Dinny Kunoth Kemarr

I was born in 1954 at Utopia Homestead must be or maybe in the bush. We lived half-way bush and half-way station. Working for station life and living bush. When I was 15 or 16, I was working at Waite River Station. Using axes and making yards for nanny goats. Those old yards are still there from when I was young. I’ve looked. Everywhere I was working. Up the north along the soakage's. Across the stations. Branding and mustering cattle. I’ve always worked this way. Using hands and doing my life. For footy. First one we played was at the station. A long time ago. We didn’t know about the umpire or nothing. No umpire was there to blow a whistle. We didn’t know who the umpire was or what he was saying. Those rules. Those white people schooled us in footy. Old people must have bought a TV in town. Before that we just had bush football. Then I saw those players later, like Adam Goodes, an Aboriginal man playing on T.V in new times. I was sitting here, about 2000, and my partner was doing painting. I was watching her and I thought about an idea. I was sitting there, no carving, then about 2004, I made one football man. A Collingwood player. I showed him to Marc and he said: ‘You should make more of this. A whole team.’ So, I’m keeping on making them. After watching North Melbourne and Collingwood play big football game at the MCG in Melbourne, I wanted to start painting those teams on canvas. I paint them white fellas first then started painting Bush Football. Old memory, maybe 1986 or 84, in old model Holden, we went that way Papunya, Mount Liebig, Ali Curung, playing and watching that bush footy. Bush Football out here bring all them people together. When they play football it make em' happy ones. Dinny has been making carvings and paintings since 2005. He started his practice under the guidance of art facilitator Marc Gooch and alongside his wife, Josie Pitjara Kunoth. His process is informed by nature. He sources his materials from the land that surrounds his Homeland and, as much as the forms in the trees can influence his sculptures, he seeks out shapes in nature to fit his ideas. The two always work together. He is careful to work sustainably, always leaving enough behind to carve in ‘a couple of years’ time.’ Dinny’s process is local, as are his subjects. His practice reflects his life, interests and memories as a stockman, footballer, father, and community leader. His work shows a modern experience steeped in an enduring artistic tradition.

GROUP EXHIBITIONS

2026, March, Game On, Jam Factory, Adelaide

2025, October, Tarnanthi \ 2025 Celebrating 10 Years of Tarnanthi, Art Gallery of South Australia, Adeliade

2023, October, Tarnanthi, Art Gallery of South Australia, Adeliade

2015, October, Tarnanthi, Art Gallery of South Australia, Adelaide

COLLECTIONS

Utopia Art Centre

2016, The AFL Dream Team, Parliament House Canberra

2023, Art Gallery of New South Wales, New South Wales

COMMISSIONS

2021, One Big Mob, All Mixed Up, Sydney Football Stadium