Patju Presley paints with such spiritual confidence, as someone who knows their place in the Creation, often singing the associated songs of particular sites whilst rhythmically placing his myriad of dots to form his striking compositions. 

Here he depicts the significant site called Makanya. Makanya is the story of one woman Minyma Tjilkamata (echidna woman). Minyma tjilkamata ngintakaku yamatji (she is the wife of the pernetie lizard man). The ngintaka man was walking too fast and she couldn’t keep up.  Ngaltutjara (poor thing). She only as little legs. She was digging and travelling along, then stopping to dig some more. Parari long way, right up north of Kalayapiti. Minyma kutju ananyi, shes travelling alone. She travelled up to Ukaralya, my country, good country.

These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. It is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.

Patju Presley paints with such spiritual confidence, as someone who knows their place in the Creation, often singing the associated songs of particular sites whilst rhythmically placing his myriad of dots to form his striking compositions. 

Here he depicts the significant site called Makanya. Makanya is the story of one woman Minyma Tjilkamata (echidna woman). Minyma tjilkamata ngintakaku yamatji (she is the wife of the pernetie lizard man). The ngintaka man was walking too fast and she couldn’t keep up.  Ngaltutjara (poor thing). She only as little legs. She was digging and travelling along, then stopping to dig some more. Parari long way, right up north of Kalayapiti. Minyma kutju ananyi, shes travelling alone. She travelled up to Ukaralya, my country, good country.

These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. It is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.

Patju Presley paints with such a spiritual confidence, as someone who knows their place in the Creation, often singing the associated songs of particular sites whilst rhythmically placing his myriad of dots to form his striking compositions. 

Here he depicts the significant site of Pukara situated to the north of Spinifex Lands. It is here that two powerful wanampi (magical water serpent), a father and son, depart on a ceremonial journey through Spinifex Country. The narrative follows the trials and tribulations as the son continuously causes conflict with those he comes in contact with. Patju says ’Pukara, too dangerous. Anangu can’t drink that water, only papa (dog) can drink that water.

Patju Presley has painted Pinanti, country in the northern portion of the Spinifex Lands belonging to the Walawuru Tjukurpa (Eagle Man Crea?on story). This is a men’s Tjukurpa and is miil-miilpa (sacred) so much of the detail is omitted in the telling to the uninitiated. He said that it involves the Eagle Man and Woman chasing nganamara, the ancestral mallee fowl, which is also food for the eagle. As they chase the nganamara over vast tracts of country their children, a brother and sister jump out of the chase at Nyuman. The parents in their pursuit west towards Wiluna, don’t realise the children have stayed behind.

Patju Presley paints with such spiritual confidence, as someone who knows their place in the Creation, often singing the associated songs of particular sites whilst rhythmically placing his myriad of dots to form his striking compositions. Here he depicts the significant site of Ilu that holds the Minyma Mankurpa Tjukurpa (Three Women Creation Line) and follows the journey of three women minyma Ikarka (spotted bower bird woman), minyma mutjurara (goanna woman) and minyma ngiyari (thorny devil woman) as they traverse the vast interior near the significant site of Waltjitjara. This is a sensitive story that Patju says he cannot elaborate on.

These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. It is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.

Patju Presley paints with such a spiritual confidence, as someone who knows their place in the Creation, often singing the associated songs of particular sites whilst rhythmically placing his myriad of dots. Here he depicts the significant site of Ilpili situated to the east of traditional Spinifex Lands. It is here that Wati Tjuta (Many Men) depart on ceremonial business.

These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. It is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.

Patju Presley paints with such spiritual confidence, as someone who knows their place in the Creation, often singing the associated songs of particular sites whilst rhythmically placing his myriad of dots to form his striking compositions. 

Here he depicts the significant site of Mamu Piti that lies on the south-side of Irrunytju. "This is my mother’s country". This is a scary place, there are Mamu (evil spirits) there. These are creation beings who shaped the landscape as they moved through it leaving indelible monolithic reminders of their power and presence. Beings capable of metamorphic transformation that made the moral compass that still guides Anangu on a daily basis.

