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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.

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 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.

In this painting Punata has painted the bush food Yala (Sweet Potato) that is found in the sand dunes near her country Mt Denison. Her father Billy Stockman Tjapaltjarri also painted the country around Mt Denison. Women dig for for the sweet potato in the sand dunes and cook it in the coals of the fire. The Yala (Sweet Potato) is white in colour and sweet in taste.

In this painting Punata has painted the bush food Yala (Sweet Potato) that is found in the sand dunes near her country Mt Denison. Her father Billy Stockman Tjapaltjarri also painted the country around Mt Denison. Women dig for for the sweet potato in the sand dunes and cook it in the coals of the fire. The Yala (Sweet Potato) is white in colour and sweet in taste.

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 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).

Keanu has painted Yalka Tjukurrpa (bush onion dreaming) which was his Grandfather Limpi Tjapangarti Puntungka's Tjukurrpa. Given the age of the artist, his practice is informed by a thorough revision of the books documenting the early paintings of Papunya. This Tjukurrpa descends from a powerful site near Tjunkupu which is associated with the intersection of two complex songlines, three sites of which the artist identifies as belonging to. They run from Tjunkupu, through to Winparku and Papunya. Anamarra (Catapillar) is also present at Tjunkupu and runs along the MacDonnell ranges through to Alice Springs. Four ancestral heroes are represented at Tjunkupu, namely the Tjupi, Dog, Serpent and two men lying down. Keanu represents the different elements of this songline in varied ways. 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 powerfull, too dangerous".

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.

This is a memory from Doris's past. Doris talks of the times when she was a young girl in the bush, swimming and hunting with her friends at Ikuntji (Haasts Bluff). She talks of sand hills where the young people would wander naked looking for water, "chasing" the water until they found a water hole. The young men and women would swim together and make love by the water hole. Eventually, Doris explains, the young people fall in love and are married. Doris is remembering the traditional tools and weapons that were used by her and her friends in the bush. Doris depicts Kali (boomerang), wana (digging stick), puli (grinding stone), kutitji (shield), kulata (spear) and kantikanti (hitting stick). "Snake this one, eating, here, at the water. This mob over there are stabbing it with a spear. He’s trying to bite and eat that one over there. And that over there is coming to look at him, that one. This one, he’s watching, he is, ‘ooohhh!’, sneaking up intending to bite it. That one over there … he bit him, that goanna yep, this one. Coming to here, coming through the bush to the water, ‘ooohhh!’, they see it! ‘What happened here?’ Over there, a goanna is coming along. Going, going into the bush, across the water, sneaking up to try and bite it. Yeah, this one, two men standing, over there is another, there watching all this the snake, see? And see this line ... he’s slowly sneaking along it. After that, that one over there stabs him with a spear, with a spear he stabbed. Went and got that goanna and ate it, over there came and see all this mob. Yeah, finished like that, that’s how I made this one by the water."

In this story Doris paints an assortment of important women in her life, each of them a representation and not strictly assigned to the individual. There is Doris' two mothers, her sister and herself. In a display of their resilience they are shown surrounded by an abundance of bush tucker.

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.

Roslyn has depicted designs connected with the sacred site of Karrinyarra, to the north of Papunya. This is a Kapi Tjukurrpa (Water Dreaming) and Yalka Tjukurrpa (Bush Onion) place. This work shows women looking for Yalka at Karrinyarra.

Roslyn has depicted designs connected with the sacred site of Karrinyarra, to the north of Papunya. This is a Kapi Tjukurrpa (Water Dreaming) and Yalka Tjukurrpa (Bush Onion) place. This work shows women looking for Yalka at Karrinyarra.

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 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.

Ena has represented puuli (hills) around Lupul in the Kintore region of the Northern Territory. The Tjukurrpa or dreaming associated with this sighttells 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 is from my Grandmothers country. Thats all the womens dreaming. Theres bush tucker lying in the dish. Theres some water in the dish... and all the women sitting at home. Sometimes they go hunting for bush tucker and water. This is a hunting story. Theres wild bushflowers. Digging stick too. Palya they'll be right. - Dennis Nelson

Terrance 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.

Snake this one, eating, here, at the water. This mob over there are stabbing it with a spear. He’s trying to bite and eat that one over there. And that over there is coming to look at him, that one. This one, he’s watching, he is, ‘ooohhh!’, sneaking up intending to bite it. That one over there … he bit him, that goanna yep, this one. Coming to here, coming through the bush to the water, ‘ooohhh!’, they see it! ‘What happened here?’ Over there, a goanna is coming along. Going, going into the bush, across the water, sneaking up to try and bite it. Yeah, this one, two men standing, over there is another, there watching all this the snake, see? And see this line ... he’s slowly sneaking along it. After that, that one over there stabs him with a spear, with a spear he stabbed. Went and got that goanna and ate it, over there came and see all this mob. Yeah, finished like that, that’s how I made this one by the water.

