Beginning late in 1991 and throughout the following years, Emily explored a range of techniques after largely abandoning the fine dotting and submerged lineair tracking, which had characterised her earlier works. She used larger brushes to create broader circular dabs of paint, which often involved “double dipping” the brush in various colours, before attacking the canvas. In this work she shows tremendous confidence and great subtlety of colour in rendering the floral profusion throughout her desert homeland after summer rains. Despite the sweeping gestural flourishes, the resultant image contains considerable nuances, which evoke the physical and spiritual fertility of the land and radiance of being, that is sought during ceremony.

Please note that all First Nations Art is created from a so called ‘Birds Eye’ view.

This means that the paintings can be hung either horizontally as well as vertically.