Kaṉparkanya - The Wanampi

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. 

These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. 

These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. 

These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. 

These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. 

These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

Timo Hogan calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately.  

For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake. 

It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. These characters that Timo talks of are the Creation beings: those that came before and shaped the very environment we see, as they moved through it, leaving indelible physical reminders of their power and presence, but they also intertwined a moral framework within a mapped terrain and covered it with song and dance. This is a living landscape brimming with meaning for those with the means to see it.

Timo Hogan calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately.  

For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake. 

It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. These characters that Timo talks of are the Creation beings: those that came before and shaped the very environment we see, as they moved through it, leaving indelible physical reminders of their power and presence, but they also intertwined a moral framework within a mapped terrain and covered it with song and dance. This is a living landscape brimming with meaning for those with the means to see it.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

In this work Timo has used sand collected from lakes north of Tjuntjuntjara to provide texture to Lake Baker. Timo created these works to explore the tactile contrasts of Lake Baker that occur through time. Timo often talks of the changes in the Lake he observes when he visits as pana (sand) blows onto the lake in drought and how this sand is later replaced with the crystalline salts after great desert floods. As wind and rain change the lake the indelible marks of its creations beings remain stark.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

In this work Timo has used sand collected from lakes north of Tjuntjuntjara to provide texture to Lake Baker. Timo created these works to explore the tactile contrasts of Lake Baker that occur through time. Timo often talks of the changes in the Lake he observes when he visits as pana (sand) blows onto the lake in drought and how this sand is later replaced with the crystalline salts after great desert floods. As wind and rain change the lake the indelible marks of its creations beings remain stark.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. 

These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men — Wati Tinka (Sand Goanna Man) and Wati Mulya Maru (Black Nosed Monitor Lizard Man) — as the physical manifestation of two small grass knolls upon the lake. Wati Tinka is depicted as the crescent form with his tracks defined by the movement of his long tail.  The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. These characters that Timo talks of are the Creation beings.

Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. 

These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. 

These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. 

These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

In this work Timo has used sand collected from lakes north of Tjuntjuntjara to provide texture to Lake Baker. Timo created these works to explore the tactile contrasts of Lake Baker that occur through time. Timo often talks of the changes in the Lake he observes when he visits as pana (sand) blows onto the lake in drought and how this sand is later replaced with the crystalline salts after great desert floods. As wind and rain change the lake the indelible marks of its creations beings remain stark.

Within this painting, Timo pushes the creative boundaries to shape the composition in a new direction. He lays out the compelling characters in a broad landscape but more than this, he places the powerful wanampi in its own realm within the dark void. Here he weaves the Wati Kutjara Tjukurpa (Two Men Creation Line) into the surrounding landscape. The Two Men watch as the ever present and dangerous Wanampi (Water Serpent) moves in unfamiliar directions. These are the lakes inhabitants who bring alive the creation narrative that forms the very landscape it speaks of. The characters are the creation beings, those first beings, who not only shaped the immediate environment with their actions but left a moral compass intertwined within the mapped habitat for all to follow.

In this work Timo has used sand collected from lakes north of Tjuntjuntjara to provide texture to Lake Baker. Timo created these works to explore the tactile contrasts of Lake Baker that occur through time. Timo often talks of the changes in the Lake he observes when he visits as pana (sand) blows onto the lake in drought and how this sand is later replaced with the crystalline salts after great desert floods. As wind and rain change the lake the indelible marks of its creations beings remain stark.

Timo Hogan calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately.  

For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake. 

It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. These characters that Timo talks of are the Creation beings: those that came before and shaped the very environment we see, as they moved through it, leaving indelible physical reminders of their power and presence, but they also intertwined a moral framework within a mapped terrain and covered it with song and dance. This is a living landscape brimming with meaning for those with the means to see it.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. 

These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

In this work Timo has used sand collected from lakes north of Tjuntjuntjara to provide texture to Lake Baker. Timo created these works to explore the tactile contrasts of Lake Baker that occur through time. Timo often talks of the changes in the Lake he observes when he visits as pana (sand) blows onto the lake in drought and how this sand is later replaced with the crystalline salts after great desert floods. As wind and rain change the lake the indelible marks of its creations beings remain stark.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. 

These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. 

These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance. In this work Timo has used sand collected from lakes north of Tjuntjuntjara to provide texture to Lake Baker. Timo created these works to explore the tactile contrasts of Lake Baker that occur through time. Timo often talks of the changes in the Lake he observes when he visits as pana (sand) blows onto the lake in drought and how this sand is later replaced with the crystalline salts after great desert floods. As wind and rain change the lake the indelible marks of its creations beings remain stark.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. 

In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. 

These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

In this work Timo has used sand collected from lakes north of Tjuntjuntjara to provide texture to Lake Baker. Timo created these works to explore the tactile contrasts of Lake Baker that occur through time. Timo often talks of the changes in the Lake he observes when he visits as pana (sand) blows onto the lake in drought and how this sand is later replaced with the crystalline salts after great desert floods. As wind and rain change the lake the indelible marks of its creations beings remain stark.

Timo Hogan does not paint the picture. He paints the story. And the story is the big picture. He calmly applies the paint to Lake Baker with the quiet authority of someone recreating the country they know intimately. For here at Lake Baker, Timo tells of the religion within the landscape and the inhabitants that made it so. He surveys the Wati Kutjara Tjukurpa (Two Men Creation Line) of his birthright and brings this into focus on the two dimensional plane for all to see. In this composition Timo has depicted the Two Men as the physical manifestation of two small grass knolls upon the lake. The two men carefully monitor the lakes expanse as the ever present Wanampi (powerful water serpent) defines the perimeter of the lake, always watching, aware of the Two Men. It is this interaction between the inhabitants of the lake that is ever present and allows Timo the creative latitude of a constantly changing landscape. These characters that Timo talks of are the Creation beings. Those that came before and shaped the environment as they moved through it, leaving indelible physical reminders of their power and presence for all to see. But they also intertwined a religious moral framework within the habitat and covered it with song and dance.

In this work Timo has used sand collected from lakes north of Tjuntjuntjara to provide texture to Lake Baker. Timo created these works to explore the tactile contrasts of Lake Baker that occur through time. Timo often talks of the changes in the Lake he observes when he visits as pana (sand) blows onto the lake in drought and how this sand is later replaced with the crystalline salts after great desert floods. As wind and rain change the lake the indelible marks of its creations beings remain stark.