Yam Dreaming, 1994

synthetic polymer paint on linen

56.5 x 47.5 cm

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Provenance: Dacou Gallery, Adelaide, SA, Cat No. DA2335 Colour Square Gallery, Cat No. CSG283 Private Collection Qld
Artwork story: In this work Emily’s physicality was clearly evident as she painted. During 1994, the runnels of dotted colour across the surfaces of her more abstracted works, began to be more formally arranged. First in parallel lines and, and later as solid lines of colour. Formal compositions evoking the body painting for ceremony, eventually gave way to the meandering paths traced by the roots of the pencil yam as they forged their way through the desert sands. This is a lovely small yet exquisitely painted example. Its exemplifies Emily’s strength and self assuredness at this mature phase in her artistic production. Arguably the most important of these Yam works is the monumental Big Yam Dreaming 1995 (8 x 3m) donated by Don and Janet Holt to the National Gallery of Victoria. Painted entirely in white on a black ground, it has been described as the ‘perfect bridge between Aboriginal art and contemporary international art’ (Yaman 1995).

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c.1910 – 1996

synthetic polymer paint on linen

56.5 x 47.5 cm

Enquire for price

Provenance: Dacou Gallery, Adelaide, SA, Cat No. DA2335 Colour Square Gallery, Cat No. CSG283 Private Collection Qld
Artwork story: In this work Emily’s physicality was clearly evident as she painted. During 1994, the runnels of dotted colour across the surfaces of her more abstracted works, began to be more formally arranged. First in parallel lines and, and later as solid lines of colour. Formal compositions evoking the body painting for ceremony, eventually gave way to the meandering paths traced by the roots of the pencil yam as they forged their way through the desert sands. This is a lovely small yet exquisitely painted example. Its exemplifies Emily’s strength and self assuredness at this mature phase in her artistic production. Arguably the most important of these Yam works is the monumental Big Yam Dreaming 1995 (8 x 3m) donated by Don and Janet Holt to the National Gallery of Victoria. Painted entirely in white on a black ground, it has been described as the ‘perfect bridge between Aboriginal art and contemporary international art’ (Yaman 1995).