After the Emu Woman style she commenced a series of paintings with surfaces densely packed with dots with more dots within them. Another stylistic shift took place when she began to use large brushes. She worked faster and more loosely and on a larger scale. The lines themselves snaking across the canvas are reminiscent of the sinuous forms of yam tubers and plants. During the early 1990s Kngwarreye began to use larger canvases, brighter jewel-like colours, pinks, blues, reds.
Dots become lines, blurring and overlapping in spatially complex compositions.
The similar Alhalkere Suite in the collection of the National Gallery was painted in 1993. Full of light, bright pastel pink and blue colour, the lineal structure of her earlier work was obliterated entirely by lines and patches of merging dots. At the beginning of 1994 Emily Kngwarreye developed a new direction in her work in which she used the lineal forms of body designs and scarification marks as the primary source for her paintings. She had used lines before and then gradually submerged them under skeins of dots. Now she presented the art world with simple, bold compositions of parallel lines in strong dark colours.