Pwerle Gallery

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Pwerle Gallery PWERLE, more than a Gallery. Celebrating Aboriginal culture through 4 generations of family artists. It is entrenchedin the contemporary Aboriginal art industry.

Pwerle Gallery is an Aboriginal, family owned company which was founded in 2015 by Jade Torres. A majority of the artists represented are family members from the Atnwengerrp community, which is located in the Utopia region of the Northern Territory. Jade is the Great Granddaughter to the late Minnie Pwerle and Granddaughter to the late Barbara Weir. Being surrounded by talented family members her whole life, she naturally found her way into the art-world herself. Fast forward to 2022, Jade is proud to represent her cultural heritage with an exciting next generation of contemporary art. Pwerle Gallery is following the footsteps of Jade’s fathers business, DACOU (Dreaming Art Centre of Utopia). DACOU has been recognised as a leading supplier of quality Utopian artwork. Pwerle Gallery; like DACOU, showcases art pieces from four generations of family artists. Together the family have promoted Indigenous art in both traditional and modern forms. Among the 300 national and international exhibitions, their pieces have made their way onto the Sydney Opera House, collaborated with renowned brands like Mercedes Benz and Vogue, but more importantly have adorned the homes of loved clients and collectors. The talented family have proudly broken the record twice, in achieving the highest price paid for a painting by an Australian Aboriginal female artist, Emily Kame Kngwarreye. This achievement is outstanding for both the community and females in business. A percentage of every Pwerle Gallery sale goes directly to the Utopian community. Pwerle Gallery prides itself on representing the Aboriginal culture with complete honesty and integrity, while aiming to strengthen the presence of the culture on the international art stage. When you purchase from Pwerle, you purchase directly from the artist

Representing Aboriginal artists such as:

- Emily Kngwarreye
- Minnie Pwerle
- Barbara Weir
- Jade Akamarre
- Freddy Purla
- Molly Pwerle
- Gayla Pwerle
- Emily Pwerle
- Gloria Petyarre
- Charmaine Pwerle

Amongst many more. Please view our stunning collection at www.pwerle.com.au

Same Country, a scale made for home 🤍PG30273180cm x 120cmIf you fell in love with Freddy Purla’s 3.1 metre piece but don...
16/10/2026

Same Country, a scale made for home 🤍
PG30273
180cm x 120cm

If you fell in love with Freddy Purla’s 3.1 metre piece but don’t quite have the wall for something that size, this one is for you.

At 1.8 metres by 1.2 metres, this work carries the same deep greens and blues, the same sense of movement and that same feeling of looking down over Country from above. It’s still a true statement piece, just sized to sit beautifully in a living room, dining space or entrance.

The way the tones flow across this canvas is stunning in person. Every layer of wildflower dub dubs builds depth and colour, so the more time you spend with it, the more you see.

This piece is now online to view and purchase, along with the rest of Freddy’s new collection.

Head to the link in bio, or send us a DM if you’d like more details or to arrange a viewing.

Arrivals

14/10/2026

A little pause from OUR COUNTRY

We’ll be back with Emily Kame Kngwarreye and Kudditji Kngwarreye’s story shortly, but this week we couldn’t wait to share what’s been happening in the gallery.

Freddy Purla has been in Adelaide working from the studio, finishing commission pieces for clients and creating an incredibly beautiful collection of new works for the gallery. Here’s a sneak peek at what’s to come.

This collection moves through so many moods. Lush greens, soft neutral and pastel tones, cool blues and then some of the most vibrant reds, oranges and pinks we’ve seen from him, across a whole range of sizes. Truly some of the best work we have seen him produce.

If you’d like to be the first to know when these go online this week, sign up to our mailing list via the link in bio or send us a DM and we’ll add you ourselves.

If anything catches your eye before then, please reach out. We’re happy to take purchasing enquiries now.

Arrivals

Kudditji KngwarreyeMy Country, 2012PGKK287 | 144cm x 91cmGoob painted this during one of the most productive periods of ...
27/09/2026

Kudditji Kngwarreye
My Country, 2012
PGKK287 | 144cm x 91cm

Goob painted this during one of the most productive periods of his practice, when his My Country series was at its strongest. Soft pinks move into warm yellows in broad, confident fields of colour, the way the light shifts across Alhalkere through the day and through the seasons.

Where his sister Emily built Country through mark and gesture, Kudditji held it in stillness and scale. There’s no fine dotting here, just colour carrying the land he was custodian of: the open desert sky, the shimmer of spinifex, the ceremonial places tied to his ancestors’ stories.

