Wash, etching and drypoint, 38 x 28cm
Rush, scratchboard
Alum, scratchboard
Terrain, scratchboard
Skeleton, scratchboard
Encased, watercolour on stretched paper, 100 x 150cm
Encrusted, lithograph, 56 x 76cm
Whirlpool, lithograph, 56 x 76cm
Pass, lithograph, 56 x 76cm
Drift, lithograph, 56 x 76cm
Faults & Facets, etching, 38 x 28cm
Faults & Facets, etching, 38 x 28cm
Faults & Facets, etching, 38 x 28cm
Faults & Facets, etching, 38 x 28cm
Sheet Flow, lithograph, 38 x 56cm
It has taken me a while, but I'm happy to finally share some images of my solo exhibition Drift held at Belconnen Gallery (Sept 13th-30th) as part of their Emerging Artist Support Scheme Award! Above are a few photos of the install plus images of most of the individual works. The work for this exhibition was made in 2011, primarily as a result of an Emerging Artist Residency at Megalo Printmaking Studio.
In this collection of drawings and prints I wanted to continue investigating and activating topographies that can be read on a micro or macro scale. The title of the exhibition “Drift” is a geological term referring to the debris or fragments deposited by glacial or tidal movement, while on a broad scale I wonder about epic processes, such as continental drift, and on a more intimate level the ‘drift’ of the imagination.
I have developed an interest in observing and drawing directly from nature and have found that a way to do this within the environment of a printmaking studio is by looking at small found objects – debris/relics, such as seashells, that can be transported inside, held, moved and fluidly viewed from different perspectives while drawing on a lithographic stone or etching plate. Earlier in the year I was unexpectedly inspired by a crumpled plastic bag lying around the studio, which brought back memories of walking on Fox Glacier in New Zealand last year. For some of the works the faults and facets of the plastic bag became the subject matter of the image while in others it seemed to provide the context for other subjects to emerge from. In this way, incorporating simple everyday objects, such as the plastic bag, into surreal or ambiguous 'scapes' became a means of visually uniting the humble and the sublime.
