which is washed over the body, particularly on the affected areas. The artist described the bathing motion with scooped hands and splashing motions over her chest and stomach.

Kngwarray applied the dots on this canvas with her fingers, in colours reminiscent of the ochres of her desert country and in the same way that she made similar marks in sand paintings and on bodies and objects for ceremonies. This painting is her adaptation of the traditional liturgies for aligning the participants with the healing powers of nature. The stippled patterns depict the medicinal plant, evoke the shimmering heat haze, suggest an aura of supernatural power, and can even extend to the all-encompassing canopy of stars in the night sky.


Text © National Gallery of Australia, Canberra 2010
From: Ron Radford (ed), Collection highlights: National Gallery of Australia, National Gallery of Australia, Canberra, 2008

Description

This is a painting by Anmatyerr artist Emily Kam Kngwarray depicting an important plant in the artist’s country that is used when a child or adult falls ill. The painting is shown as an enlargeable image and in a video. Text onscreen gives detailed information on Kngwarray’s artist practice and life. It refers to three paintings but only one is shown in this resource. The video soundtrack tells of the role the work of art has as a form of education on the healing powers of nature. The painting measures at 212.0 cm high x 121.0 cm wide and was painted with synthetic polymer paint on canvas.

Educational value

  • This is an excellent resource for the Responding strand in the 5-6 and 7-8 year bands in the visual arts curriculum, especially for those content descriptions that refer to students responding to the artworks of Australian artists, particularly Aboriginal artists, and considering the broader cultural context and significance of their work. It may also be useful for teachers of years 3 and 4 particularly in relation to history and geography content descriptions that refer to the ways Aboriginal peoples are connected to Country, the implications for their daily lives and how they used the resources of their Country.
  • The work is of considerable significance for the Aboriginal and Torres Strait Islander histories and cultures cross-curriculum priority. It exemplifies one of the priority’s organising ideas in relation to Aboriginal peoples: Aboriginal and Torres Strait Islander Peoples’ ways of life are uniquely expressed through ways of being, knowing, thinking and doing; in this case through painting and collecting anoranngait for medicine. The resource as a whole connects to another organising idea: Australia acknowledges the significant contributions of Aboriginal and Torres Strait Islander people locally and globally. Emily Kam Kngwarray (1910-96) is regarded as a phenomenon in Australian art.

Text © National Gallery of Australia, Canberra