Glady Kemarre

Glady Kemarre, born circa 1940, was an Anmatyerre woman from Utopia, a region located northeast of Alice Springs in the Northern Territory. She spent much of her life at Camel Camp, part of the Utopia community, where she became one of the most revered Aboriginal artists of her time.

Glady's journey as an artist began in the late 1970s when she became involved with the Utopia Women's Batik Group. Under the guidance of artists like Emily Kame Kngwarreye and Angeline Ngale, she honed her skills in the batik technique, a form of silk and cotton painting that was gaining popularity in the community.

In 1985, Glady's work was featured in "Utopia: A Picture Story", a major catalogue that showcased the artworks of prominent Utopian artists and helped bring the region's art to national and international attention. This exhibition, sponsored by the Holmes a Court Collection, toured extensively and marked a pivotal moment in the recognition of Utopia artists.

In the summer of 1988-1989, Glady took a significant step in her artistic evolution by experimenting with acrylic on canvas as part of CAAMA's "The First Works on Canvas" project. Her works from this period, exhibited at the S.H. Ervin Gallery, were met with great enthusiasm and further solidified her reputation.

Over the years, Glady continued to produce stunning works, often focusing on her Dreamings, including the Bush Plum Dreaming (Anwekety). Her art is known for its intricate dot work that illustrates the ripening stages of the conkerberry plant, a key bush food staple, and is often associated with the women's ceremonial practices, Awelye.

Glady's paintings depict both spiritual and natural elements of her ancestral country, with her signature fine dot work capturing the landscape and its vital food sources. The Anwekety Dreaming, passed down through her grandmother, became a central theme in her art, with her works symbolizing the life cycle of the conkerberry and its importance to her community. She painted these stories as a way of paying homage to the plant and ensuring its continued growth.

Throughout her career, Glady exhibited her works widely, both in Australia and internationally, including in Germany, India, Korea, and Europe. Her paintings are held in prestigious collections, including the National Gallery of Australia, the National Gallery of Victoria, the Holmes a Court Collection, and the Aboriginal Art Museum in the Netherlands. Her work has been featured in exhibitions across the globe, reinforcing the international significance of Utopian artists.

Glady's legacy as a pioneering female artist in the Utopia art movement continues to inspire both collectors and artists. She is remembered for her deep connection to her culture, her family, and her land. Through her art, she not only shared the Bush Plum Dreaming with the world but also helped to preserve and pass on the rich traditions of her people.

Her work remains an essential part of the Utopia artistic tradition, and her paintings are highly sought after for their delicate yet vibrant portrayal of spiritual and natural worlds. Glady's quiet strength, combined with her deep cultural knowledge, ensures that her work will continue to resonate with future generations of art lovers and scholars alike.

Glady's life and work have become integral to the narrative of Utopian art, and her paintings will remain as vibrant testaments to the richness of Anmatyerre culture.

Copyright Kate Owen Gallery, April 2026