What I loved about Emily Kame Kngwarreye

By Paulette Watts DACOU Administrator

 I first met Emily Kame Kngwarre in 1995 when I had been DACOU's Gallery Manager for six weeks

Emily had come down from Alice Springs with Barbara Weir, and other wonderful artists to paint in our Melbourne Street Art Gallery in Adelaide. Apparently Emily decided that she wanted to see Fred and do some painting and within moments of making this decision she had gathered up some things ready for the long drive to Adelaide. Her action left no room for further discussion, Emily and the other ladies arrived within 24 hours of her wish to paint for Fred. This example is indicative of Emily's strong sense of command and determination, two qualities I believe she forged and shaped to facilitate her survival in the country of her birth, Alhalkere.


My first impression of Emily was that she was only little and as I am tall, I towered above her. This was the only time when I thought of her as such, because after that initial moment I saw beyond her physical height and connected instead with her powerful sense of presence. I believe that this intangible quality was subtly felt by the people Emily met and imparted itself in her beautiful art.

I loved Emily's hands. Tough and calloused after years of hard farm work, their outward appearance belied the magic that she worked as she painted. Her hands held the paintbrush with almost a casual air as she unerringly delivered each brush stroke on the canvas in front of her until finally it was complete. These same strong hands would beckon me to remove the canvas and place another in its place and also signal that she would like a cup of tea and some bread. Looking back now I realise that Emily communicated with me predominantly using her hands and she showed extraordinary dexterity for her age. I found myself looking at my own hands, suddenly realising how important they were to me and quietly thanking Emily for bringing this to my awareness.

I loved Emily's eyes. I remember when Emily Kngwarreye was showing me her canvas and at her request I lowered myself beside her to study it more intently. She placed her strong hand on my wrist and I turned to look at her. As our eyes met, I was transported back in time. In that moment nothing else existed. Ancient aboriginal wisdom was reflected back at me that consisted not only of Emily's memories but her ancestors as well. It was an incredible and humbling experience and one that was never repeated. It had no need to be.

I loved Emily's smile. She was a really funny lady and we shared some great laughs despite the language barrier. When Emily smiled her whole face lit up and she exuded great joy which transferred itself to you. She had a very expressive face and I quickly learned to recognise when she was cross, impatient, tired, or hungry and when she wanted to be left alone and when she wanted company. I noticed that as she painted she would sometimes sing and smile as though recalling a distant memory, and I would wonder what she may have been remembering from her long and eventful life.

I loved that Emily was so genuine. I loved that fact that she was undeterred by who was around as she painted. That when she had enough she would curl up for a sleep regardless of who was there. That when she was hungry she ate, when she was tired she slept, when she wanted to go shopping for clothes or cars she did. She was not restrained neither by time nor any need to impress anyone including high profile art collectors and the media. Most of all I loved the fact that she was my friend and I still miss her.

After 15 years I am still with DACOU and like Emily I am storing my memories in my own personal vault to be recalled at the right time. This has been one of those times. Thank you Emily for being part of my life. I will always remember you.

Article taken from the book- Emily Kame Kngwarreye: the Person and her Paintings that currently retails for $60.00.

Also visit the Emily Kngwarreye page to view some of her paintings for sale.