THE ARTISTS OF WE CALL IT URAPUNTJA BELONG TO THE VARIOUS TRADITIONAL HOMELANDS, OR COUNTRIES, OF URAPUNTJA IN THE SANDOVER REGION OF THE NORTHERN TERRITORY, AUSTRALIA. THESE COUNTRIES INCLUDE ALHALKER, ATNANGKERE, ATNELTYEY, NGKWARLERLANEM AND URLERRPERL.
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JGM GALLERY ACKNOWLEDGES THESE ARTISTS AS THE TRADITIONAL OWNERS OF THEIR COUNTRIES, AND RECOGNISES THEIR CONTINUING CONNECTION TO THEIR COUNTRIES’ LANDS, WATERS, STARS AND SKIES, EMBODIED BY THEIR ARTISTRY.
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WE PAY OUR RESPECTS TO URAPUNTJA’S ARTISTS, ELDERS AND COMMUNITY MEMBERS PAST, PRESENT AND FUTURE.
JGM GALLERY LONDON
AN EXHIBITION OF PAINTINGS BY SIX INDIGENOUS CONTEMPORARY ARTISTS
JGM GALLERY presents We call it Urapuntja an exhibition of paintings by six Anmatyerr and Alyawarr contemporary artists from Urapuntja, Northern Territory, Australia.
The Urapuntja community gained international repute in the 1980s from the success of the late Emily Kam Kngwarray, a senior Anmatyerr woman and one of Australia’s most visionary contemporary artists. Urapuntja is on the border of Anmatyerr and Alyawarr homelands, making it a meeting ground for members of both language groups. Commonly known to English-speakers by early settler-pastoralists’ name for the area, Utopia, this community remains to this day a hub for evolving and dynamic artistic production, which is inevitably influenced by Kngwarray’s practice and the sensational impression she left on the contemporary art world.
The flourishing artistic climate of contemporary Urapuntja takes its momentum from the exceptional batik work made by members of the Utopia Women’s Batik Group in the late 1970s and 80s, and their acrylic paintings produced during the ‘Summer Project 1988/89’. Five of We call it Urapuntja ’s exhibiting artists were involved in these landmark initiatives, either as artists or their younger assistants, who watched and mixed colours. These artists’ practices have continued to mature since those embryonic stages, with Josie Petyarr Kunoth’s work in particular transitioning from figurative representation into greater abstraction.
Western histories of art have often canonised individual artists at the cost of marginalising the wider cultural, historical and social contexts of their period and place of work. In the field of Indigenous contemporary art, this framework can diminish conversations that connect artworks to “Indigenous regimes of value” (Fred Myers, 2013), to which concepts of relationality, community and exchange are crucial. We call it Urapuntja runs concurrent to the first major retrospective dedicated to Emily Kam Kngwarray’s work in the United Kingdom at Tate Modern (10 July 2025 – 11 January 2026), emphasising her work’s place among that of her contemporaries, its relationship to their Countries and Altyerr / Angnekerr (Dreamings), and connections to those who continue to be influenced today by
her considerable legacy.
The exhibiting artists all have some degree of connection to Emily, whether by nature of their family ties, sharing the same Altyerr / Angnekerr or Country (Alhalker), painting with her, being taught by her or influenced by her artistic style. Judy Kngwarray Greenie, for example, is Emily’s granddaughter by kinship and remembers “sitting down and helping [her]… with mixing up painting, brushes, kwatja (water) and sometimes cups of tea” as a child. Judy’s heavily marked streams of lines and layering compares to the depictions Emily made of her Yam Dreaming in the final years of her life. This resonance not only conveys the ongoing impact of Emily’s practice on Urapuntja’s contemporary artists, but a broader Anmatyerr identity, both expressed and documented through art.
We call it Urapuntja contrasts ten paintings by five women artists working from Utopia Art Centre with three major works by Kudditji Kngwarreye (b. 1938, d. 2017), who was a brother to Emily by kinship. This suite of Kudditji’s works comprise a solo presentation to both accompany We call it Urapuntja and communicate the distinctions between men’s and women’s stories from the Urapuntja homelands. Rather than veil-like, fluid and ebullient, in Kudditji’s paintings there is a sense of formula and organisation. For some critics, his iconography of large, adjacent colour blocks resembles the numinous colour field paintings of Mark Rothko. Kudditji’s works are, however, perhaps better understood beyond a purely formalist framework, as reflections of his persistent relationship to his Country around Boundary Bore and his Ankerr (Emu) Dreaming.
