Yukultji Napangati was born (c. 1971) at the sacred site Marrapinti, a significant women’s ceremonial site where, during ancestral times, a large group of women camped to perform ceremony before continuing their travels to the east. Napangati began painting for Papunya Tula Artists in 1996, as part of a growing cohort of groundbreaking Pintupi women, 25 years on from the founding of Papunya Tula Artists. Napangati’s singular approach to mark-making utilizes a repeated pattern of interconnected lines and dots that consume her canvases and generate the illusion of movement. This illusory shimmer inherent to Napangati’s work reflects the rippling tali (sand hills) of her homelands, deep in the Gibson Desert north of Kiwirrkura, near the great salt lake Wilkinkarra (Lake Mackay), Western Australia. Napangati uses acrylic paint rather than natural ochers throughout her work. Minimalist in palette and formally abstract, her works are informed by her matrilineal Tjukurrpa - ancestral knowledge, narratives and histories - passed down from her mother and mother’s mother. Her approach involves intense, refined two-toned mark-making that colonizes the canvas, creating dotted, linear formations specifically related to her mother’s Country, Marrapinti. Her work is held in numerous public collections nationally and internationally, including the Harvard Art Museum in Cambridge (USA); Hood Museum of Art in Hanover (USA); Dartmouth College in Hanover (USA); Metropolitan Museum of Art in New York (USA); Milwaukee Art Museum in Wisconsin (USA) and Toledo Museum of Art in Ohio (USA).