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In this work Carbiene depicts four dreaming stories which he inherited from his father. These tjukurrpa are associated with a series of waterholes running between Docker River and Kata Tjuta. Specifically, it includes four important sites: Petermann Ranges, Docker River, Kalaya Murrpu (Blood's Range) and Mulyayti near Kata Tjuta. As a young man, Carbiene returned to these places and retraced the footsteps of his father. These memories stay with him vividly today.

In this work Carbiene depicts four dreaming stories which he inherited from his father. These tjukurrpa are associated with a series of waterholes running between Docker River and Kata Tjuta. Specifically, it includes four important sites: Petermann Ranges, Docker River, Kalaya Murrpu (Blood's Range) and Mulyayti near Kata Tjuta. As a young man, Carbiene returned to these places and retraced the footsteps of his father. These memories stay with him vividly today.

This work is about both a memory Doris has and a Tjukurrpa (dreaming) story, of a place called Nyunmanu. Doris lived here for many years. The memory is 'Anangu tjuta at Nyunmanu' - lots people living in a cave. Watis (men), kungkas & pipirri (children). There is lots of minkulpa (bush tobacco) growing in this cave. Older kungkas are telling young kungkas to dance. Snakes and goannas were speared and eaten as a meal. Everyone is taking minkulpa and sleeping heavy. Another memory Doris has of this place, is her and her husband walking a very long way to this place. They were looking for water but could not find any and her husband got sick in this cave. They didn’t have a fire, it was too dangerous. Doris says 'this place can make you go mad'. Nyunmanu is a Dingo Tjukurrpa site just to the south east of the remote Aboriginal community of Kintore in the Northern Territory. Most of the dingoes and their pups from this place rose up into the sky and became stars. However, the ancestral mother Dingo and her pup had gone out hunting and were too tired to rise up, so they turned into a large rock that marks the place of this sacred Dreaming. It is said that if you sleep in this place you will dream of the ancestral dingo puppies. The story goes that if you remove one of the gleaming stones found at Nyunmanu, the puppies will haunt your dreams until you return it to the place where it belongs. The custodians of this Tjukurrpa are Nungarrayi, Tjungarrayi, Napaltjarri and Tjapaltjarri women and men. The circles in this story often represent important waterholes. The roundels extending from the circles are the designs the women paint on their breasts during ceremony.

"Tiima ngayukuya, tiima ngyuku, papunya tiima ngayuku yuwa. Tjana ankula tawunu pliitipayi, every weekend and ngururrpa ngarripayi ankula yuwa." "They’re my team, yeah Pupanya’s my team. They always go to town to play football, every weekend, in between they camp." Three young men dressed in their football uniforms, playing for the Papunya Eagles. The wording Tjupi (honey ant) derives its meaning from significant Tjukurrpa (dreaming) at Papunya. Leemyn is experimenting with a new medium for the first time, as well and new subject matter inspired by books and images collected at the Papunya school archive.

"Tiima ngayukuya, tiima ngyuku, papunya tiima ngayuku yuwa. Tjana ankula tawunu pliitipayi, every weekend and ngururrpa ngarripayi ankula yuwa." "They’re my team, yeah Pupanya’s my team. They always go to town to play football, every weekend, in between they camp." Three young men dressed in their football uniforms, playing for the Papunya Eagles. The wording Tjupi (honey ant) derives its meaning from significant Tjukurrpa (dreaming) at Papunya. Leemyn is experimenting with a new medium for the first time, as well and new subject matter inspired by books and images collected at the Papunya school archive.

The painting depicts designs associated with Kapi Tjukurrpa (Water Dreaming) at Kalipinypa a site northwest of Sandy Blight Junction, Western Australia.The Tjukurrpa tells of an important rain making ceremony to invoke the elements. It is a powerful storm bringing on the lightning, thunderclouds and rain sending its deluge to rejuvenate the earth, filling rock holes, clay pans and creeks. It has the power to create new life and growth upon the land. The different elements of the image represent puuli (hills), tali (sandhills) and kapi (water). Plants and leaves spring up after the heavy rain, nourishing the land and the people. The concentric circles represent waterholes, while the arrow shapes represent the footprints of the white heron that frequents the site.

This painting tells one of the of many water dreamings from the Papunya area. The circles are important water or rock hole site. The shapes represent the elements of a storm - wind, rain, thunderclouds and lightning. The lines represent rain and water flowing from the waterholes and flooding the usually dry creek beds.