We call it Urapuntja focuses on the artistic community of Urapuntja, serving to expand on existing knowledge of its artists, their lands, important stories, styles and identities. As JGM Gallery Director, Jennifer Guerrini Maraldi, says, “By showcasing these works by significant artists from Urapuntja, JGM Gallery hopes to emphasise the communal aspect of many artistic movements. Great art is rarely made in a vacuum, but is part of an ecosystem, born from generations of cultural maintenance, the passing down of skills and the sharing of stories.”
Lucky Kngwarreye Morton and Audrey Kngwarreye Morton, Ngkwarlerlanem Country, 2025. Image courtesy of Utopia Art Centre.
Judy Kngwarray Greenie, Atnwelarr (detail), 2025, acrylic on linen, 101cm x 76cm. Image courtesy of Paul Williamson.
FOREWORD
BY JENNIFER GUERRINI MARALDI
THERE HAS never been a more exciting and dynamic moment for art by First Nations Australians than today. Since Indigenous contemporary art sprung boldly into the mainstream global art market in the 1990s, disrupting the field and its connoisseurs’ expectations of works made by so-called ‘tribal’ peoples, its exponents have continued to expand and reconceptualise its form and definition. Only last year (2024), Archie Moore of the Bigambul and Kamilaroi nations won the Golden Lion Award for Best National Participation with kith and kin , presented in the Australian pavilion at the Venice Biennale. This July, Tate Modern will host the first major solo retrospective in Europe of Emily Kam Kngwarray’s exceptional artistry. Emily, as Professor Margo Ngawa Neale writes in her forthright and impassioned essay for this catalogue, without any exposure to these movements, seamlessly traversed the trajectory of Western modernism in a mere seven years of work. Margo has been a close friend and mentor of mine for over ten years now, imparting to me the cultural depth of art by First Nations Australians, particularly by artists from Urapuntja, which I had witnessed on my travels, but that was enlivened by her engaging narration of stories from the community and her powerful disposition.
The community of Urapuntja is no stranger to the art world’s scrutiny. In 1988, batik works by Jedda, Josie, Audrey and Lucky, whose contemporary paintings are among those exhibited in We call it Urapuntja , were included in Utopia – A Picture Story at Tandanya Aboriginal Cultural Institute in Adelaide, before the exhibition toured internationally. For the documentary which followed preparations for the 2008 exhibitions of Emily’s work in Japan ( Emily in Japan – The Making of an Exhibition directed by Andrew Pike, 2009), a film crew travelled out to shoot footage in Urapuntja with the community’s senior members, including the late artist Barbara Weir, and Margo, the exhibition’s curator. It was shortly after Emily passed that I first visited Janet and Don Holt at Delmore Downs Station in the early 2000s, and spent days on the rambling verandas where Emily often painted. There I witnessed the hot artistic activity of this community. It was a hive of rapid artistic production where virtuosity, vision and commitment to ceremonial culture came hand-in-hand. I recognised then that there were great talents who belonged to this community who, alongside Emily, were responsible for creating a paradigm shift in the world’s perception of art by First Nations Australians.
The very first exhibition I held in London in 2005 was for Urapuntja’s artists: the Ngale sisters – Kathleen, Angelina and Polly – Joy Kngwarreye Jones, Greeny Petyarre Purvis and Gloria Petyarre. We call it Urapuntja returns me to that exhibition, reminding me of the stories then told through those artists’ work, and which continue to be recounted today in this exhibition. By showcasing these works by significant artists from Urapuntja, JGM Gallery hopes to emphasise the communal aspect of many artistic movements. Great art is rarely made in a vacuum, but is part of an ecosystem, born from generations of cultural maintenance, the passing down of skills and the sharing of stories. I welcome you to let the paintings in this exhibition transport you to the artists’ Countries through their stories, and there, to witness the profound effects that producing art has had on the Urapuntja community and on Indigenous cultures.
