This work by Ŋoŋu depicts the Djurrpun the Evening Star. Ŋoŋu shows this by virtue of his role as a child and djuŋgayi of the
Waŋgurri clan under the guidance of leader Buwathay Munyarryun. Buwathay's father now deceased had never revealed this
design. Buwathay said “When the old man was geƫng sick he drew this in the sand for me and said ’Later paint this one.’” He
was referring to his recently deceased father Mathulu’s words. Buwathay went on to say “This is my totem. The little stars are
the other stars that you can see. There are songs and dances that go with this story. It relates to the milkarri- the keening of
women.” The design on the pole relates to the journey of such a pole through Wangurri clan waters. In saltwaters belonging to
that clan from their homeland at Mutamul towards their freshwater homeland at Dhalinybuy. The minyjti or sacred clan
design can have different meanings. One is a manifestation in the tracks left in timber from infestation from the boring
mangrove worm Milka. Bands of miny’tji represents this and by the layering of hair brush strokes, that build up to a
shimmering and brilliant state, itself a manifestation (we can only imagine) of the sublime and to the references this painting
could have of the end results of supernatural events and the peace brought after as rays of sun on the calm waters, a condition
called gunbilk. Out there in the still distance clouds line the horizon (triangles). The waters that travel through the mangrove
areas, (where the Milka infest the wood), that wash with the tides to be taken with the currents out deep to the horizons meet
with associate waters from other estates relative to the Wangurri, such as the Maŋgalili. These waters contain the life forces
and clan identity and are taken up into the maternal clouds and as dots among the waters supporting the totem octopus
Manda and the yothu (child) cuttle fish shells floating on the surface. These worms die as the pole itself a being washes into
the freshwater.