This painting tells a Kapi Tjukurrpa (water dreaming) story of Wantupunyu. Wantupunyu is Punni's grandfather's Country and the site is to the north of Papunya and west of the sacred mountain Karinyarra. Punni leant to paint this story from her Mother's paintings, Isobel Gorey Nambajimba, who is a prolific painter and a director at Papunya Tjupi. Water dreaming sites are important for the regeneration of nature. The water makes the country green and brings a lot of 'bush tucker' foods for the people and the animals. The heavy rain usually comes in the summer time. When the lightening can be seen at a distance, the elders will start singing to the lightening, encouraging it to bring more rain to replenish the land. In her paintings, Puuni depicts lightening, rainbows, puddles and bush flowers. In this painting the central shapes are important water or rock hole site. The lines represent the elements of a storm - wind, rain, thunderclouds and lightning. The patterns represent rain and water flowing from the waterholes and flooding the usually dry creek beds.

In this work Carbiene depicts four dreaming stories which he inherited from his father. These tjukurrpa are associated with a series of waterholes running between Docker River and Kata Tjuta. Specifically, it includes four important sites: Petermann Ranges, Docker River, Kalaya Murrpu (Blood's Range) and Mulyayti near Kata Tjuta. As a young man, Carbiene returned to these places and retraced the footsteps of his father. These memories stay with him vividly today.

This painting tells one of the of many water dreamings from the Papunya area. The circles are important water or rock hole site. The shapes represent the elements of a storm - wind, rain, thunderclouds and lightning. The lines represent rain and water flowing from the waterholes and flooding the usually dry creek beds.

The painting depicts designs associated with Kapi Tjukurrpa (Water Dreaming) at Kalipinypa a site northwest of Sandy Blight Junction, Western Australia.The Tjukurrpa tells of an important rain making ceremony to invoke the elements. It is a powerful storm bringing on the lightning, thunderclouds and rain sending its deluge to rejuvenate the earth, filling rock holes, clay pans and creeks. It has the power to create new life and growth upon the land. The different elements of the image represent puuli (hills), tali (sandhills) and kapi (water). Plants and leaves spring up after the heavy rain, nourishing the land and the people. The concentric circles represent waterholes, while the arrow shapes represent the footprints of the white heron that frequents the site.

This painting tells a Kapi Tjukurrpa (water dreaming) story of Wantupunyu. Wantupunyu is Punni's grandfather's Country and the site is to the north of Papunya and west of the sacred mountain Karinyarra. Punni leant to paint this story from her Mother's paintings, Isobel Gorey Nambajimba, who is a prolific painter and a director at Papunya Tjupi. Water dreaming sites are important for the regeneration of nature. The water makes the country green and brings a lot of 'bush tucker' foods for the people and the animals. The heavy rain usually comes in the summer time. When the lightening can be seen at a distance, the elders will start singing to the lightening, encouraging it to bring more rain to replenish the land. In her paintings, Puuni depicts lightening, rainbows, puddles and bush flowers. In this painting the central shapes are important water or rock hole site. The lines represent the elements of a storm - wind, rain, thunderclouds and lightning. The patterns represent rain and water flowing from the waterholes and flooding the usually dry creek beds.

Renita has used the natural designs of tali or sand hills that predominate the country around Papunya as her inspiration for this painting. The tali form waves across the desert.

"Tiima ngayukuya, tiima ngyuku, papunya tiima ngayuku yuwa. Tjana ankula tawunu pliitipayi, every weekend and ngururrpa ngarripayi ankula yuwa." "They’re my team, yeah Pupanya’s my team. They always go to town to play football, every weekend, in between they camp." Three young men dressed in their football uniforms, playing for the Papunya Eagles. The wording Tjupi (honey ant) derives its meaning from significant Tjukurrpa (dreaming) at Papunya. Leemyn is experimenting with a new medium for the first time, as well and new subject matter inspired by books and images collected at the Papunya school archive.

"Tiima ngayukuya, tiima ngyuku, papunya tiima ngayuku yuwa. Tjana ankula tawunu pliitipayi, every weekend and ngururrpa ngarripayi ankula yuwa." "They’re my team, yeah Pupanya’s my team. They always go to town to play football, every weekend, in between they camp." Three young men dressed in their football uniforms, playing for the Papunya Eagles. The wording Tjupi (honey ant) derives its meaning from significant Tjukurrpa (dreaming) at Papunya. Leemyn is experimenting with a new medium for the first time, as well and new subject matter inspired by books and images collected at the Papunya school archive.