THE LEGACY OF EMILY KAME KNGWARREYE
BY PROFESSOR MARGO NGAWA NEALE
ADJUNCT PROFESSOR MARGO NGAWA NEALE CURATED THE FIRST NATIONAL TOURING RETROSPECTIVE FOR EMILY KAME KNGWARREYE (1998) IN CONSULTATION WITH THE ARTIST. ON MINISTERIAL REQUEST SHE CURATED ANOTHER AWARD-WINNING AND EXPANDED VERSION FOR JAPAN (2008) TO CRITICAL AND POPULAR ACCLAIM. EMILY’S WISH TO HAVE HER STORIES GO TO THE WORLD COMMITTED MARGO TO POSITION EMILY IN THE PANTHEON OF THE WORLD’S GREAT ARTISTS. EMILY HAS NOW SHOWN IN TOKYO, OSAKA, VENICE, LONDON AND MANY OTHER CITIES. HER LEGACY TO THE COMMUNITY OF URAPUNTJA AND BEYOND IS FORMIDABLE, ATTESTED BY THE CALIBRE OF THE WORK IN THIS EXHIBITION AND THE OPPORTUNITIES GIVEN TO THESE ARTISTS AND MANY OTHERS IN HER COMMUNITY. MARGO HAS AUTHORED, CO-AUTHORED, EDITED OR CO-EDITED 20 BOOKS INCLUDING THE OXFORD COMPANION TO ABORIGINAL ART AND CULTURE AND THE THAMES AND HUDSON FIRST KNOWLEDGES SERIES. SHE IS CURRENTLY CO-AUTHORING ONE OF TWO BOOKS IN THE FIRST KNOWLEDGES SERIES (10 VOLUMES), FOR WHICH SHE IS ALSO SERIES EDITOR.
Margo Ngawa Neale, photographed by George Serras.
Aboriginal art was the last great art movement of the 20th century.
This pronouncement made by New York based Australian art critic the late Robert Hughes was audacious at the time. Only European and American artists could occupy such a position, certainly not the marginalised ‘natives’ from the antipodes. The 1980s and 1990s were only the beginning. If only he could see our art now.
There would be little doubt that the phenomenal rise to prominence of Emily Kame Kngwarreye’s art in the ‘90s was a strong contributor to this international positioning. Coming on the heels of the male-led Papunya painting movement of the ‘70s, west of Alice Springs (Mparntwe), the desert women from nearby Yuendumu took the lead in the ‘80s, followed in the ‘90s by the desert women from Utopia (Urapuntja) where Emily and her mob come from, northeast of Mparntwe.
The difference between the women’s and men’s art from these regions could not be more pronounced. The quasi-earthy colours, hard-edge designs, geometric compositions and use of ideograms that characterised the men’s paintings stood in stark contrast to the paintings done by the women of Yuendumu. They fully embraced the painterly vibrancy of acrylic pigments with a looser, freer, more gestural style. They were constantly experimenting including a changing palette of high-keyed hues with hot pinks, electric blues, yellows and oranges.
Not that any of these community groups knew anything about the artworld, careers, CVs or indeed the Western understanding of art, which was entirely alien to them. The only language word that appears to approximate art is mark making that refers to the marks and tracks of the ancestors, which still informs art today regardless of style. Given that traditional Aboriginal societies were non-text-based, mark making was a highly sophisticated form of communication often on the body, which in concert with song and dance constitutes performance – the primary mode for the transmission of knowledge. Art, so-called, is subsidiary to performance and has only existed in a portable form for an outside market for the last three to four decades.
Songlines are a knowledge system that distributes knowledge across the country, dispersed across the natural features of the country where ancestors left parts of their story as they travelled from one encounter to another during the time of creation. This knowledge is imprinted in rock formations, river courses, waterholes and mountain ranges as well as embodied in plants, animals and insects. Like an ancestral script these marks can be read by those with the access. There are honey ant ancestors, yam ancestors, acacia wattle ancestors and many more. Everything that exists, both animate and inanimate, has a place in the Dreaming.
After Aboriginal Land Rights were granted to the Alyawarre and Anmatyerre in 1976, the people of Urapuntja were moved off the pastoral properties back to their Country, which had been named Utopia by white pastoralists. It was through the new Government funded, re-skilling programs that Emily and her community were introduced to art and craft programs which included the formation of a women’s batik group that practiced for ten years. In late 1988, paint and 100 canvases were dropped off to the batik artists and others as an experiment. No painting lessons necessary. Two weeks later, the first paintings from Utopia were collected and amongst them was a standout painting called Emu Woman by the then unknown elderly Emily Kame Kngwarreye. Liberated from the restrictive medium of batik, Emily’s painting took off. From then on, her paintings got bolder and gutsier and bigger despite the fact that she was already of advanced years.
