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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.

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 tells one of many water dreamings from the Papunya area. The circles represent important water or rock hole sites. The background design symbolises the landscape after the rains when the earth has been replenished with new growth. The rock holes collect the water during the rains. Knowledge of where to find water is handed down from generation to generation to ensure survival in the desert. This work represents the elements of a storm - wind, rain, thunderclouds and lightning. It also tells the story of rain and water flowing from the waterholes and flooding the usually dry creek beds. If present, the U shapes are the women sitting around the rock holes.

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.

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 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.

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 place isn't any place you can visit. It is a place that I go to in my dreams. It is a little bit like the country to the North of Hermannsburg, where I'm from. Water flows in the river, trees cover the land. A fence and a road cut through it. There is a full moon, reflected in the rock hole. A meteor shoots through the sky. It is like the one that landed at Tnorala (Gosse Bluff) There is an owl in the tree.

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!”

Lynn has depicted the images people draw in the sand to tell stories to each other.

Lynn has depicted the images people draw in the sand to tell stories to each other.

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.

Connie has painted her Grandfather's Kapi Tjukurrpa, from Yala Yala outstation near Kinotre, NT. The work represents a waterhole from this area. Connie speaks of how when she was a child she would dance and watch her Grandfather paint. After her Grandfather passed away, she began to paint his story, influenced by his style of painting. The lines represent the rain clouds, raining on the land, allowing for many Pituri to grow from the water (represented by the white dots). Pituri is a type of wild desert tobacco. The plant produces a white flower which Connie paints. In Central Australia the leaves from this plant are used for chewing. "When it rains, I climb up the big rock to the top, and I'm happy"

Lilly has used the natural designs of tali or sand hills that predominate the country around Mt Leibig and Papunya as her inspiration for this painting. The tali form waves across the desert. Her depictions of country refer to the effect of wind and rain on the desert landscape, and the crucial waterholes found in the area. Lilly's works evoke the ephemeral nature of the drifting, changing sandy country in the finest microcosmic detail. Rain streaks the land as it runs off the sand hills while the blowing wind folds them into the undulating waves of an infinite expanse. Beholding each work in is entirety, is to view the landscape in macrocosm as the eye follows the hypnotic fine doting and muted tones that build up into a mysterious, enigmatic topography of her land. Rendered in intricate detail, with subtle colour variations these paintings covey powerful and inspiring visions of her country.

In this painting Punata has depicted the country around Mt Denison which also belongs to her father Billy Stockman Tjapaltjarri. The central area represents the creek running through Mt Denison country while the black circles represent ‘sugarbags’ in the surrounding country. Sugarbag (wild honey) or Ngalypuru is the syrup made by the native bees, described as a small stingless honey bee. These insects live up in the trees and the Anangu (Aboriginal people) eat the honey. The honey is found in the tree hollows. To find the honey, the Anangu look for the native bees buzzing around the trees and the wax protruding from the trunks. The tree is then chopped and split to reveal the honey. The honey and the bees’ larvae are all collected in a coolamon or wooden bowl to be eaten.

This painting 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.

This painting depicts a Women's Rockhole site to the SE of Kintore. This is her grandfather's country.

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

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 depicts a Women's Rockhole site to the SE of Kintore. This is her grandfather's country.

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 depicts the Kapi Tjukurrpa (Water Dreaming) at Kalipinypa, North-east of Kintore. Kalipinypa is Jacquie's father's country. 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. Jacquie has used imagery to depict different parts of the landscape and story from this site. The curved shapes are puuli (hills) and tali (sand hills), the lone circle is a waterhole, the lines are creeks and kapi (water), the small repeated oval shapes are lightning and the horizontal bars represent body paint.

In this painting Rachel is telling us about bush onion or Yalka which is a traditional Aboriginal bush food, found often in the karinyarra area. Bush onions may be eaten raw or cooked after removing the hard casing. They are a small onion sedge with corms on shallow roots, the size of a small shallot. The women would perform a traditional ceremony in honour of the Bush Onion where they dance and paint their paint their breast, chest and forearms in ceremonial body designs. They also decorate their bodies with feathers and dance with ceremonial objects such as nulla nullas (ceremonial dancing baton).

This painting tells one of many water dreamings from the Papunya area. The circles represent important water or rock hole sites. The background design symbolises the landscape after the rains when the earth has been replenished with new growth. The rock holes collect the water during the rains. Knowledge of where to find water is handed down from generation to generation to ensure survival in the desert. This work represents the elements of a storm - wind, rain, thunderclouds and lightning. It also tells the story of rain and water flowing from the waterholes and flooding the usually dry creek beds. If present, the U shapes are the women sitting around the rock holes.

