‘This painting depicts designs associated with the rockhole site of Lupulnga, south of the Kintore Community. The Peewee (small bird) Dreaming is associated with this site.
A group of women visited the site before continuing their travels north to Kintore.
the lines in the painting represent spun hair-string which is used in the making of hair-belts worn during the ceremonies associated with the area’. Source: The Papunya Tula Artist’s certificate for this painting.
According to Art Gallery of New South Wales indigenous art curator and NATSIAA judge Hetti Perkins, Makinti and her work are “dynamic and charismatic”.
Although a member of the Papunya Tula Artists, Makinti’s work has been described as taking “a more spontaneous approach in illustrating the traditional iconography than that done by previous artists painting at Papunya”. Her style evolved over time, beginning with gestural brush strokes in ordered compositions, and developing into more closely interwoven representations of the hair-string skirts and designs reflecting those used in body painting.[45] Throughout this evolution, her colour palette has consistently included a subtle range of yellows and pinks, through to oranges and whites.
Judith Ryan, when senior curator at the National Gallery of Victoria, described Makinti’s entry in the 2003 Clemenger Contemporary Art Award as: “concerned with touching and sensing with fingers, rather than purely visual. The repetition of colour chords and textured striations, which closely echo each other, has a rhapsodic effect akin to many bodies in dance and reveals the inner or spiritual power, the essence, of Makinti Napanangka’s country and cultural identity. The energetic lines invoke body paint for women’s business, and more particularly represent spun hair-string, which is used to make belts worn by women during ceremonies associated with the rockhole site of Lupulnga, a Peewee Dreaming place. Source: Wikipedia