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Most often explored in Doreen’s works are the motifs of her everyday modern Aboriginal community life; the animals hunted and plants gathered for bush tucker, the cars and aeroplanes used to travel to the cities and remote communities she regularly moves between, and depictions of the Country itself. 

Collectively this imagery, depicted with Doreen’s trademark wild palettes, painterly brushstrokes, and stark compositions, builds a layered representation of her Country. Doreen’s intimately known ngurra (home Country, camp) is viewed from multiple spatial perspectives, and in stylistic modes ranging from pure abstraction to images incorporating realist and traditional elements.

Doreen’s ngurra encompasses the Country between Western Desert communities and towns; Warralong, Strelley, Marble Bar, Port Hedland, and Jigalong, her birthplace. People identify with their ngurra in terms of specific rights and responsibilities, and the possession of intimate knowledge of the physical and cultural properties of one’s Country. Painting ngurra, and in so doing sharing the Jukurrpa (Dreaming) stories and physical characteristics of that place, has today become an important means of cultural maintenance.