This painting represents the travels of a group of Ngatitjirri (Budgerigar) ancestors during the Tjukurrpa. On their journey, they stopped to camp in sandhill country near Ilpitirri (Mount Denison). According to John Kean:

The budgerigars are envisaged streaming in great flocks towards the artist’s birthplace Ilpitirri (on Mt Denison Station). The multiplicity of circles evokes the abundance of budgerigars who appear in tight flights of glittering green birds to converge to drink at desert water-places. Seeing the birds teeming in groups of several thousand individuals remains one of the most spectacular sights of inland Australia. And this is a phenomenon of special significance to the artist due to his totemic association with the birds.

The shimmering abundance of Ngatitjirri embodies the Indigenous belief that particular sites in the landscape are centers from which the originating ancestors emanate. The ceremony from which this painting is derived is performed to ensure that the birds will continue to flourish, if the rituals are correctly celebrated. The bristling excitement of the Ngatitjirri is also associated with the anticipation of post-initiates on learning the more detailed aspects of Law.

My father used to say, “Hey kungka (young women), you’ve got to learn how to paint your ngurra (home) country, your Tjukurrpa.” They [the Anmatyerr men] were encouraging their wives, “Nyuuntulpa ngurra painting (paint your country).” From there, it blew up like a balloon. They started small, and from small they blew up. From Australia to the United States, overseas, like a balloon.