In Riverbed and Sand Hills, Delvine Pitjara maps her family homelands at Atneltyeye (Boundary Bore) in the Utopia region of Central Australia, viewed from above as Country reveals itself in the mind rather than to the eye. Working in the meticulous fine-dot technique inherited from her late mother, the batik artist and painter Glory Ngale, and refined alongside her elder sister Anna Price Petyarre, the artist builds the surface from thousands of individually placed points that shift and coalesce into the undulating forms of the sandhills and the sinuous channels of the dry riverbeds that thread through them. The effect is at once topographic and atmospheric: ridgelines swell and recede, watercourses run and disappear, and the eye is drawn across the picture plane in the same way the body moves across desert Country. These are not empty landscapes. The sandhills and river systems Pitjara paints are the sites of soakages and waterholes, the seasonal sources of bush foods and bush medicines, and the ceremonial grounds where senior women gather and knowledge passes from one generation to the next