Reinhold Inkamala’s work emerges from a deep interweaving of Country, family, and artistic inheritance. Born and raised in Ntaria (Hermannsburg), west of Alice Springs, and spending his childhood at Tnyimipurta (8 Mile Outstation), Reinhold carries with him the visual and cultural memory of the Western Aranda landscape. His paintings draw on these memories not as distant recollections, but as living relationships—connections renewed each time his brush touches paper. Reinhold paints at Iltja Ntjarra (Many Hands), the art centre renowned for sustaining the Hermannsburg School style and for supporting its intergenerational community of artists. Here he works alongside his sisters Vanessa, Dianne & Delray, continuing the lineage of landscape painting that has shaped Central Australian art for nearly a century. Reinhold’s lineage places him in direct conversation with some of the most significant figures in Australian art history. His grandmother, Klara Inkamala, was the sister of Albert Namatjira—whose revolutionary watercolours brought Arrernte Country to the world. His father, Edmund Inkamala, also painted the hills, gorges, and riverbeds of Tjoritja (the West MacDonnell Ranges), embedding them with the understanding and respect that comes from living intimately with the land. Reinhold’s desire “to paint like him” speaks not to imitation but to continuity: an honouring of the visual language that has been handed down through generations of Inkamala and Pareroultja families. For Reinhold, painting Country means painting memory. Each work reflects a place he grew up in, travelled through, or learned about from family stories. These are the same places painted by Namatjira and his contemporaries—iconic sites such as Glen Helen Gorge, Simpsons Gap, and Ormiston Gorge—yet Reinhold reclaims them through his own lived experience. His palette, composition, and tender attention to geological forms reveal a profound connection to the land, a sense that Country is not only seen but known, walked, felt, and carried. One of the recurring elements in his painting is the black cockatoo, Erranta, a bird of particular significance to him. Unlike the more familiar species found in town, these cockatoos inhabit the bush and are rarely seen. Reinhold describes them as travellers—birds that move far and wide in search of food and water. Their presence in his work is symbolic: they embody both freedom and resilience, and they echo the mobility of stories that travel across Country, linking places and people. The black cockatoos become messengers, reminders that the land is full of life even in its quietest and most remote corners. Reinhold’s art offers viewers more than a visual representation of the landscape. It is an invitation into his story and the broader narrative of Hermannsburg painting—a tradition grounded in cultural knowledge, family bonds, and the enduring significance of place. His works continue the legacy of the artists before him, yet they also contribute something distinct: a contemporary voice shaped by memory and guided by Country itself. Through his paintings, Reinhold Inkamala not only honours his heritage but also asserts his place within it. By sharing these stories, he ensures that the landscapes of Tjoritja—alive with colour, history, and quiet majesty—remain connected to those who view his art. His works remind us that Country is never static: it is held by those who remember it, protect it, and paint it into being. “My paintings are very special, I like to paint so I can tell my story”.