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This story relates to a place called Mikantji, an important Water Dreaming site 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. 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.

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.

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.

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 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

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 powerful, too dangerous".

Melinda has used the wild flowers that grow in the Central desert country as an inspiration for this painting.

Christelda has depicted her grandmother's story of Payanya, between Kintore and Tjukala. The centre circle/s represent rockhole/s. The outer boarder represents Puli (hills) and the dots represent Kapi (water).

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.

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.

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 Lurline has depicted her country. The different colours and designs represent variations in the landscape.

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.

This is a painting of a sacred site where all the animals have come to take a rest and drink 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 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.

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

This painting tells 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.The U shapes are the women sitting around the rock holes.

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

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.

This work is a depiction of the artists grandfathers country which lies to the North-West of Kintore. The two repetitive orange squares represent the seemingly endless Tali (sand dunes) that dominate the landscape in this country.

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.

This work depicts a cheeky Tjilpi (old man). This Tjilpi is sitting around a kanyilpa (coolamin) full of different bush foods and game that he is not willing to share. He is yielding two kali (boomerang) which he is more than willing to launch if anybody is willing to test his claim to this food.

In this painting Dennis Brown Tjungarrayi has depicted Mount Liebig, a remote community close to Papunya.

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.

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.

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.

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.

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".

In this painting Edith has depicted many rock holes (circles) where water collects after the rains. The lines connecting the rock holes are the creeks or water courses. Water is an essential element in the desert and knowledge of rock hole sites is passed from generation to generation and revered by all Anangu (people). These rock holes are an important source of water particularly during the dry season. As such, the circle motif has developed as a central theme in Papunya art works.

Sharon has depicted designs associated with ipalu (bush banana), which grows in her country, Pikili, west of Yuendumu.The fruit is similar in shape and colour to an avocado, but tastes like green peas. The fruit is picked and eaten when ripe, or cooked on hot ashes when still unripe. The vines flowers are sucked for nectar or eaten raw.

Here Christoph depicts Tjilirra, which is the Luritja word for the many different ancient hunting tools like Kali (boomerang) and Kuturu (nulla nulla). This piece is inspired by the work of his grandfather Michael Nelson Jagamarra.

Leonie is telling the story of the lungkata or one of the many lizards (may refer to the Blue Tongue Lizard which has a vivid blue tongue). Some lizards are said to cause death

This painting depicts the Kapi (water) and Tali (sand dune) elements of Tjukurrpa (dreaming) belonging to Kalipinypa, an important dreaming site to the north of Kintore. This story was handed to Zachius by his grandfather Dennis Nelson.

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.

In this painting is telling us about bush onion or Yalka which is a traditional Aboriginal bush food. 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).

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.

This painting depicts the marapulpa tjukurrpa - spider dreaming. This dreaming tracks tunnels dug by spiders from a site north-west of Yuendemu to a place west of Kintore. These tunnels allowed ancestral wallabies to travel from one place to the other. Selwyn inherited this story from his late grandfather, Willy Nakanbala Tjungurrayi. Tjungurrayi and Tjapaltjarri men are custodians for this story.

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.

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.

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.

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 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.