This first collection of paintings from Utopia (Urapuntja) known as the Summer Project 1988/1989, includes some of the exhibiting artists, and was shown at the S.H. Erwin gallery in Sydney before being acquired by the esteemed Robert Holmes à Court collection. Only a year after Emily first put paint on canvas, she had her first solo show at Utopia Art Sydney, run by gallerist and artist Christopher Hodges who together with art advisor Rodney Gooch from Alice Springs, started Emily on her artistic trajectory.
Emily’s legacy to Australian art and especially Aboriginal art is formidable. The value of her legacy to her community is inestimable, escalating and crossgenerational. Her artistic development uncannily parallels the trajectory of Western art, from figuration through ‘pointillism’ and abstract expressionism
to minimalism and the conceptual over the final seven years of her life. She had no knowledge of any of these styles or painting periods. She rarely left her desert home and spoke little English. Her genius was allied to the universality of her personal vision, her natural artistic development and a deep faith in her reason for painting that includes and transcends the local.
Her influence is palpable in the works of the senior artists in this exhibition who are all related one way or another by skin group, the kinship system or blood. Many of them share Emily’s Dreamings, particularly her primary Dreaming, Yam or Kame, such as artists Josie Kunoth Petyarr and Jedda Purvis Kngwarray, who were also part of Emily’s journey.
Following in the steps of Emily, the master artist, Josie’s paintings evolved from the figurative to the abstract. Like Emily she depicts the arterial roots of the yam as a network of overlapping lines that engulf the canvas emanating from the circular yam tuber centred on the canvas. Josie’s lines however are stippled in a staccato-type movement suggestive of the pulsating life force of her yam ancestor Atnwelarr
Jedda Purvis Kngwarray, also an Anmatyerre woman with the same yam Dreaming as Josie, creates her unique variation on the homage to her yam ancestor. She packs the canvas with what looks like bunches of dense skeins of yam tendrils in motion. Multicoloured, they wend their way seemingly into the canvas as if reaching below the desert sands in search of water.
When the yam is ripe and ready to dig up, the same crazed pattern of the arterial roots, more evident in Josie’s linear painting than Jedda’s, appears as identical cracks on the surface to show where to dig for the tubers. As above, so below.
Dotting became one of Emily’s signature styles in the first few years of painting, a direct transition from the wax dots of the batik medium. No-one has been more inventive with dots than Emily. From thick clusters of fine dotting to the layering of dots misting the surface of ever larger canvases she advanced to double then triple multi-coloured large dots. Finally, with large brushes heavily laden with paint, she would thrust them onto the canvas driving from the shoulder with such force that the brush hairs splayed, creating a floral look suggestive of the yam flower.
Audrey Kngwarreye Morton had a great model in Emily, but her painting reveals her own personal development. Her canvases shimmer with delicate acacia flowers patterned in a lacey whiteness that creeps down the surface of her paintings like the syrup from the acacia, which unlike Emily’s yam flowers are meticulously defined. In contrast to the raw brushstrokes of Josie and Jedda’s painting Audrey’s surfaces are exquisite in their intricacy.
A huge departure from the women’s painting is the suite of works by Kudditji Kngwarreye (1938-2017), Emily’s kinship brother who sometimes painted with her. He is one of the relatively few men who painted at Urapuntja. His geometrically structured surfaces of large adjacent blocks of modified colours speak of large tracts of Country that he travels in his mind reflecting on earlier days when he travelled on foot tracking his Emu songlines around Boundary Bore. Though visually reminiscent of Mark Rothko’s squares and oblongs as many have noted, Kudditji’s luminosity comes from thinly layered veils of paint, transparent enough to see the underpainting of country below, while Rothko’s numinous squares and oblongs applied multiple thin veils layered to create an impenetrability – contemplative space of infinity. However, both artists create meditative and spiritual spaces. One for all to enter and the other for the artist to enter. As Kudditji says his work is about how he experiences his Country.
Oscar Wilde once said, the most successful artists in the world are those born of necessity, not ambition. As counter intuitive as his truism may appear in relation to Aboriginal artists it is especially relevant to the motivation behind why artists from this region paint. It provides some measure of economic independence and a place in a changing world while being able to practice culture. After all, painting on canvas is for these artists like ceremony on canvas. It is a way to re-affirm culture, identity, attachment to County and rights and responsibilities. The artists sit cross-legged on the earth and often paint collaboratively and collectively. Many sing or chant while they perform ceremony on canvas with Country-in-mind.