Stretched and ready to hang, with Pwerle Gallery certification. Available online now!

This is part of a series honouring 30 years since Emily’s passing. OUR COUNTRY is hanging in our gallery now, view the full exhibition online.

UtopiaArt

Kudditji Kngwarreye My Country, 2012PGKK96 | 97cm x 130cmThis is Goob himself, out on Country, holding one of his own My...
24/09/2026

Kudditji Kngwarreye
My Country, 2012
PGKK96 | 97cm x 130cm

This is Goob himself, out on Country, holding one of his own My Country paintings, pinks, oranges, yellows and blue moving across the canvas the same way light and season move across the desert.

People have often compared his colour fields to Rothko and the story family like to tell is that he wasn’t aware of Rothko at all. He wasn’t painting toward any art movement or market trend. He was painting Alhalkere, the only way he knew how, and it was the rest of the world that drew that comparison, not him chasing it.

His work has travelled internationally and been sought after by collectors and portrait artists alike, drawn as much to the man as to the paintings. Kudditji had a presence about him, a life etched into his face from decades as a stockman long before he ever picked up a brush and that presence carried straight through into the confidence of his colour fields.

My Country (2012, 97cm x 130cm), pictured here in his own hands, is part of that legacy.

View online now or book an appointment to see it in person at our Adelaide gallery.

Can’t make it in? We also offer FaceTime appointments, where we can walk you through the entire exhibition, piece by piece, from wherever you are.

Kudditji KngwarreyeMy Country, 2012PGKK20 | 125cm x 125cm Blocks of green and yellow move across this canvas like light ...
21/09/2026

Kudditji Kngwarreye
My Country, 2012
PGKK20 | 125cm x 125cm

Blocks of green and yellow move across this canvas like light falling across the desert at different times of day, broad, sweeping fields of colour rather than fine dotting, Kudditji’s own way of mapping Country. The black border left around the edge was one of his signatures, a frame he returned to again and again across the My Country series.

This is as much a record as it is a painting. Family remember him singing the stories of his ancestors as he worked, and what comes through in the finished piece is exactly that: the vastness of the land he belonged to and the care of an elder passing that knowledge down the only way he knew how.

Painted in museum-quality acrylic on premium linen canvas, this piece is about giving Kudditji’s work the space it has always deserved, carrying the same ceremonial Knowledge and lifetime of law as everything else in this exhibition.

View online now or book an appointment to see it in person at our Adelaide gallery.

https://pwerle.com.au/product/kudditji-kngwarreye-pgkk20/

Can’t make it in? We also offer FaceTime appointments, where we can walk you through the entire exhibition, piece by piece, from wherever you are.

Introducing KudditjiKudditji Kngwarreye, pronounced goo-beh-chee and known as Goob. Emily’s skin brother, family through...
20/09/2026

Introducing Kudditji
Kudditji Kngwarreye, pronounced goo-beh-chee and known as Goob. Emily’s skin brother, family through Anmatyerre kinship and every bit as close. Custodian of the Emu Dreaming and the Men’s Business sites tied to his Country at Boundary Bore, Utopia Station, around 230km northeast of Alice Springs. A senior law man, a ceremonial leader and a master artist in his own right, someone whose story has too often been told only in relation to hers.

Before he was known as an artist, Goob lived a traditional bush upbringing, then spent years working as a stockman and a mine worker across Central Australia. As a younger man, he’d take the boys out hunting emu on his Country, teaching that knowledge as part of their initiation into men’s business.

He started painting around 1986 and for years painted the way galleries expected: fine, detailed dot infill in the fashionable style of the time. It wasn’t until 2003 that Goob let that go entirely, picking up a heavily loaded brush and sweeping it broadly across the canvas instead, chasing the actual feeling of his Country rather than a technique built to sell. What came out of that shift became his celebrated My Country series: bold, juxtaposed fields of colour, sometimes harsh, sometimes soft, always instinctive, often compared to Rothko, but unmistakably his own. Family remember him singing while he worked, the same as Emily did, putting the stories of the land, the ancestors and Country straight into the paint as he moved across it.

By 2006 he was named one of Australia’s top 50 most collectible artists and his work now sits in major collections around the world. He kept painting until 2015 and passed in January 2017, but what he left behind hasn’t stopped speaking.

