Malangi’s concentration on single subjects transferred to an interest in representing these aspects sculpturally. In the late 1980s and early 90s, he produced a body of work where a detail or aspect of the Djan’kawu chronicle is given three-dimensional form. These subjects include particularly a series of sculptures related to Dhämala and Dhäbila ¾ birds and goannas ¾ representations of the everyday creatures related to this country as well as homage to their totemic significance.