SmithDavidson Gallery presents Dreaming in Color, an online exhibition showcasing works by renowned Australian First Nations artists Emily Kame Kngwarreye, Minnie Pwerle, Paddy Nyunkuny Bedford and Rover Thomas Joolama. This online exhibition highlights their distinctive artistic expressions and deep connection to Country, culture, and storytelling.
Emily Kame Kngwarreye (c. 1910–1996) was one of Australia’s most celebrated contemporary artists. A senior Anmatyerre woman from the Utopia region, she began painting late in life but quickly gained international recognition. Her works, characterized by bold gestural marks and intricate dotting, reflect the vast landscapes of her ancestral land and the ceremonial knowledge passed down through generations. Kngwarreye’s paintings are deeply rooted in her understanding of Dreaming stories and seasonal changes, which she conveyed through an intuitive and abstract visual language.
Minnie Pwerle (c. 1910–2006), also from Utopia, was known for her energetic and expressive brushwork. Her paintings often depict Awelye, the body painting designs used in women’s ceremonies, through flowing lines and vibrant color fields. Pwerle’s work is distinguished by its raw immediacy and rhythmic patterns, encapsulating the movement and spirit of ceremonial traditions. Her artistic output, though brief, left a lasting impact on contemporary Indigenous Australian art.
Paddy Nyunkuny Bedford (c. 1922–2007) was a Gija artist from the East Kimberley region, whose work is deeply tied to his Country and the rock formations, rivers, and Dreaming stories that define it. His paintings, often composed of stark black, white, and ochre tones, employ traditional motifs while embracing a minimalist and modern aesthetic. Bedford was one of the founding artists of Jirrawun Arts and played a pivotal role in bringing Kimberley art to a global audience. His work carries both historical and cultural significance, reflecting Indigenous narratives of land, conflict, and resilience.
Rover Thomas Joolama (c. 1926–1998) was instrumental in the development of the East Kimberley painting movement. His distinct style, influenced by rock art and traditional ochre painting, emphasizes bold, flat forms and a strong sense of place. Thomas’s works often depict landscapes tied to Dreaming stories, ceremonies, and historical events, creating visual maps of cultural memory. His recognition at the Venice Biennale in 1990 marked a turning point for Indigenous Australian art on the international stage.
As SmithDavidson Gallery prepares for its participation in Art Paris in early April, Dreaming in Color offers a first look at the artists and works that will be presented at the fair. The selection provides insight into their visual language and the traditions that shape their practice.