Snake this one, eating, here, at the water. This mob over there are stabbing it with a spear. He’s trying to bite and eat that one over there. And that over there is coming to look at him, that one. This one, he’s watching, he is, ‘ooohhh!’, sneaking up intending to bite it. That one over there … he bit him, that goanna yep, this one. Coming to here, coming through the bush to the water, ‘ooohhh!’, they see it! ‘What happened here?’ Over there, a goanna is coming along. Going, going into the bush, across the water, sneaking up to try and bite it. Yeah, this one, two men standing, over there is another, there watching all this the snake, see? And see this line ... he’s slowly sneaking along it. After that, that one over there stabs him with a spear, with a spear he stabbed. Went and got that goanna and ate it, over there came and see all this mob. Yeah, finished like that, that’s how I made this one by the water.

This painting depicts designs that evoke various parts of the landscape of Janet's Country, Nyapari. Nyapari is located near Amata in South Australia. The repeated curved shapes represent rock formations and bush tucker. The concentric circles represent waterholes or meeting sites. If present, the U shapes represent women sitting around a waterhole. Janet has depicted spinifex bushes, bush flowers and water courses which are found in Nyapari. Janet's work captures the immense beauty of Nyapari.

"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." 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.

Keanu has painted Yalka Tjukurrpa (bush onion dreaming) which was his Grandfather Limpi Tjapangarti Puntungka's Tjukurrpa. Given the age of the artist, his practice is informed by a thorough revision of the books documenting the early paintings of Papunya. This Tjukurrpa descends from a powerful site near Tjunkupu which is associated with the intersection of two complex songlines, three sites of which the artist identifies as belonging to. They run from Tjunkupu, through to Winparku and Papunya. Anamarra (Catapillar) is also present at Tjunkupu and runs along the MacDonnell ranges through to Alice Springs. Four ancestral heroes are represented at Tjunkupu, namely the Tjupi, Dog, Serpent and two men lying down. Keanu represents the different elements of this songline in varied ways. 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 powerfull, too dangerous".

Keanu has painted Yalka Tjukurrpa (bush onion dreaming) which was his Grandfather Limpi Tjapangarti Puntungka's Tjukurrpa. Given the age of the artist, his practice is informed by a thorough revision of the books documenting the early paintings of Papunya. This Tjukurrpa descends from a powerful site near Tjunkupu which is associated with the intersection of two complex songlines, three sites of which the artist identifies as belonging to. They run from Tjunkupu, through to Winparku and Papunya. Anamarra (Catapillar) is also present at Tjunkupu and runs along the MacDonnell ranges through to Alice Springs. Four ancestral heroes are represented at Tjunkupu, namely the Tjupi, Dog, Serpent and two men lying down. Keanu represents the different elements of this songline in varied ways. 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 powerfull, too dangerous".

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.

In this painting Maggie has painted the bush food Yala (Sweet Potato) that is found in the sand dunes near her country Mt Denison. Her grandfather Billy Stockman Tjapaltjarri also painted the country around Mt Denison. Women dig for for the sweet potato in the sand dunes and cook it in the coals of the fire. The Yala (Sweet Potato) is white in colour and sweet in taste.

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 Punata has painted the bush food Yala (Sweet Potato) that is found in the sand dunes near her country Mt Denison. Her father Billy Stockman Tjapaltjarri also painted the country around Mt Denison. Women dig for for the sweet potato in the sand dunes and cook it in the coals of the fire. The Yala (Sweet Potato) is white in colour and sweet in taste.

In this painting Punata has painted the bush food Yala (Sweet Potato) that is found in the sand dunes near her country Mt Denison. Her father Billy Stockman Tjapaltjarri also painted the country around Mt Denison. Women dig for for the sweet potato in the sand dunes and cook it in the coals of the fire. The Yala (Sweet Potato) is white in colour and sweet in taste.

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 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 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.

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.

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 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.

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 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.

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!”

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.

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 work Mona has depicted Tali (sandhills) Kapi (water) and Mangarri (Bush Tucker) dreaming stories from Papunya and surrounding areas. Mona 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 lines represent kapi tjukurrpa (water dreaming) and the dots represent Mangarri Tjuta (all the bush tucker). Mona has been painting at Papunya Tjupi since 2011 initially painting her women's story. In recent years though Mona has been focusing on her own unique expression of water dreaming with tali (sandhill) which are increasingly sought after by national and international collectors. Mona comes to Papunya Tjupi Art Centre on most days and sits for hours placing dot after dot on her Tali paintings with great care and attention.

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.”

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.”