Since the late 1980s art emerging from Papunya Tula has re-invented itself at regular intervals. Traditional representations of the Tingari creation cycle, the roundels, connecting meandering lines and dots have given way to optical line work that reduce the painting to a simplicity of rhythm and tone, a variation and development that Judith Ryan refers to as 'a radical form of expression akin to western forms of minimalism in art and music'.¹

The repeated rhythmic and optical patterns in the paintings of George Tjungurrayi generate a hypnotic effect where the interplay of undulating broad parallel lines, composed of different tones of the one colour, creates a mesmerizing surface. His compositions inspired by traditional narratives are derived from the distinctive western desert style of fluted carving of fine parallel lines carved into men's ceremonial shields and boomerangs. Tjungurrayi has transposed these designs onto canvas utilising both the motifs and the sculptural elements to create an extra dimension to the surface of his canvases.

This large canvas depicts designs associated with the claypan site of Kirrimalunya, near two large rocky hills, north of Wilkinkarra (LakeMackay). Here, an old Tingari Man of the Tjapaltjarri kinship subsection was camped at the claypan site of Kirrimalunya, near two large rocky hills, north of Wilkinkarra (Lake Mackay). He later travelled south toLake Mackay where he was involved in ceremonies related to the site.

1. Ryan, J., 'Shock of the Ancient made New', in Laverty, C., Laverty, E., and Kleinmyer ,J., Beyond Sacred: Recent painting from Australia's remote Aboriginal communities: The collection of Colin and Elizabeth Laverty, Hardie Grant Books, Prahran and Bambra Press, p. 16