POSTSCRIPT
0 NAME CHANGING
It was customary for a newly deceased person’s name to be suppressed in the relevant community, for a period of time. It was critical to avoid interrupting the deceased person s passage to their ancestral resting place by calling out their name. In the past non-Indigenous linguists acknowledged this practice by dropping letters from the spelling thus altering the deceased person’s name for use in the outside world. Now it is considered more appropriate to denote respect for a deceased person by using the language term, Kumantjayi, or equivalent in front of part of the name used publicly in life.
0 OUT OF RESPECT
Emily made it clear that her name and image were to continue posthumously and personally approved their use. She wished to be remembered. The name she approved was that used in the approval stage of the 1998 QAGOMA retrospective exhibition, Emily Kame Kngwarreye and we thus continue to honour her wishes.
The spelling of the Anmatyerre/Alyawarre language has changed several times and many artists continue to use the spelling they grew up with and we continue this tradition. Many who do not know Emily’s wishes may follow the posthumous version of her name, Emily Kam Kngwarray.
Above right: Josie Petyarr Kunoth, Atnwelarr, 2023, acrylic on linen, 101cm x 76cm. Image courtesy of Paul Williamson.
Above left: Jedda Kngwarray Purvis, Atnwelarr, 2024, acrylic on linen, 102cm x 76cm. Image courtesy of Paul Williamson.
Audrey Kngwarreye Morton, Ilyarnayt (detail), 2024, acrylic on linen, 102cm x 76cm. Image courtesy of Paul Williamson.
IN CONVERSATION WITH JOSIE PETYARR KUNOTH
JOSIE PETYARR KUNOTH (B. 1957) IS A CONTEMPORARY ARTIST FROM APUNGALINDUM, URAPUNTJA. SINCE KUNOTH BEGAN PRACTICING IN THE 1980S, SHE HAS MOVED BETWEEN BATIK, REALIST PAINTING, FIGURATIVE SCULPTURE, FINE DOT AND LINE PAINTING, AND GESTURAL ABSTRACTION. KUNOTH’S WORK WAS INCLUDED IN THE LANDMARK EXHIBITIONS UTOPIA: A PICTURE STORY (1988), WHICH TOURED INTERNATIONALLY, AND A SUMMER PROJECT (1989), HELD AT S.H. ERVIN GALLERY, SYDNEY. SHE IS A SENIOR ANMATYERR WOMAN AND CUSTODIAN OF URLERRPERL.
IN THE WEEKS PRECEDING WE CALL IT URAPUNTJA , ANTONIA CRICHTON-BROWN CONDUCTED AN INTERVIEW WITH KUNOTH VIA EMAIL. WHAT FOLLOWS IS A TRANSCRIPT OF THEIR CONVERSATION.
ANTONIA CRICHTON-BROWN As I have never been to the Urapuntja homelands and nor, I imagine, will have many of the visitors to the exhibition, can you tell me what your Country, Urlerrperl, is like?
JOSIE PETYARR KUNOTH Strong Country, always visiting my Country. Beautiful.
ACB What made you want to start making art?
JPK My idea. I always singing to the canvas.
ACB Who or what were your first inspirations or influences?
JPK Josie’s idea, my idea.
ACB Who did you learn from?
JPK Aunty Emily. Emily been teaching long time, dancing and painting. Singing to my painting.
ACB What was it like in the early days, when Julia Murray and Jennifer Green were helping with the women’s batik group? Can you tell me your story of what happened in those days? How did it happen that art production became a central part of your daily life?
JPK Jenny (Green) learning language, all the ladies working together, making shirts, skirts, shorts. 1978. On school side. At Utopia Homestead. My sister, Audrey Petyarr, working together doing batik.
ACB What was your life like before you started making batik work and painting? What did you do?
JPK Grinding seed, gathering bush tucker and bush medicine.
ACB I read that you used to paint more figuratively, for example, making images of bush football carnivals and tableaus of community life in Urapuntja. What made you change your approach to the more gestural style you paint with today?
JPK Change style, new style.
ACB I read that you also used to make a lot of carvings in the early 2000s. Can you tell me about these works, what their subjects were and what inspired you to start making them?
JPK Dinni (Kemarr Kunoth, Josie’s husband) do it first, then me.
ACB What were your carvings made from?
JPK Green tree (Erythrina vespertilio).
ACB How do you like the studio to be set up when you are painting? For example, do you like to paint sitting down or with the canvas propped up, and do you paint with other artists or alone?
JPK Sitting on the ground, always sat on the ground.