Beyula is telling the story of the Kalinykalinypa or desert grevillea flower, a favourite bush food for Anangu people and quite a delicacy. Kalinykalinypa grows in the sandy soils on the plains. The beautiful orange coloured flowers are picked early in the morning and placed in a billycan of water to create 'honeywater' (cordial) or sucked straight off the branch for their sweet honey dew. More often than not Anangu move from flower to flower, bending the flowers towards them so they can suck the nectar rather than picking it.

This painting depicts Candy’s Water Dreaming site at Kalipinypa, North-east of Kintore. The painting tells the story of the rain and hail making ceremony for the site of Kalipinypa. Ancestral forces are invoked to bring on a powerful storm with lightning, thunderclouds and rain sending a deluge to rejuvenate the earth, filling the rock holes, clay pans and creeks and creating new life and growth upon the land. Today the Nakamarra, Tjakamarra, Napurrula and Tjupurrula men and women are the custodians of this important Water Dreaming site and celebrate its stories in the ceremonies.

This painting represents Water Dreaming from Karrinyarra or Mt Wedge north of Papunya. The circles are the water holes and the pair of short lines are lightning. The lines connecting the water holes are creeks or water courses. Karrinyarra is associated with rain making ceremonies. Aboriginal people believe the Creation or Dreamtime is the beginning of ‘knowledge’, when the laws of existence were put together. It is also the beginning of time when the supernatural Ancestral beings were born out of their own eternity. It is said the Ancestors moved across the then barren surface of the world, hunting and fighting. They changed the form of the land creating the mountains, rivers, trees, plains, water holes and sand hills. The Ancestors were honoured by Aboriginal people in corroborees performed at sacred sites where the spirit of the Ancestors had become part of the landscape, or turned into entities such as rocks or trees.

Doris has painted a plentiful memory from her past in the early days when she was learning from her mother out at Wilura and Nyumannu. Nyunmanu is a Dreaming site just to the south east of the remote Aboriginal community of Kintore in the Northern Territory Doris talks of her and her mother handling different types of Mangarri (food). As Doris talks about these memories she enacts the handling and eating of mai (food) and drinking kapi (water). Doris speaks of breaking open pura (big wild bush tomatoes) to eat the flesh and collecting and eating of ilyuru (a sweet natural cotton-candy-like bush food). Doris talks of different tools to do this like wana (digging sticks) and speaks of other parts of the fruitful landscape such as witya (trees). Now, when Doris sits in Papunya to paint she sits under a large watiya (tree). She remembers that this same type of watiya was at Nyumannu too, and her and her mother would sit under it. Doris recalls the whole family sitting around nikiti way (without clothes in the old days) and without any other Western tools. Doris explains “Billy can wiya! Blanket wiya! Just running around!”

In this painting Emily has depicted designs associated with the Janmarda Tjukurrpa (Onion Dreaming) site of Karrinyarra (Central Mt Wedge). Karinyarra is two hours drive North West of the remote Aboriginal community of Papunya, Northern Territory, where there is a large salt lake and sacred spring. At certain times of year the surrounds become covered with bush onion grass creating a creamy texture across the landscape. Women dig at the grass to find the bush onion that grows at the roots. The bush onions are gathered and cooked on the coals of the fire. Once they are cool enough to be held they are rubbed between the hands so that the outer shell comes away revealing the lovely sweet small onion underneath.

In this painting Emily has depicted designs associated with the Janmarda Tjukurrpa (Onion Dreaming) site of Karrinyarra (Central Mt Wedge). Karinyarra is two hours drive North West of the remote Aboriginal community of Papunya, Northern Territory, where there is a large salt lake and sacred spring. At certain times of year the surrounds become covered with bush onion grass creating a creamy texture across the landscape. Women dig at the grass to find the bush onion that grows at the roots. The bush onions are gathered and cooked on the coals of the fire. Once they are cool enough to be held they are rubbed between the hands so that the outer shell comes away revealing the lovely sweet small onion underneath.

