Susie Bootja Bootja Napaltjarri

[5] The ambiguity around the year of birth is in part because Indigenous Australians operate using a different conception of time, often estimating dates through comparisons with the occurrence of other events.

'Napaljarri' (in Warlpiri) or 'Napaltjarri' (in Western Desert dialects) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people.

[9] Their work, which used acrylic paints to create designs representing body painting and ground sculptures, rapidly spread across Indigenous communities of central Australia, particularly following the commencement of a government-sanctioned art program in central Australia in 1983.

In the western desert communities such as Kintore, Yuendumu, Balgo, and on the outstations, people were beginning to create art works expressly for exhibition and sale.

[14] The work of Balgo artists such as Susie Bootja Bootja, and her fellow artists including Sunfly Tjampitjin and Wimmitji Tjapangarti, are characterised by an expressive style, involving "linked dotting and blurred forms and edges".

[2] Her paintings feature in Christine Watson's 2003 book, Piercing the Ground: Balgo Women's Image Making and Relationship to Country.

The ceremony, called Wati Kutjarra (Two men) Dreaming, was performed with others including fellow artist Peggy Rockman Napaljarri.