Many of Nolan’s paintings in the Central Australia series were produced through the use of a combination of sources including; rough line drawings, pencil notes, his own photography and images produced by professional aerial photographers. The works in the series have a filmic sensibility, appearing as if stills from a moving image. Immediately before his journey to Central Australia, Nolan had looked at films that depicted inland Australia. The notion of pulsating colour is best exemplified in works such as Durack Range 1950 Inland Australia 1950 and in the most epic and ambitious Central Australia 1950.
Text by Geoffrey Smith from Sidney Nolan: Desert & Drought, National Gallery of Victoria, Melbourne, 2003, p.21-22