Nora Wompi painted the Country around her homelands of Kunawarritji, a place associated with the Minyipuru Jukurrpa (Seven Sister Dreaming). In 1906, Kunawarritji also became a well on the Canning Stock Route and from an early age Wompi and her family had encounters with the white men who drove cattle along the route. As a young woman Wompi followed the drovers north to Balgo Mission, where she stayed for many years. She learnt to paint there with her close friend, Eubena Nampitjin and returned to Kunawarritji, where she lived and painted for many years, when it became a community in its own right. 

In this painting Wompi has ignored the boundaries set by the outlines of the stretcher bars that marked the edge of the canvas - painting past them with the great freedom of expression that characterised Wompi's works - conveying a  sense of her country with its vast spaces and her Kukutja people's rich, ancient history. As curator and art historian Henry Skerrit noted in a 2010 essay for Wompi's solo exhibition at Suzanne O'Connell gallery, " As their lines of colour spill outwards to the edge of the painting, it is almost as though they are trying to break free of the canvas, to pour out from Kunnawarritji to the world. As they reach the edge, they ask us to see the majesty outside the canvas - to realise that this mystical essence is part of the great continuum of existence."