[2][3] Kathleen Petyarre was born at Atnangkere, an important water soakage for Aboriginal people on the western boundary of Utopia Station, 240 km (150 miles) north-east of Alice Springs in Australia's Northern Territory.
Petyarre continued to produce batiks with other women at Utopia until the late 1980s, when, prompted by allergies to the chemicals they were using, she began developing her signature style of painting with acrylic on canvas.
She adopted an aerial view typical of her region's artworks to reconstruct memorised landscapes and express her Dreamings as "a barely tangible, shadowy palimpsest, overwritten, as it were, by the surface colours and movement".
While this style was decried in some quarters as being less refined, it has also been hailed as a logical artistic development towards a more powerful and dramatic mode of expression, "perhaps more abstract, certainly more modern in its technicality and presentation" (text Gallerie Australis, Adelaide).
Despite remaining a relative unknown for the years to follow, she surprised the art world in 1996 by selling out her first solo exhibition, Kathleen Petyarre: Storm in Atnangkere Country, at Melbourne's Alcaston House Gallery.
Controversy arose in 1997 when Petyarre's estranged partner of ten years, Ray Beamish, claimed that he had been a major contributor to the winning painting, Storm in Atnangkere Country II, which currently hangs at the Museum and Art Gallery of the Northern Territory in Darwin.