Exhibition open online May 11 - June 22, 2016 If paintings talk, Kathleen Kngale’s paintings whisper, as if they have breathed themselves onto the canvas. While there are changes in pitch and tone of Kngale’s paintings: sometimes faint, sometimes forte, her Dreaming story of Arnwekety (also known as Bush Plum and Wild Plum), has been almost her...
Genuine Australian Indigenous artwork for discerning collectors
For more than 40,000 years, Australian Aboriginal art has been created. It is the longest continuing art tradition in the world, a practice that expresses and communicates knowledge, belief and identity, and one of the most empowering and positive aspects of life for many Aboriginal people. It is not only the visual representation of a people, their landscape and their culture, but for many communities, the spiritual soul and joy connecting them to their ancestors. This artwork is in no uncertain terms, of enduring cultural significance for all Australians.
This rare combination of visual lyricism and unique cultural expression, a truly quixotic alchemy that often defies explanation, combined with their spirituality and sheer beauty, is what draws people to pieces of fine Aboriginal art. Delmore Gallery is proud to represent many of Australia’s leading indigenous artists from the eastern desert region, and we are greatly encouraged by the number of clients wishing to engage with and buy these exquisite artworks, for both personal fulfilment and considered investment potential, as we offer only the finest authentic pieces of Australian Aboriginal art for sale online.
Delmore Gallery's represented artists
Many of the artists that have painted for Delmore Gallery have become highly successful: Gloria and Kathleen Petyarre; Kathleen, Polly and Angeline Ngale (Kngale), who paint beautiful interpretations of their wild plum Dreaming; Lily and Joy Kngwarreye, inspired by an significant women's site on Utopia.
However, it was Emily Kame Kngwarreye who rose to achieve the greatest acclaim within the Aboriginal art movement, including an Australian Artists' Creative Fellowship in 1992, and placing works in the collections of many significant institutions. Emily's rare ability to innovatively reinvent her aesthetic lexicon, and her dexterous use of line and colour created a frisson of excitement in the local and international art world. Painting at Delmore Downs Station at least three times a week in the last years of her life, Emily created some of her very best works.
In Emily, the stylistic changes of recent aboriginal art history coalesced and were transformed in looser constructions and intensely vibrant colours. From a multitude of perspectives, they appeared nothing like the Western and Central Desert counterparts. Depicting the flowers, roots, dust and summer rains of her country, the translucent colours built up with layered touches of paint to create an illusion of depth and movement. Emily’s work combined the decorative, almost structured compositions of batik with the overall effect of Western abstraction and the results were neither representational or iconographic. They created a niche in the market where north met south. For all these reasons, they nudged the boundaries that catapulted Aboriginal painting into the contemporary art sphere, and their sales indicated the enthusiastic acceptance of a format that was both familiar and other: the quintessential definition of modernism.