Trial Bay is located between Caledon Bay to the north and above the larger Blue Mud Bay on the western side of the Gulf of Carpentaria. Deep inside Trial Bay, the Marrakulu clan claim ownership to land and sea though the actions and events of Ancestor Beings as they traveled into this country, imbuing both land and sea. The mark of ownership is sung, danced, and painted in Marrakulu ritual through stringybark woodlands and stony country, through the freshwaters running into the Gurka-wuy River into Trial Bay. This country is associated with the Wawalak Sisters, sacred goannas, Wuyal the Sugarbad Man, and the original inhabitants of Gurka-wuy since these times - the Djuwany people. The Djuwany were the first people of this country who practised the ritual according to the Creators on the beaches, and who hunted the stony country and waters of both the River and Trial Bay. This painting refers to all this and the sacred and solitary rocks in Trial Bay. These rocks are hidden as round lumps of granite, its top coloured by roosting birds, or white sea foam associated with turbulent and agitating waters created by particular tide and wind. Lines of foam are created on the waters surface by the same conditions. These lines connect Bamurrunu to the mainland of Gurka'wuy, by a manifestation of the sacred white-feathered string. The red in the ribbons of an organic slick often referred to as coral spawn. The waters of the Bay that have first washed over, depending on the tide, the roots and the stems of the sacred mangroves on the Gurka'wuy shore - Rulirrika and Gathul Makarr. Fish are seen swimming up to Bamurrunu and are referred to as Marparrar, or milk fish, somewhat like a large mullet. According to the artist, these were once people of the stone country behind where the Marakulu have now settled, close to the mouth of the Gurka'wuy river. They turned to Marparrar on reaching the shore and following the feathered string to Bamurrunu, depicted here encompassing the rock. This work is a radical departure in style for the artist. It marks the time when her sister was gravely ill and there was a ferment of homeland artists in attendance at Yirrkala over a period of months in early to mid 2011. Amongst these was Gunybi Ganambarr, and it is possible that these decisions were influenced by these factors.