Prominent Utopia artist Ada Bird Petyarre, the eldest of seven sisters including Kathleen, Gloria, Violet, Myrtle, and Jean, was a celebrated artist from Utopia, a remote and arid region 230 kilometres northeast of Alice Springs. Her life and art played a pivotal role in bringing the art of Utopia to prominence, particularly highlighting the emerging significance of female artists in Aboriginal art.

Originally, Utopia was a vast cattle station where Ada worked as a young woman. In 1978, the Aboriginal Land Fund Commission returned the land to its traditional Anmatyerre and Alyawarre owners, leading to the establishment of small settlements over an area of 1,800 square kilometres. Ada was born at Mulga Bore (Akaye Soakage) and continued to reside there among her large extended family, raising two daughters and four sons.

In the late 1970s, Ada took part in batik-making workshops organised by the adult education programme. The women adeptly adopted this traditional Indonesian craft, which resonated with their extensive experience in body painting for Awelye (women’s ceremonies). Ada’s vibrant personality was expressed through her use of bright colours and fluid linear designs in her early works on silk, quickly attracting the attention of buyers, including the notable collector, and businessman Robert Holmes a Court. German filmmaker Wim Wenders also acquired one of Ada’s batiks and cast her in his film, Till The End of the World, which was partially shot in Central Australia.

Ada, a senior elder of the Anmatyerre people, was deeply respected for her cultural role and artistic talent. Body painting for Awelye, an integral part of her life, involved a detailed process of applying fat and ochre to the body, creating designs that shone under firelight during ceremonies. This practice not only enhanced the visual experience but also invoked a deep sense of awe and involvement, influencing Ada's art.

Ada transitioned to acrylic painting during the 'Summer Project' workshops in 1988-89, organised by the Central Australian Aboriginal Media Association (CAAMA). This period marked the development of a unique artistic style among the Utopia artists. Ada’s work was notably featured on the front cover of Utopia Women’s Painting (1989), a major book about these artists. Her artworks, including a major canvas, were later acquired by the National Gallery of Australia, and her works were added to numerous other significant collections.

Ada’s paintings often depicted body painting designs related to the fertility of the land and the abundance of bush foods. However, one of her most compelling subjects was Arnkerrth, the Mountain Devil Lizard, a central figure in the Anmatyerre Dreaming that symbolises the creation of the desert landscape. Contrary to the early European aversion to the lizard’s bristly appearance, the Anmatyerre people cherished these creatures, often keeping them as pets due to their remarkable camouflage abilities.

Ada passed away in 2004 after a stroke, leaving behind a legacy of traditional knowledge and striking artworks known for their vibrant palette and elegant design. Her works, both vibrant and occasionally more subdued, continue to be celebrated globally, securing her place as an inspiring figure in the early Aboriginal contemporary art movement.