Mens Collective

This painting depicts Possum Tjukurrpa (dreaming), Kayman's Tjukurrpa which he traces from North-West of Papunya, the country of his Mothers ancestors. Each of the colours represent different elements of the Possums habitat whilst he hunts for ants. The yellow and the red represent Tali (sandhills), the green represents Tjanpi (spinifex) and the blue represents Kapi (water).

In this painting, Snowy is depicting women sitting around a Honey Ant (Tjupi) hive, digging for the sweet bush food. There are lots of kids waiting around for them to find some. The horseshoe shapes represent the women and children, where the straight lines represent their digging sticks (kuturru). The circular shapes represent the ants' hive. Tjupi have special significance for Papunya, which is a Honey Ant Dreaming (Tjupi Tjukurrpa) site, part of a larger story that runs from South Australia to Papunya.

In this painting, Snowy is depicting women sitting around a Honey Ant (Tjupi) hive, digging for the sweet bush food. There are lots of kids waiting around for them to find some. The horseshoe shapes represent the women and children, where the straight lines represent their digging sticks (kuturru). The circular shapes represent the ants' hive. Tjupi have special significance for Papunya, which is a Honey Ant Dreaming (Tjupi Tjukurrpa) site, part of a larger story that runs from South Australia to Papunya.

In this painting, Snowy is depicting women sitting around a Honey Ant (Tjupi) hive, digging for the sweet bush food. There are lots of kids waiting around for them to find some. The horseshoe shapes represent the women and children, where the straight lines represent their digging sticks (kuturru). The circular shapes represent the ants' hive. Tjupi have special significance for Papunya, which is a Honey Ant Dreaming (Tjupi Tjukurrpa) site, part of a larger story that runs from South Australia to Papunya.

In this painting, Snowy is depicting women sitting around a Honey Ant (Tjupi) hive, digging for the sweet bush food. There are lots of kids waiting around for them to find some. The horseshoe shapes represent the women and children, where the straight lines represent their digging sticks (kuturru). The circular shapes represent the ants' hive. Tjupi have special significance for Papunya, which is a Honey Ant Dreaming (Tjupi Tjukurrpa) site, part of a larger story that runs from South Australia to Papunya.

This painting tells the story of Tjilirra (traditionally carved tools). On one side of the painting is a kali, and on the other a 'number seven' boomerang. In the centre of the canvas is a coolamon (carrying dish). Once essential items for survival in the western desert, these items still hold value today as powerful symbols of protection.

This painting tells the story of Tjilirra (traditionally carved tools). On one side of the painting is a kali, and on the other a 'number seven' boomerang. In the centre of the canvas is a coolamon (carrying dish). Once essential items for survival in the western desert, these items still hold value today as powerful symbols of protection.

Here Duncan has painted the Tjukurrpa (Dreaming) he inherits from his Grandfather Turkey Toulson. Turkey was a pioneer of the Western Desert Dot painting movement and more specifically of works with strong line work.

In this painting Bob tells the honey ant story from Papunya. This is a sacred story that would be told at ceremony and was therefore withheld from women and uninitiated men before the early settlement days of Papunya. The passing of particular figures has meant that this story is now open to be shared by anyone. The artist is considered the owner of this story in Papunya and it is important to him that the story is preserved for the younger generations.

This painting depicts a rockhole or waterhole in the Western Desert country. The rockhole is represented by the concentric circles, and the dots represent the new growth that comes from the water.

This painting shows the footprints of the crow walking towards the waterhole at the centre of the canvas. The crow went to the water to drink, and turned to stone. Other crows followed - now there are too many there, and you can still see them, rocks, standing at this swamp, West of Kintore. This is my father's dreaming.

In this work Leemyn has depicted hunting on his Country. He depicts Tjilirra (traditionally carved tools). Once essential items for survival in the western desert, these items still hold value today as powerful symbols of protection.