Kathleen Petyarre is widely recognised among the most celebrated indigenous Australian female artists. Of Alyawarre and Anmatyerre communities, Kathleen was born at Arnangkere and settled later at Iylenty, both within the boundaries of the famed Utopia Station, renowned as one of the important epicentres of contemporary indigenous art movements.
At the first glance, Utopia seems to be a misnomer, a reflection of the optimistic spirit of pastoralists, rather than Sir Thomas More’s idyllic sixteenth-century vision of an island in the Mediterranean. Yet the landscape is not as perpetually barren and flat as popular travel books would lead you to believe. The monotony is frequently broken up by rocky outcrops and mountainous ridges; a turn in the road opens up to an unexpectedly picturesque vista; an intricate web of underground rivers and waterholes creates a scattering of
little oases with occasional gum trees, shrubs, and perennials.
Kathleen Petyarre is widely recognised among the most celebrated indigenous Australian female artists. Of Alyawarre and Anmatyerre communities, Kathleen was born at Arnangkere and settled later at Iylenty, both within the boundaries of the famed Utopia Station, renowned as one of the important epicentres of contemporary indigenous art movements.
At the first glance, Utopia seems to be a misnomer, a reflection of the optimistic spirit of pastoralists, rather than Sir Thomas More’s idyllic sixteenth-century vision of an island in the Mediterranean. Yet the landscape is not as perpetually barren and flat as popular travel books would lead you to believe. The monotony is frequently broken up by rocky outcrops and mountainous ridges; a turn in the road opens up to an unexpectedly picturesque vista; an intricate web of underground rivers and waterholes creates a scattering of
little oases with occasional gum trees, shrubs, and perennials.
After the plus kilometres’ journey from Alice Springs, a welcome road marker announces a left turn; a dirt track leads away from the Sandover Highway to a small family outstation in the n
Kathleen Petyarre Biography and CV
Kathleen Petyarre began her rise to the world stage with a groundbreaking exhibition at Gallery Gabrielle Pizzi, Flinders Lane, Melbourne on 31 October , supplied and curated by Delmore Gallery. "Aboriginal Art from Utopia" began to put Kathleen Petyarre on the map with her early, powerful paintings on linen.
Born in at Atnangkere, to the northwest of Utopia station, kilometres north east of Alice Springs, Kathleen Petyarre belongs to the Eastern Anmatyerre language group. Kathleen began making artworks in , producing batiks along with a number of the other women at Utopia, when Yipati, a Pitjantjatjara artist from Ernabella and Suzie Bryce, a craft instructor, introduced them to the medium. Later, Jenny Green and Julia Murray would supply materials, training and encouragement. In April , Kathleen took part in the exhibition at the S. H. Ervin Gallery in Sydney, painting on a small masonite board supplied by Rodney Gooch, of the Central Australian Aboriginal Media Association (CAAMA). Also in April , Kathleen asked the Holt family at Delmore to supply her with materials, and began painting with acrylic on canvas, and since then graduall
Kathleen Petyarre Aboriginal,
Kathleen Petyarre was born in the ’s at Utopia, in Central Australia. Petyarre initially worked in batik, but her being allergic to some of the materials used in batik caused her to take up painting on canvas as part of CAAMA’s Summer Project in Petyarre’s paintings directly refer to her ‘Dreamings’ and the land around Utopia, land which she was one of the key Anmatyerre women involved who successfully claimed the freehold title for in , returning it to its traditional owners. Kathleen's mother and seven sisters have managed to hold onto their land near Utopia Station.
Kathleen's paintings directly refer ther "Dreamings" and the associated country around Utopia, her Dreamings include Mountain Devil Lizard or Thorny Devil Lizard (Arnkerrthe), Women Collecing Bush Seeds. By layering very fine dots of acrylic paint, Petyarre’s paintings of carefully constructed landscapes evoke the Aboriginal custom of ceremonial body painting.
Petyarre won the NT Telstra National Aboriginal and Torres Strait Islander Art Award on two occasions and is considers on of the ‘most collect
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