This painting tells a Kapi Tjukurrpa (water dreaming) story of Wantupunyu. Wantupunyu is Punni's grandfather's Country and the site is to the north of Papunya and west of the sacred mountain Karinyarra. Punni leant to paint this story from her Mother's paintings, Isobel Gorey Nambajimba, who is a prolific painter and a director at Papunya Tjupi. Water dreaming sites are important for the regeneration of nature. The water makes the country green and brings a lot of 'bush tucker' foods for the people and the animals. The heavy rain usually comes in the summer time. When the lightening can be seen at a distance, the elders will start singing to the lightening, encouraging it to bring more rain to replenish the land. In her paintings, Puuni depicts lightening, rainbows, puddles and bush flowers. In this painting the central shapes are important water or rock hole site. The lines represent the elements of a storm - wind, rain, thunderclouds and lightning. The patterns represent rain and water flowing from the waterholes and flooding the usually dry creek beds.

This painting tells a Kapi Tjukurrpa (water dreaming) story of Wantupunyu. Wantupunyu is Punni's grandfather's Country and the site is to the north of Papunya and west of the sacred mountain Karinyarra. Punni leant to paint this story from her Mother's paintings, Isobel Gorey Nambajimba, who is a prolific painter and a director at Papunya Tjupi. Water dreaming sites are important for the regeneration of nature. The water makes the country green and brings a lot of 'bush tucker' foods for the people and the animals. The heavy rain usually comes in the summer time. When the lightening can be seen at a distance, the elders will start singing to the lightening, encouraging it to bring more rain to replenish the land. In her paintings, Puuni depicts lightening, rainbows, puddles and bush flowers. In this painting the central shapes are important water or rock hole site. The lines represent the elements of a storm - wind, rain, thunderclouds and lightning. The patterns represent rain and water flowing from the waterholes and flooding the usually dry creek beds.

This painting tells a Kapi Tjukurrpa (water dreaming) story of Wantupunyu. Wantupunyu is Punni's grandfather's Country and the site is to the north of Papunya and west of the sacred mountain Karinyarra. Punni leant to paint this story from her Mother's paintings, Isobel Gorey Nambajimba, who is a prolific painter and a director at Papunya Tjupi. Water dreaming sites are important for the regeneration of nature. The water makes the country green and brings a lot of 'bush tucker' foods for the people and the animals. The heavy rain usually comes in the summer time. When the lightening can be seen at a distance, the elders will start singing to the lightening, encouraging it to bring more rain to replenish the land. In her paintings, Puuni depicts lightening, rainbows, puddles and bush flowers. In this painting the central shapes are important water or rock hole site. The lines represent the elements of a storm - wind, rain, thunderclouds and lightning. The patterns represent rain and water flowing from the waterholes and flooding the usually dry creek beds.

The painting depicts designs associated with Kapi Tjukurrpa (Water Dreaming) at Kalipinypa a site northwest of Sandy Blight Junction, Western Australia.The Tjukurrpa tells of an important rain making ceremony to invoke the elements. It is a powerful storm bringing on the lightning, thunderclouds and rain sending its deluge to rejuvenate the earth, filling rock holes, clay pans and creeks. It has the power to create new life and growth upon the land. The different elements of the image represent puuli (hills), tali (sandhills) and kapi (water). Plants and leaves spring up after the heavy rain, nourishing the land and the people. The concentric circles represent waterholes, while the arrow shapes represent the footprints of the white heron that frequents the site.

The painting depicts designs associated with Kapi Tjukurrpa (Water Dreaming) at Kalipinypa a site northwest of Sandy Blight Junction, Western Australia.The Tjukurrpa tells of an important rain making ceremony to invoke the elements. It is a powerful storm bringing on the lightning, thunderclouds and rain sending its deluge to rejuvenate the earth, filling rock holes, clay pans and creeks. It has the power to create new life and growth upon the land. The different elements of the image represent puuli (hills), tali (sandhills) and kapi (water). Plants and leaves spring up after the heavy rain, nourishing the land and the people. The concentric circles represent waterholes, while the arrow shapes represent the footprints of the white heron that frequents the site.

In this painting Emily has depicted designs associated with the Janmarda Tjukurrpa (Onion Dreaming) site of Karrinyarra (Central Mt Wedge). Karinyarra is two hours drive North West of the remote Aboriginal community of Papunya, Northern Territory, where there is a large salt lake and sacred spring. At certain times of year the surrounds become covered with bush onion grass creating a creamy texture across the landscape. Women dig at the grass to find the bush onion that grows at the roots. The bush onions are gathered and cooked on the coals of the fire. Once they are cool enough to be held they are rubbed between the hands so that the outer shell comes away revealing the lovely sweet small onion underneath.

