In this bark, which refuses all figurative elements and is thus in keeping with the great tradition of Aboriginal sacred art, the painter wanted to evoke three sites linked to his clan: Gangan, Baraltja and Garraparra, the three sites which give the work its name, and which are linked to the cult of water so important in this coastal region, where sea water, fresh water and rainwater mingle in the wet season to illustrate the mysterious relationship between sky, land and sea. The three superimposed zones that make up the work evoke, from top to bottom, Gangan, Gapuwiyak and Garraparra, whose ‘geographical’ characteristics are symbolised by the various motifs of crosshairs, ellipses and sinuous lines evoking waves. Far from being read as a static map, this suite instead depicts a real journey: that of the fresh water of a river slowly making its way towards the sea. At the same time, the diamond-tipped braces that symbolise the river evoke the traces of dried mud on the chest of the Great Ancestor Barama (often associated with the long-necked sea turtle) when he emerged from the Gulutji waterhole near Gangan.