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

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

This painting depicts a hunting scene in Papunya. A lone man has sat down to take a rest. Upon doing so some kangaroo's and emu have returned. He is about to get up to continue his hunt.

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 ant 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.

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.

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 shows a variety of Bush Tucker that can be found in the desert region. They include Tjupi (Honey Ants), Maku (witcherty Grubs), Bush tomatoes and Bush Bananas.

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.

Herman 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.

Keanu has painted Yalka Tjukurrpa (bush onion dreaming) which was his Grandfather Limp 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 Tjukunpu which is near Tjunkupu. "When you see that water and that rock... big water in that rock...too powerful".

This painting depicts Narlie’s Water Dreaming site at Kalipinypa, North-east of Kintore. The painting tells the story of the rain and hail making ceremony for the site of Kalipinypa. Ancestral forces are invoked to bring on a powerful storm with lightning, thunderclouds and rain sending a deluge to rejuvenate the earth, filling the rock holes, clay pans and creeks and creating new life and growth upon the land and the return of the white bird. 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.Narlie says that the dots represent the raindrops and hail stones that fell on the sand hills during the great ancestral storm.

This painting is a depiction of a Western Australian landscape. Cayman paints this scenery in reflection of his studies when he lived there.

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 tells the story of Tjilirra (traditionally carved tools). On one side of the painting is a kali, and on the other a 'number seven' boomerang. In the centre of the canvas is a coolamon (carrying dish). Once essential items for survival in the western desert, these items still hold value today as powerful symbols of protection.

This work on board is Yurrukulinytjaku Tjilpi Tjuta 'thinking about the old people' in Papunya and the beginnings of the western dot painting movement, when the senior men of Papunya often painted on boards. The early Papunya boards are of significant cultural importance. In this work Punata is thinking about her father Billy Stockman Tjapaltjarri who painted in those early days. Reflecting on her father and those early days, Punata has painted a different Tjukurrpa, her father's story of Bush Potato Dreaming, in her own way. This painting tells the story of the Bush Potato Dreaming (Yam or Sweet Potato Dreaming). The Bush Potato ancestors came from Yutalu and travelled widely before resting at Yamapunta and then continuing their journey to the north-west. Abundant supplies of bush potatoes bear witness to the Dreamings continuing presence. The Yala is eaten raw or roasted in the coals of a fire. It tastes similar to the cultivated sweet potato. The green vine with brown bulbs indicates the Yala. The circles, from which the vine originates, are the holes dug to find the underground potato bulb. The design represents the bush potato vine.

This painting tells one of many water dreaming's 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.

This painting depicts Possum Tjukurrpa (dreaming), Kayman's Tjukurrpa which he traces from North-West of Papunya, the country of his Mothers ancestors. Each of the colours represent different elements of the Possums habitat whilst he hunts for ants. The yellow and the red represent Tali (sandhills), the green represents Tjanpi (spinifex) and the blue represents Kapi (water).

This painting tells the story of Tjilirra (traditionally carved tools). On one side of the painting is a kali, and on the other a 'number seven' boomerang. In the centre of the canvas is a coolamon (carrying dish). Once essential items for survival in the western desert, these items still hold value today as powerful symbols of protection.

This painting depicts a rockhole or waterhole in the Western Desert country. The rockhole is represented by the concentric circles, and the dots represent the new growth that comes from the water.

This painting tells one of many water dreaming's 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 artist has painted Yalka Tjukurrpa (bush onion dreaming) which was his Grandfather Limpi Tjapangarti Puntungka's Tjukurrpa. This artist 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 Tjukunpu which is near Tjunkupu. "When you see that water and that rock... big water in that rock...too powerful".

This painting depicts Waru Tjukurrpa (fire dreaming). This is a story from Walpiri country which was passed to the artist from his Grandfather. Two Tjangala men are shown making fire in the North. This fire will spread to the south.

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

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) 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.

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.

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.

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.

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 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.

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 Narlie’s Water Dreaming site at Kalipinypa, North-east of Kintore. The painting tells the story of the rain and hail making ceremony for the site of Kalipinypa. Ancestral forces are invoked to bring on a powerful storm with lightning, thunderclouds and rain sending a deluge to rejuvenate the earth, filling the rock holes, clay pans and creeks and creating new life and growth upon the land and the return of the white bird. 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. Narlie says that the dots represent the raindrops and hail stones that fell on the sand hills during the great ancestral storm.

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.

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 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, 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.

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.

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".

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.

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 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.

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

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

The painting depicts designs 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.