Patju Presley has painted Pinanti, country in the northern portion of the Spinifex Lands belonging to the Walawuru Tjukurpa (Eagle Man Creation story). This is a men’s Tjukurpa and is miil-miilpa (sacred) so much of the detail is omitted in the telling to the uninitiated. Patju says that it involves the Eagle Man and Woman chasing nganamara, the ancestral mallee fowl, which is also food for the eagle. As they chase the nganamara over vast tracts of country their children, a brother and sister jump out of the chase at Nyuman. The parents, in their pursuit west towards Wiluna, don’t realise the children have stayed behind.

Patju Presley paints with the colourful confidence of someone who knows their spiritual place in the landscape. Here he depicts the site of Wanguntiri, an important site that holds the Wati Kutjara Tjukurpa (Two Men Creation Line). It is a powerful narrative that follows two Wanampi (water serpent men) a father and his troubled son, who traverse the Spinifex Lands on Men’s Business.

Patju says “This place is where Pukara (the son) gets hurt by punu rungani (pieces of wood that are being thrown) he is in pain but alive and he makes it back to his father (Multja), who holds him and weeps. Oh my son got hurt again”. This is Patju’s grandfather’s place and also Mr Pennington’s.

These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. it is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.

Patju Presley paints with such a spiritual confidence, as someone who knows their place in the Creation, often singing the associated songs of particular sites whilst rhythmically placing his myriad of dots to form his striking compositions. 

Here he depicts the significant site of Pukara situated to the north of Spinifex Lands. It is here that two powerful wanampi (magical water serpent), a father and son, depart on a ceremonial journey through Spinifex Country. The narrative follows the trials and tribulations as the son connuously causes conflict with those he comes in contact with. Patju says ’Pukara, too dangerous. Anangu can’t drink that water, only papa (dog) can drink that water.

Patju Presley paints with such a spiritual confidence, as someone who knows their place in the Creation, often singing the associated songs of particular sites whilst rhythmically placing his myriad of dots. Here he depicts the significant site of Ilpili situated to the east of traditional Spinifex Lands. It is here that Wati Tjuta (Many Men) depart on ceremonial business.

These characters that Patju depicts within a living, breathing landscape are the creation beings who shaped the immediate environment as they moved through it, leaving a moral narrative etched into the physical domain as testament to their power and presence. It is this physical, spiritual and religious existence that cannot be separated for Patju and is what gives his work the transcendent quality we experience from it.

Patju also depicts two other kapi piti (water holes) in this work. Makanya and Pirili locate the Ilpilli rockhole within the Spinifex estate.

Patju has depicted the site of Kamina, a significant site of the Kalaya Tjuta Tjukurpa (Many Emu Creation Line). Here at Kamina is where a pair of Nyulu (Golden Bandicoot) reside and after hunting and spearing an emu, they set about cooking it. But as the flesh begins to heat, a huge Wanampi ruptures from the emu's stomach and goes underground. This was a magical emu, part of the Kalaya Tjuta, many emu that traversed the country from east to west. These were Creation beings, shape shifters and men all at once who shaped the landscape as the moved through it. This is country close to Watarru.

Patju Presley paints with such spiritual confidence, as someone who knows their place in the Creation, often singing the associated songs of particular sites whilst rhythmically placing his myriad of dots to form his striking compositions. Here he depicts the significant sites of Tjari and Katapatja. He also mentions the site of Pakupiti. These sites skirt and significant women's place between the communites of Utju and Pukatja. As this is a women's place Patju does not divulge many details of this site and only represents what is public.

"Minymaku Tjukurpa, wati wiya ngangatja". This is a a women's creation line, there are no men allowed at that place.

Patju Presley has painted Pinanti, country in the northern portion of the Spinifex Lands belonging to the Walawuru Tjukurpa (Eagle Man Creation story). This is a men’s Tjukurpa and is miil-miilpa (sacred) so much of the detail is omitted in the telling to the uninitiated. He said that it involves the Eagle Man and Woman chasing nganamara, the ancestral mallee fowl, which is also food for the eagle. As they chase the nganamara over vast tracts of country their children, a brother and sister jump out of the chase at Nyuman. The parents in their pursuit west towards Wiluna, don’t realise the children have stayed behind.

Patju has depicted the nganamara (mallee fowl) piti (hole dug in the ground) where he has been resting, as the family chases close behind in pursuit of the ever elusive bird. Karpitji (brush-tailed bettong) is also kuka (food) for the Eagle Man.