Martha depicts Walukuritji in her works. It is one of a series of clay pans to the south of Lake MacDonald that were significant for her father, Shorty Lungkata Tjungurrayi. The surrounding dot matrix depicts the tapestry of different types of vegetation across the landscape. “These are ngati (holes) and a little bit of kapi (water) in the waterholes, still ngati. And watiya (trees). Watiya, one, two, three, four. Watiya.” Martha has been painting for a long time. She witnessed the beginnings of the Papunya Art Movement in the early 1970s, when her father created authoritative works that would go on to be internationally celebrated. While Martha paints his country, she does so in her own way, and only in relation to the stories that she knows about it. “This place is my fathers country, Warlukuritji, other side of Kintore. I don’t know where, South of Kintore I am watching my father paint, his way, in the old way. They are doing painting before, outside, otherside of the church. We used to see them. You listen - this is father’s country, Daddy. But I paint differently to my father.”

This artwork was made in response to books and illustrations that are a part of the Papunya school archive. During the 1980’s the Papunya Literature production centre operated out of the Papunya School. The program was founded through a value of bilingual education and during the project's time its cohort published over 500 bilingual titles using an acquired offset printing machine, photographic equipment and darkroom. Among its collective were many Papunya Tjupi artists including Kumanytjayi Nangala, Charlotte Phillipus, Narlie Nelson, Dennis Nelson and Linda Anderson and the sons and daughters of the original founding artists in Papunya. The group published a variety of stories including traditional tales, snapshots of life as well as early educational tools. It is from this rich history that these artists have drawn on to produce new works and reflections of Papunya’s print history old and new.

This artwork was made in response to books and illustrations that are a part of the Papunya school archive. During the 1980’s the Papunya Literature production centre operated out of the Papunya School. The program was founded through a value of bilingual education and during the project's time its cohort published over 500 bilingual titles using an acquired offset printing machine, photographic equipment and darkroom. Among its collective were many Papunya Tjupi artists including Kumanytjayi Nangala, Charlotte Phillipus, Narlie Nelson, Dennis Nelson and Linda Anderson and the sons and daughters of the original founding artists in Papunya. The group published a variety of stories including traditional tales, snapshots of life as well as early educational tools. It is from this rich history that these artists have drawn on to produce new works and reflections of Papunya’s print history old and new.

In 2020, the men from the Wati room at Papunya Tjupi took a bush trip to Ulumbarra. They took ink and paper to paint this special swimming place. Leemyn Corby, one of the artists on this trip says that ‘people visit water holes at Papunya when it’s too hot.’ These works of ink on paper directly respond to place and their experiences.

This print depicts Water Dreaming at Kalipinypa, a sacred site north-east of the remote Aboriginal community of Kintore, Northern Territory. The painting tells the story of the rain and hail making ceremony for the site of Kalipinypa. Ancestral forces are invoked to bring on a powerful storm with lightning, thunderclouds and rain, which sends a deluge to rejuvenate the earth, filling the rock holes, clay pans and creeks and creating new life and growth upon the land. Today the Nakamarra, Tjakamarra, Napurrula and Tjupurrula men and women are the custodians of this important Water Dreaming site and celebrate its stories in the ceremonies. This painting is created in a different way to Charlottes usual style as she has depicted rain clouds and hail stones. During the 1980’s the Papunya Literature production centre operated out of the Papunya School. The program was founded through a value of bilingual education and during the project's time its cohort published over 500 bilingual titles using an acquired offset printing machine, photographic equipment and darkroom. Among its collective were many Papunya Tjupi artists including Kumanytjayi Nangala, Charlotte Phillipus, Narlie Nelson, Dennis Nelson and Linda Anderson and the sons and daughters of the original founding artists in Papunya. The group published a variety of stories including traditional tales, snapshots of life as well as early educational tools. It is from this rich history that these artists have drawn on to produce new works and reflections of Papunya’s print history old and new.

"Tiima ngayukuya, tiima ngyuku, papunya tiima ngayuku yuwa. Tjana ankula tawunu pliitipayi, every weekend and ngururrpa ngarripayi ankula yuwa." "They’re my team, yeah Pupanya’s my team. They always go to town to play football, every weekend, in between they camp." Three young men dressed in their football uniforms, playing for the Papunya Eagles. The wording Tjupi (honey ant) derives its meaning from significant Tjukurrpa (dreaming) at Papunya. Leemyn is experimenting with a new medium for the first time, as well and new subject matter inspired by books and images collected at the Papunya school archive.