This is exactly why OUR COUNTRY exists: to put brother and sister side by side, two of the strongest voices Utopia ever produced, telling the same Country from two completely different hands.

📸 Image provided by DACOU Gallery.

View the full OUR COUNTRY collection online now, link in bio.

Emily Kame KngwarreyeWildflower Dreaming, 1995PGEK514 | 82cm x 87cmPOARows and rows of small blooms move down this canva...
19/09/2026

Emily Kame Kngwarreye
Wildflower Dreaming, 1995
PGEK514 | 82cm x 87cm
POA

Rows and rows of small blooms move down this canvas in warm coppers, dusty natural pink tones and mustard, the colour of Utopia’s country itself before it fades into desert red. It’s a quieter palette than people sometimes expect from a Wildflower piece, but that’s part of what makes it so beautiful.

Look closely and every dot is its own small event: layered, overlapping, catching the light differently depending on where you stand.

Fred Torres, Emily’s great Nephew, who worked alongside Emily for majority of her careeer, once said that of the roughly 3,000 paintings she completed in her lifetime, around 2,000+ of them were Wildflowers. It was the subject she returned to more than any other and this piece is part of that.

Barbara Weir, has spoken about where the technique actually came from. She described watching the way a yam’s roots move underground, pushing up through the earth as the plant grows and how Emily’s dotting echoes that exact movement; the flower isn’t separate from what’s happening beneath it, it’s the same story told above and below the ground.

That’s what’s in this canvas. It isn’t decoration. It’s an entire cycle of growth, season and Country compressed into paint.

Price on application, view online now or book an appointment to see it in person at our Adelaide gallery.

Can’t make it in? We also offer FaceTime appointments, where we can walk you through the entire exhibition, piece by piece, from wherever you are.

This is part of a series honouring 30 years since Emily’s passing. OUR COUNTRY is hanging in our gallery now, view the full exhibition online.

Link in bio.

Emily Kame KngwarreyeThe rise the world saw and what it looked like from inside the family.By 1990, Emily was holding so...
16/09/2026

Emily Kame Kngwarreye
The rise the world saw and what it looked like from inside the family.

By 1990, Emily was holding solo exhibitions in Sydney. By 1993, she’d represented Australia at the Venice Biennale and won the Australian Artists’ Creative Fellowship. In just three years she took part in 48 exhibitions across Australia and overseas: Russia, Ukraine, Japan, the United States.

Her work is now held in every major Australian state gallery, the National Gallery of Australia, the Vatican Collection, and major museums across Japan and Europe.

From the outside, that looks like a meteoric rise. From inside our family, it looked like watching someone we loved get busier and more tired, travelling further than she’d ever travelled in her life, while somehow never losing the thing that made her work extraordinary in the first place: that it was never about the art world.

It was always about Alhalkere and about telling that story correctly. Everything else was just what happened as a result.

View the full collection of OUR COUNTRY exhibition online now, link in bio.

Emily Kame KngwarreyeWildflower Dreaming, 1994,PGEK519 | 149cm x 212cmPOA  This piece also comes from our private family...
15/09/2026

Emily Kame Kngwarreye
Wildflower Dreaming, 1994,
PGEK519 | 149cm x 212cm
POA

This piece also comes from our private family collection and has never been exhibited publicly before now.

What makes this one stand apart is the palette. These soft pastel pinks, greens, yellows and blues aren’t a combination you see often across Emily’s body of work and it’s exactly what makes this piece so special.

There’s a real gentleness to it, quieter and more delicate than a lot of her Wildflower pieces, but just as alive.

Emily developed her own way of painting wildflowers, a technique often described as her “dump dump” dotting style: one brush, dipped into multiple colours at once, let loose on the canvas so the pigments blended directly against each other. The dots became both the flowers and the ground beneath them, echoing the way the yam’s roots lift the earth as its flowers emerge above it.

After rain, the desert country of Utopia would burst into exactly this, pinks, greens, purples and yellows against the red sand and blue sky and Emily returned to that transformation again and again throughout her life.

This wasn’t only a visual impression of Country to her. As a senior lore woman, wildflowers meant something practical too: survival, food, growth, the seasonal renewal her people depended on. Every dot in this piece carries that knowledge underneath it.

Price on application, view online now or book an appointment to see it in person at our Adelaide gallery.

Can’t make it in? We also offer FaceTime appointments, where we can walk you through the entire exhibition, piece by piece, from wherever you are.

Address

By Appointment Only. 59 North Terrace, Hackney
Adelaide, SA
5069

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