ACB The two paintings you are exhibiting in We call it Urapuntja are titled Atnwellar. In these paintings, you create webs of dauby lines which all converge on a central circle. A non-Indigenous viewer may assume that these forms are abstract, but are these forms non-objective? What are these forms representing?
JPK Rock hole and yam.
ACB What is atnwellar and why is it important?
JPK Yam, we eat. Food for long time. Sometimes cook it.
ACB Would you say these paintings are topographical or are they more abstract?
JPK [Abstracted].
ACB The colours you use in the two exhibited paintings are very striking. The earthy pigments cut sharply across their black backgrounds. What made you choose to paint in these colours? How are seasonal changes reflected in your work?
JPK [Colours are a representation of the surrounding landscape].
ACB Emily is internationally recognised as one of the most visionary contemporary painters from Australia. How would you describe the legacy she left behind in your community? What do you think is important about her work?
JPK Emily teaching me, singing to work. Woman’s ceremony.
ACB What do you think about Emily’s work being shown at Tate Modern this year?
JPK Happy for that old lady.
ACB Have you travelled much for your work? What are some of your memories from travelling outside of Urapuntja?
JPK Sydney, Melbourne, Adelaide. (In Canberra, for the Emily Kam Kngwarray survey exhibition at the National Gallery of Australia) dancing, make me happy. Red and white paint. Sharing story.
ACB What is awelye and why is it important? How does awelye feature in your work?
JPK Singing to the country to make it strong. Keeping spirit strong. Teach the young girls.
ACB I read that you still sing while you paint. Why are songs important for you and other Anmatyerr women?
JPK Bringing good to painting. Make painting strong, making canvas strong. Keep it right.
Josie Petyarr Kunoth, Atnwelarr
ARTWORK IMAGES
Lucky Kngwarreye Morton, Ilyarnayt, 2024, acrylic on linen, 101cm x 76cm
Lucky Kngwarreye Morton, Ilyarnayt, 2024, acrylic on linen, 136cm x 88m
Audrey Kngwarreye Morton, Ilyarnayt, 2024, acrylic on linen, 102cm x 76cm
Audrey Kngwarreye Morton, Ilyarnayt, 2024, acrylic on linen, 137cm x 89cm
Kudditji Kngwarreye, My Country 20, 2008, acrylic on linen, 122cm x 121cm
Jedda Kngwarray Purvis, Atnwelarr 2025, acrylic on linen, 101cm x 76cm
Jedda Kngwarray Purvis, Atnwelarr 2024, acrylic on linen, 102cm x 76cm
Kudditji Kngwarreye, My Country 14 2007, acrylic on canvas, 125cm x 180cm
Lucky Kngwarreye Morton, Janice Kngwarreye Clarke & Audrey Kngwarreye Morton, Ngkwarlerlanem Country, 2025. Image courtesy of Utopia Art Centre.
Josie Petyarr Kunoth, Atnwelarr, 2023, acrylic on linen, 101cm x 76cm
Josie Petyarr Kunoth, Atnwelarr, 2025, acrylic on linen, 137cm x 90cm
Judy Kngwarray Greenie, Atnwelarr, 2025, acrylic on linen, 102cm x 76cm
Judy Kngwarray Greenie, Atnwelarr, 2025, acrylic on linen, 101cm x 76cm
Kudditji Kngwarreye, My Country 24, 2009, acrylic on canvas, 91cm x 152cm
JGM GALLERY WOULD LIKE TO THANK BOTH THE EXHIBITING ARTISTS OF WE CALL IT URAPUNTJA AND MOLLY BURRAGE AND LIAM HALEY, MANAGER AND STUDIO COORDINATOR AT UTOPIA ART CENTRE.
WITHOUT THEIR COMMITMENT AND CONTRIBUTIONS, THIS EXHIBITION WOULD NOT HAVE BEEN POSSIBLE.
Lucky Kngwarreye Morton, Audrey Kngwarreye Morton and Janice Kngwarreye Clarke on Ngkwarlerlanem Country.
Front cover: Lucky Kngwarreye Morton, Ilyarnayt (detail), 2024, acrylic on linen, 101cm x 76cm. Image courtesy of Paul Williamson. Back cover: Lucky Kngwarreye Morton, Ilyarnayt (detail), 2024, acrylic on linen, 101cm x 76cm. Image courtesy of Paul Williamson. Editorial design: Antonia Crichton-Brown. Photography: Julius Killerby, Paul Williamson, George Serras & Utopia Art Centre. Artwork Photography: Paul Williamson.
