Walala Tjapaltjarri mainly paints square patterns that refer to stories from the Tingari Cycle, a collection of religious stories, ceremonies and laws transmitted to the inhabitants of the Western Desert by the Tingari. This was a group of mythical and spiritual beings who, according to the lore, passed through the landscape, performing rituals and shaping the landscape and different sacred places. Walala is widely praised as an adventurous and innovative artist. His work is characterized by a combination of traditional patterns and a degree of sophisticated abstraction. He has been praised by art critic Robert Hughes, including Walala in his series of BBC documentaries "Beyond the fatal shore" (2000). Please note that all First Nations Art is created from a so called ‘Birds Eye’ view. This means that the paintings can be hung either horizontally as well as vertically.

This painting depicts designs associated with the swamp site of “Marawa”, situated slightly west of Wilkinkarra (Lake Mackay). There is also a rockhole and soakage waters at this site. During ancestral times, a large group of Tingari men travelled to Marawa from the west, and after arriving at the site, passed beneath the earth's surface and continued traveling underground. It is also said that a whuge ancestral al snake sleeps in this swamp. Since events associated with the Tingari Cycle are of a secret nature, no future detail is given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today, as well as providing explanations for contemporary customs. Please note that all First Nations Art is created from a so called ‘Birds Eye’ view. This means that the paintings can be hung either horizontally as well as vertically.

The Tingari were a group of ancestral beings that emerged from the earth and conducted activities that led to the formation of the landscape and it’s inhabitants. The content of these ancient stories remains the exclusive knowledge of the initiated men. The symbols used in this painting are typical of the designs found on Pintupi artefacts such as shields and spear throwers as well as cave paintings and rock petroglyphs. This painting depicts “tali tjuta”- many sandhills of the Marruwa area west of Lake McKay. More specifically the painting refers to a particular site known as Wanapatangu, which is recorded as being northeast of Wilkinkarra (Lake McKay) in Western Australia. This is one of the locations where the Tingari ancestors stopped for ceremonial and social activity in their long journey across the desert and now remains as a significant ceremony site for the Pintupi men. Please note that all First Nations Art is created from a so called ‘Birds Eye’ view. This means that the paintings can be hung either horizontally as well as vertically

This painting depicts designs associated with the swamp site of “Marawa”, situated slightly west of Wilkinkarra (Lake Mackay). There is also a rockhole and soakage waters at this site. During ancestral times, a large group of Tingari men travelled to Marawa from the west, and after arriving at the site, passed beneath the earth's surface and continued traveling underground. It is also said that a whuge ancestral al snake sleeps in this swamp. Since events associated with the Tingari Cycle are of a secret nature, no future detail is given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today, as well as providing explanations for contemporary customs. Please note that all First Nations Art is created from a so called ‘Birds Eye’ view. This means that the paintings can be hung either horizontally as well as vertically.

This painting depicts designs associated with the swamp site of “Marawa”, situated slightly west of Wilkinkarra (Lake Mackay). There is also a rockhole and soakage waters at this site. During ancestral times, a large group of Tingari men travelled to Marawa from the west, and after arriving at the site, passed beneath the earth's surface and continued traveling underground. It is also said that a whuge ancestral al snake sleeps in this swamp. Since events associated with the Tingari Cycle are of a secret nature, no future detail is given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today, as well as providing explanations for contemporary customs. Please noted that all First Nations Art is created from a so called ‘Birds Eye’ view. This means that the paintings can be hung either horizontally as well as vertically. SmithDavidson Gallery represents a wide range of Australian First Nations Art, please contact for additional information.

This painting depicts designs associated with the swamp site of “Marawa”, situated slightly west of Wilkinkarra (Lake Mackay). There is also a rockhole and soakage waters at this site. During ancestral times, a large group of Tingari men travelled to Marawa from the west, and after arriving at the site, passed beneath the earth's surface and continued traveling underground. It is also said that a whuge ancestral al snake sleeps in this swamp. Since events associated with the Tingari Cycle are of a secret nature, no future detail is given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today, as well as providing explanations for contemporary customs. Please note that all First Nations Art is created from a so called ‘Birds Eye’ view. This means that the paintings can be hung either horizontally as well as vertically.

The square patterns in this painting refer to different stories from the traditional Tingari story cycle. Walala depicts the holy places from the Dream Time (time of creation). These holy places are spread over the countryside west of Lake Makaay, including Mina Mina salt lake. This work can be counted among his most impressive, using a limited palette of blacks and whites with red (ochres). Characterized by a combination of traditional patterns and a high degree of refined abstraction. Please note that all First Nations Art is created from a so called ‘Birds Eye’ view. This means that the paintings can be hung either horizontally as well as vertically.

During the creation era, Tingari ancestors gathered at a series of sites for Initiation Ceremonies. They traveled from across the country, performing rituals at specific sites that created the natural features of the landscape. The creation stories and rituals are still portrayed in song cycles, paintings and ceremonies and are part of the continuous teaching to the next generation. In painting Tingari Cycle, Thomas Tjapaltjarri is depicting the song cycle associated with the artist’s many dreaming sites and the locations of significant natural sites in the Gibson Desert. Please note that all First Nations Art is created from a so called ‘Birds Eye’ view. This means that the paintings can be hung either horizontally as well as vertically