This painting is inspired by the work of Tim Leura Tjapaltjarri, also titled Honey Ant Hunt and depicts the totemic dreaming ancestors for Papunya, the honey ant. Anderson is taught this dreaming story from his father Bruce Inkamala who is the grandson of Tim Leura Tjapaltjarri.

This painting depicts a Water Dreaming story at Kalipinypa, North-East of Kintore. The painting tells the story of a 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 story. Patricia talks about the painting showing when the lightning sparkles. The different shapes depict wiinpa (lighting) and kunata (hailstones). If present, the central circle represents tjukula (a rock hole).

This painting depicts the Kapi Tjukurrpa (Water Dreaming) at Kalipinypa, North-east of Kintore. Kalipinypa is Jacquie's father's country. 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. Jacquie has used imagery to depict different parts of the landscape and story from this site. The curved shapes are puuli (hills) and tali (sand hills), the lone circle is a waterhole, the lines are creeks and kapi (water), the small repeated oval shapes are lightning and the horizontal bars represent body paint.

Mary has depicted designs associated with Yalka Tjukurrpa (Bush Onion Dreaming) at Murini, near another sacred site of Winparrku, west of Haasts Bluff, Northern Territory. The Yalka is a traditional bush food represented here by the circles with meandering lines emanating from them.The long parallel lines represent creek beds, with waterholes being the concentric circles, U shapes are the women and the short parallel lines are wana (digging sticks) and trees. Bush onions may be eaten raw or cooked after removing the hard casing. They are a small onion sedge with corms on shallow roots, the size of a small shallot. The women would perform a traditional ceremony in honour of the Bush Onion where they dance and paint their breast, chest and forearms in ceremonial body designs. They also decorate their bodies with feathers and dance with ceremonial objects such as nulla nullas (ceremonial dancing baton).

Ena has represented puuli (hills) around Lupul in the Kintore region of the Northern Territory. The Tjukurrpa or dreaming associated with this site tells of the rainbow serpent travelling across the country, bringing with it a great electrical storm which created the ancestral land. This story was passed to her by her father Long Tom Tjapanangka, who also painted this story.

This work was created on Country at Karrinyarra, located north of Papunya, or in the art centre in Papunya from memories directly following the four day painting trip. This is a Kapi Tjukurrpa (Water Dreaming) and Yalka Tjukurrpa (Bush Onion) place. Papunya Tjupi facilitates an annual multi-day bush trip for artists to paint on Country, and in 2017 went to Karrinyarra, the country of Isobel Gorey's, founding Papunya Tjupi artist and director, Grandfather. The days were filled with visits to the spring, rockholes, sandhills, dancing, singing, cooking, collecting yalka (bush onion) and rumiya (goanna), laughing, stories, camping under the trees and afternoons of painting canvas’.

Papunya Tjupi facilitates an annual multi-day bush trip for artists to paint on Country, and in 2017 went to Karrinyarra, the country of Isobel Gorey's, founding Papunya Tjupi artist and director, Grandfather. The days were filled with visits to the spring, rockholes, sandhills, dancing, singing, cooking, collecting yalka (bush onion) and rumiya (goanna), laughing, stories, camping under the trees and afternoons of painting canvas’. When asked about this work, Isobel Major Nampitjinpa says "there’s a lot of things in the Country: road, sandhill, watiya (trees). There’s a lot in my mind when I went on that big bush trip. My kind of style I did it." She also recalls that "trees around everywhere were all burnt. When I seen that bushfire, that’s how I did it on my painting." The trip to Karrinyarra took place after a recent bushfire, the blaze of which could be seen from Papunya, and Isobel said "the bushfire had already happened. When we were at Papunya we saw the bushfire and then after that we went to Karrinyarra. Bushfire, that’s how I was thinking and doing that painting, like one of them trees and all them trees, the burning trees and some was like kind of orange and yellow." In order to represent the burnt trees Isobel recalls "I used a brush and when you put the tip on the container and mix brown, yellow, green and made the trees." Isobel also depicts the sandhills and road present in the Karrinyarra landscape; "That orange is sandhills. Those dots are the sandhills, I used a stick to do the thick dots and the small dots and in the middle there’s that brown which is the road going away from the camp."

