In 1993, Kngwarray made an abrupt stylistic change. The suite of works of boldly emblazoned black lines on white paper acquired by the National Gallery of Victoria announced a new and prolific period of imagery. These striped works range from the monochromatic to the familiar reds and yellows. Their power does not rely on a narrative or literal reading but rather the pulse that emanates from the raw gesture and repetition of the linear marks.
Although at least one of her very early batik works exhibited a lined surface, and the single colour works also resemble a lined page, body markings are the prevalent explanation or descriptors given these works. This usually refers to paintings on the body for awely, women's ceremony. Other titles suggest that the imagery in the works may be based on the scarification that is associated with grief and mourning throughout Aboriginal Australia. Women’s scars on the upper arm can also be the result of making small cuts. The application of the paint in these works has a tactile quality that evokes the gesture and intimacy of painting ochres on the body.