This artwork was made in response to books and illustrations that are a part of the Papunya school archive. During the 1980’s the Papunya Literature production centre operated out of the Papunya School. The program was founded through a value of bilingual education and during the project's time its cohort published over 500 bilingual titles using an acquired offset printing machine, photographic equipment and darkroom. Among its collective were many Papunya Tjupi artists including Kumanytjayi Nangala, Charlotte Phillipus, Narlie Nelson, Dennis Nelson and Linda Anderson and the sons and daughters of the original founding artists in Papunya. The group published a variety of stories including "Images from ""Nyaampa ngaatja? Tj-tjarra"" Illustrated by Heysen, Sue. ""Wati kukaku yanutja"" Illustrated by Stevens, Thomas. ""Tjangaraku ngurrara"" Illustrated by Stevens, Thomas. ""Yara Mulyatanku Puluka Mantjintja"" Author Phillipus, Charlotte and Illustrated by Stockman, Abraham. "

Doris has painted a plentiful memory from her past in the early days when she was learning from her mother out at Wilura and Nyumannu. Nyunmanu is a Dreaming site just to the south east of the remote Aboriginal community of Kintore in the Northern Territory Doris talks of her and her mother handling different types of Mangarri (food). As Doris talks about these memories she enacts the handling and eating of mai (food) and drinking kapi (water). Doris speaks of breaking open pura (big wild bush tomatoes) to eat the flesh and collecting and eating of ilyuru (a sweet natural cotton-candy-like bush food). Doris talks of different tools to do this like wana (digging sticks) and speaks of other parts of the fruitful landscape such as witya (trees). Now, when Doris sits in Papunya to paint she sits under a large watiya (tree). She remembers that this same type of watiya was at Nyumannu too, and her and her mother would sit under it. Doris recalls the whole family sitting around nikiti way (without clothes in the old days) and without any other Western tools. Doris explains “Billy can wiya! Blanket wiya! Just running around!”

This is a painting of Pilkati Kutjarra Tjukurrpa (Two Snake Dreaming) passed to the artist from his fathers younger brother Roley Major, who is indeed depicted in the work. In anangu (Aborginal) conceptions of family, Roley is the artists father. Two Tjangala men are seated at Lake McDonald near to Kintore facing eachother. Between them is a water hole. Behind them are series of Tali (sand dunes) and to the sides of them are formations of dry sand. The two men and the two snakes are one in the same: they are simultaneously men and snakes. They are extremely powerful and possess the will to bring rain, summon the bush tucker to grow and change colours. If someone lights a fire they can send strong winds, causing the fire to spread.

The painting depicts designs associated with Kapi Tjukurrpa (Water Dreaming) at Kalipinypa, a site northwest of Kintore. The tjukurrpa tells of an important rain making ceremony to invoke the elements. It is a powerful storm bringing on the lightning, thunderclouds and rain sending its deluge to rejuvenate the earth, filling rock holes, clay pans and creeks. It has the power to create new life and growth upon the land.

This painting depicts the Kapi Tjukurrpa (Water Dreaming) site of Kalipinypa, North-east of Kintore. Dennis talks of Kalipinypa as Paradise Country. He remembers a story of this site where two birds wonder around for water. Underneath that water there is a snake making the water bubble. There is bush tucker all around. There are wild flowers, kapi tjukitji and water running. The painting tells the story of an important rain making ceremony involving the rainmakers to invoke storms. Kalipinypa is a powerful storm that brings lightning, thunderclouds and rain to rejuvenate the earth, filling rock holes, clay pans and creeks. It has the power to create new life and growth upon the land. If present, the circles represent kapi tjukitji (rock holes) and the meandering lines depict the water flowing throughout the country and between waterholes. Background dotting represents the rejuvenating effect the rain has on the land, bringing out the bush food plants and providing easy access to water.

