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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.”

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.”

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.”

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 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.

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.

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 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.

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.

Bird and lizard

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.

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 the of many water dreamings from the Papunya area. The circles are important water or rock hole site. The shapes represent the elements of a storm - wind, rain, thunderclouds and lightning. The lines represent rain and water flowing from the waterholes and flooding the usually dry creek beds.

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.

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.

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 depicts Betty's Mothers 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. 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 depicts Water Dreaming at Kalipinypa, a sacred site north-east of the remote Aboriginal community of Kintore, Northern Territory. The painting tells the story of the rain and hail making ceremony for the site of Kalipinypa. Ancestral forces are invoked to bring on a powerful storm with lightning, thunderclouds and rain, which sends a deluge to rejuvenate the earth, filling the rock holes, clay pans and creeks and creating new life and growth upon the land. Today the Nakamarra, Tjakamarra, Napurrula and Tjupurrula men and women are the custodians of this important Water Dreaming site and celebrate its stories in the ceremonies. This painting is created in a different way to Charlottes usual style as she has depicted rain clouds and hail stones.

This artwork was made in response to books and illustrations that are a part of the Papunya school archive. 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.

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.

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

This 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.

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.

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 each other. 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.

This painting depicts 'Kungka Tjutangku Mangarringku Ngurrirrinanyi' or Women looking around country for food'. It includes depictions of the area around Haasts Bluff, and the variety of bush tucker collected. This includes 'yala' or sweet potato and 'puntungkurra' or termites.

In this painting Terrance has painted Wanampi Tjukurrpa (Rainbow Snake Dreaming) from Karrinyarra or Mt Wedge north of Papunya. Terrance has depicted the two wanampi (snake) looking after the sacred site Palka Karrinya (Standing Rock). Karrinyarra is associated with rain making ceremonies and many sacred stories that are connected to the wanampi and Palka Karrinya. Aboriginal people believe the Creation or Dreamtime is the beginning of ‘knowledge’, when the laws of existence were put together. It is also the beginning of time when the supernatural Ancestral beings were born out of their own eternity. It is said the Ancestors moved across the then barren surface of the world, hunting and fighting. They changed the form of the land creating the mountains, rivers, trees, plains, water holes and sand hills. The Ancestors were honoured by Aboriginal people in corroborees performed at sacred sites where the spirit of the Ancestors had become part of the landscape, or turned into entities such as rocks or trees.

Terrance has depicted his Country west of Papunya named Ilpili. Ilpili is significant both for several of its permanent water sources and springs, and its relationship to mens and women's Tjukurrpa. designs evoke traditional iconography representing the country, memory and sacred Tjukurrpa.

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

In this painting Emily has depicted designs associated with the Janmarda Tjukurrpa (Onion Dreaming) site of Karrinyarra (Central Mt Wedge). Karinyarra is two hours drive North West of the remote Aboriginal community of Papunya, Northern Territory, where there is a large salt lake and sacred spring. At certain times of year the surrounds become covered with bush onion grass creating a creamy texture across the landscape. Women dig at the grass to find the bush onion that grows at the roots. The bush onions are gathered and cooked on the coals of the fire. Once they are cool enough to be held they are rubbed between the hands so that the outer shell comes away revealing the lovely sweet small onion underneath.

This painting depicts 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).

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."

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.

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.

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 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.

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 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 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.

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.