This piece is part of a body of work created during the forced closure of the art centre due to COVID-19 imposed restrictions, which also saw the closure of roads to and from Papunya Community for two months. Whilst staying put in Papunya, Papunya Tjupi's most sought after artists wished to continue painting from their homes, persevering through the uncertainty. Created in an informal setting, each work presents the artists unique and highly developed styles on a paired back canvas. Maureen has depicted the Kalipinypa landscape which features the lake, tali (sandhills), spinifex, rocks and roads. Kalipinypa is an important Water Dreaming site Northwest of Kintore.

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.

The painting depicts designs connected to Kapi Tjukurrpa (Water Dreaming) at Kalipinypa, a sacred site northwest of the Aboriginal Community of Kintore in the Central Western Desert of 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. There is a lightning strike at this place. In this tjukurrpa the angular shapes represent the dryness of the kapi tjukitji (waterhole). Alice talks of having no spring water in this site. The arrow shapes represent the footprints of the white heron that frequent the site. The custodians for this tjukurrpa are Nakamarra, Tjakamarra, Naparula and Tjaparulla skin subsections.

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. Watson says that the lines represent the water travelling into the waterholes, as well as rain and hail brought be the storm.

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.

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.

Tilau paints the story of the great Water Dreaming site of Mikantji which she inherited from her father. Tilau is a senior law woman. Her deeply felt knowledge of country and ceremony empowers her bold lyrical and expressive paintings depicting the topography of hills and creeks that create the feeling of flowing water. Mikantji is west of the remote Aboriginal community of Yuendumu in the Northern Territory. The custodians of this sacred place are the Nangala and Nampitjimpa women and their brothers, the Tjangala and Tjampitjimpa men. The painting tells how the women perform ceremonies or inma celebrating the creation of the Mikantji site by the storm ancestors. Tilau has painted kungka (women, represented by U shapes), ngati (waterholes, represented by circles), caru (creeks, represented by the long sinuous lines), puuli (hills, represented by the short curved lines). Tilau says her auntie taught her culture and stories but she developed her own ideas on how to paint it. She paints "so the children can watch me paint and learn, so I can pass on my Dreaming and stories to my grandchildren”. If present, the U shapes are women, the circles are waterholes, the long sinuous lines are creeks, and the short curved lines are puuli or hills.

This story relates to a place called Mikantji, an important Water Dreaming site, west of Yuendumu whose custodians are the Nangala and Nampitjimpa women and their brothers, the Tjangala and Tjampitjimpa men. The painting tells how the women perform ceremonies or inma celebrating the creation of the Mikantji site by the storm ancestors. The circle in the centre represents the soakage at Mikantji and the U shapes are the women sitting around it. The dots represent the raindrops and the wavy lines are the streams of water running into the soakage. These designs are also used painted on the women’s bodies during the ceremonies.

In this painting Deannie has depicted her country. 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.

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 story relates to a place called Mikantji, an important Water Dreaming site, west of Yuendumu whose custodians are the Nangala and Nampitjimpa women and their brothers, the Tjangala and Tjampitjimpa men. The painting tells how the women perform ceremonies or inma celebrating the creation of the Mikantji site by the storm ancestors.If present, the U shapes are women, circlesa are waterholes, long sinuous lines are creeks, and short curved lines are puuli or hills.

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.

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 Deannie has depicted her country. 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.

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 story was passed onto Watson by his father and grandfather. Tjunti is west of Nirrapi and is a wallaby dreaming place. The wallabies travel around Tjunti following the tracks that lead between the waterholes. There is a rock that marks the spot of the ancestral dreaming place of the wallaby. The Tjungarayai and Tjapaltjarri men are the custodians of this tjukurrpa.

In this Painting Rosena has depicted a story from her country Kumunmata, near Napairi. In this story, two women are collecting Bush Tucker and performing ceremonies as they travelled around Kunmunmata.

Keanu has painted Yalka Tjukurrpa (bush onion dreaming) which was his Grandfather Limpi Tjapangarti Puntungka's Tjukurrpa. Keanu is too young to have learned through consultation with his Grandfather, and so learns through revision of books documenting the early paintings of Papunya. This Tjukurrpa descends from a powerful site near Tjunkupu which is near Winparku. If present, there are four women shown, looking into a large hole in the earth. The water travels underneath the ground from many different places to create a soakage in the centre. "When you see that water and that rock... big water in that rock...too powerful, too dangerous".

This painting 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. The forms created by the repetition of lines represent the sandhills making waves across the desert, but Charlotte says they are also symbolic of water courses and ceremonial body paint.