Dennis is telling the story of the Tjupi or Honey Ants. The story of the Honey Ant is told across the Northern Territory and into South Australia. Not only a highly favoured food source, the Honey Ant is an important link between the Anangu people’s mythology and inter-dependence on the environment. The Honey Ant Ancestors are strongly associated with the country around Papunya. When Aboriginal people go looking for Honey Ants they look for ant tunnels that lead down to the ants’ nest, about a metre under Mulga trees. The Honey Ant tunnels that lead down to the ant's nests are called nyinantu and the larvae are called ipilyka-ipilyka. When they find them, they shovel and dig down, following the tunnels to find the Honey Ants inside. They suck the honey nectar from the abdomen of the Honey Ant. The circles in this dreaming often represent sites where the people are digging for honey ants, with the U shapes being people.

Two Emus.

Two Emus.

Two Emus.

NT Truck

NT Truck

Scene from 'Old man dreaming of a V8', Dog dreaming of steak and money. During the 1980’s the Papunya Literature production centre operated out of the Papunya School. The program was founded through a value of bilingual education and during the project's time its cohort published over 500 bilingual titles using an acquired offset printing machine, photographic equipment and darkroom. Among its collective were many Papunya Tjupi artists including Kumanytjayi Nangala, Charlotte Phillipus, Narlie Nelson, Dennis Nelson and Linda Anderson and the sons and daughters of the original founding artists in Papunya. The group published a variety of stories including traditional tales, snapshots of life as well as early educational tools. It is from this rich history that these artists have drawn on to produce new works and reflections of Papunya’s print history old and new.

Scene from 'Old man dreaming of a V8', Dog dreaming of steak and money. During the 1980’s the Papunya Literature production centre operated out of the Papunya School. The program was founded through a value of bilingual education and during the project's time its cohort published over 500 bilingual titles using an acquired offset printing machine, photographic equipment and darkroom. Among its collective were many Papunya Tjupi artists including Kumanytjayi Nangala, Charlotte Phillipus, Narlie Nelson, Dennis Nelson and Linda Anderson and the sons and daughters of the original founding artists in Papunya. The group published a variety of stories including traditional tales, snapshots of life as well as early educational tools. It is from this rich history that these artists have drawn on to produce new works and reflections of Papunya’s print history old and new.

Terrance has depicted the sacreed site Palka Karrinya (Standing Rock) at Karrinyarra. Karrinyarra is associated with rain making ceremonies and many sacred stories that are connected to the wanampi and Palka Karrinya. Aboriginal people believe the Creation or Dreamtime is the beginning of ‘knowledge’, when the laws of existence were put together. It is also the beginning of time when the supernatural Ancestral beings were born out of their own eternity. It is said the Ancestors moved across the then barren surface of the world, hunting and fighting. They changed the form of the land creating the mountains, rivers, trees, plains, water holes and sand hills. The Ancestors were honoured by Aboriginal people in corroborees performed at sacred sites where the spirit of the Ancestors had become part of the landscape, or turned into entities such as rocks or trees.

Terrance has depicted the sacreed site Palka Karrinya (Standing Rock) at Karrinyarra. Karrinyarra is associated with rain making ceremonies and many sacred stories that are connected to the wanampi and Palka Karrinya. Aboriginal people believe the Creation or Dreamtime is the beginning of ‘knowledge’, when the laws of existence were put together. It is also the beginning of time when the supernatural Ancestral beings were born out of their own eternity. It is said the Ancestors moved across the then barren surface of the world, hunting and fighting. They changed the form of the land creating the mountains, rivers, trees, plains, water holes and sand hills. The Ancestors were honoured by Aboriginal people in corroborees performed at sacred sites where the spirit of the Ancestors had become part of the landscape, or turned into entities such as rocks or trees.

This painting depicts the Kapi Tjukurrpa (Water Dreaming) at Kalipinypa, North-east of Kintore. The painting tells the story of the rain and hail making ceremony for the site of Kalipinypa. Ancestral forces are invoked to bring on a powerful storm with lightning, thunderclouds and rain sending a deluge to rejuvenate the earth, filling the rock holes, clay pans and creeks and creating new life and growth upon the land. Today the custodians of this important Water Dreaming site celebrate its stories in ceremonies

This painting depicts the Kapi Tjukurrpa (Water Dreaming) at Kalipinypa, North-east of Kintore. The painting tells the story of the rain and hail making ceremony for the site of Kalipinypa. Ancestral forces are invoked to bring on a powerful storm with lightning, thunderclouds and rain sending a deluge to rejuvenate the earth, filling the rock holes, clay pans and creeks and creating new life and growth upon the land. Today the custodians of this important Water Dreaming site celebrate its stories in ceremonies.