In the 1990s, Emily Kngwarreye emerged as one of Australia's leading painters and her works became sought after on an unprecedented scale. Kngwarreye's mark making revealed a strength and sureness of hand that delivered an exuberance of gesture. Renowned for the expression of ceremony through her art, Kngwarreye painted the spiritual aspect of her life as it relates to country and Awelye or women's ceremonies. Her mark making and abstract references to ceremonial practice identifies the relationship between individual, country, ceremony and ancestors.

Her paintings were constructed of various elements that, over time, were added to or eliminated from the surface of the canvas. These elements constitute the artist's lexicon and are used separately or in varying subterranean combinations, thus allowing her work to evolve and be constantly fresh. In Untitled, 1990 underlying, meandering lines structure the composition, and areas of dots applied on dots build up a rhythmic colour, suggesting the overlaying of leaves and flowers above a subterranean root system.