Store

Linda has painted this lake South-West of Kintore. This story was passed on to her by Naputa Nangala Tjukurai who is the sister of Linda's step-father, who passed the story onto her. The circles represent rock holes. The joined together 'U'shapes represent the women collecting water from the lake. Linda has also painted women dancing and women and children sitting around the water hole. The wavy lines at each end of the painting represent the mountain ranges surrounding the Lake McDonald.

This painting depicts water dreaming at Kalipinypa. 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 work was created during a Papunya Tjupi Bush Trip to Winparku, located west of Ikuntji (Haast Bluff). It depicts the unique landscape as well as the women (depicted by the U shapes) of Papunya Tjupi sitting, dancing, hunting, painting and singing together as part of the week long trip.

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 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 rocks and bush tucker. The circles represent waterholes. She has depicted spinifex bushes, wild bush flowers and water courses. Janet has captured the immense beauty of Nyapari.

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 tomatos) 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 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).

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

This 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.

Linda has painted this lake South-West of Kintor. This story was passed on to her by Naputa Nangala Tjukurai who is the sister of Linda's step-father, who passed the story onto her. The circles represent rock holes. The joined together 'U'shapes represent the women collecting water from the lake. Linda has also painted women dancing and women and children sitting around the water hole. The wavy lines at each end of the painting represent the mountain ranges surrounding the Lake McDonald.

Linda has painted this lake South-West of Kintore. This story was passed on to her by Naputa Nangala Tjukurai who is the sister of Linda's step-father, who passed the story onto her. The circles represent rock holes. The joined together 'U'shapes represent the women collecting water from the lake. Linda has also painted women dancing and women and children sitting around the water hole. The wavy lines at each end of the painting represent the mountain ranges surrounding the Lake McDonald.

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

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

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 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 painting depicts the Tali (Sandhills) at Kalipinypa, North-east of Kintore. Kalipinypa is Pricilla's family's country. Kalipinypa is the story of a rain and hail making ceremony. 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. Many artists in Pricilla's family paint different aspects of this story. Pricilla is particularly inspired by her aunty Charlotte Phillipus (an established artist and director of Papunya Tjupi) who also focusses on the sandhills of the site, and seeing these sandhills flash with lightning.

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 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 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 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 Tali (Sandhills) at Kalipinypa, North-east of Kintore. Kalipinypa is Pricilla's family's country. Kalipinypa is the story of a rain and hail making ceremony. 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. Many artists in Pricilla's family paint different aspects of this story. Pricilla is particularly inspired by her aunty Charlotte Phillipus (an established artist and director of Papunya Tjupi) who also focusses on the sandhills of the site, and seeing these sandhills flash with lightning.

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 Glenda has used the larger shapes to depict tali (sand hills) at the site of Kalipinypa. She has also used dots to represent Akatjurra (bush tomato) that have come to life after the rain.

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 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 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 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.

Nyunmanu is a Dingo Dreaming 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.

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.

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.

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.

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 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 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.

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.