Ada Bird Petyarre, the eldest of seven sisters, was a prominent artist from Utopia, a region located 230 kilometres northeast of Alice Springs in a remote and arid area. Along with her sisters Kathleen, Gloria, Violet, Myrtle, and Jean, Ada spent most of her life in Utopia, contributing to the rise of its art scene. Utopia's art gained swift prominence, particularly highlighting the influential role of female artists and their distinct themes in Aboriginal art.

Originally a large cattle station, Utopia saw Ada working in her youth before the land was returned to its traditional Anmatyerre and Alyawarre owners in 1978 by the Aboriginal Land Fund Commission. This allowed the establishment of small settlements across the 1,800 square kilometres. Born at Mulga Bore (Akaye Soakage), Ada continued to live there with her extended family, raising two daughters and four sons.

In the late 1970s, Ada participated in batik-making workshops organised by an adult education programme. The women, including Ada, adeptly adopted this traditional Indonesian craft, which resonated with their experiences in body painting for Awelye (women's ceremonies). Ada's vibrant personality shone through in her work, characterised by bright colours and fluid linear designs. Her early batiks on silk were highly sought after by collectors, including the celebrity collector, businessman Robert Holmes a Court, and German filmmaker Wim Wenders, who not only acquired one of Ada’s batiks but also cast her in his film Till The End of the World, partially shot in Central Australia.

Ada was a senior elder of the Anmatyerre people, respected for her talent and cultural significance. The process of body painting for Awelye was integral to her art, with its preparation considered as vital as the ceremony itself. The paintings involved elaborate preparations including the application of fat and ochre on the body, enhancing its visual impact by firelight during ceremonies.

Ada's growing confidence and expertise led her to adopt acrylic painting during the 'Summer Project' workshops in 1988-89, facilitated by the Central Australian Aboriginal Media Association (CAAMA). This transition marked the emergence of a unique style that became characteristic of the Utopia artists. Ada’s work featured prominently on the front cover of the major book, Utopia Women’s Painting (1989), and her artworks were acquired by prestigious institutions like the National Gallery of Australia.

One of Ada’s most renowned subjects in her paintings was Arnkerrth, the Mountain Devil Lizard, a creature deeply embedded in Anmatyerre lore and believed to have shaped the desert landscape. Contrary to early European perceptions, the Anmatyerre people cherished these lizards, often keeping them as pets due to their unique camouflage abilities.

Ada Bird Petyarre passed away in 2004 after a stroke, leaving behind a legacy of traditional knowledge and striking artworks. Her works, celebrated for their vivid palette and elegant designs, are held in collections worldwide, cementing her status as an inspiring figure in early Aboriginal contemporary art.