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John Ryrie – Leda II

$350.00 inc GST

Leda II
Linocut
Edition size: 35
Image size: 41 x 26 cm
Paper size: 56 x 38 cm

 

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There's nothing we can do about that now Reduction woodcut Edition size: 40 Image size: 58 x 40 cm Paper size: 76 x 56 cm My practice revolves around the tension between humans and the natural world. This print was created with mind to our rapidly degenerating environment, and the transformations we force onto our world that result in seemingly irreparable states. The abrasion/reduction woodcut technique reveals the natural resistance of the material, and the index of each layer removed is recorded within the print.  

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Rainer Doecke – There’s nothing we can do about that now
SALTBUSH Solar-plate engraving and archival pigment print. Images created from drawings by the artist Edition size: 30 Image size: 34 x 27 cm Paper size: 54 x 41 cm Saltbush (Atriplex nummularia Lindl.) is a resilient survivor and defining feature of the semi-arid desert regions of Australia including the Mallee and areas affected by irrigation salinity near the Murray River. This image is part of a series that investigates the botanical legacy of Mallee botanist, Eileen Ramsay, whose pioneering work documented the plants of the region, the traditional lands of the Latji Latji, Ngintait, Nyeri Nyeri and Wergaia peoples.

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Christine Johnson – Saltbush
Beautiful Entanglement Reduction linocut Edition size: 30 Image size: 30 x 30 cm Paper Size: 42.5 x 38 cm Beautiful entanglement is the latest print in my ongoing series of prints relating to cocooning. This imagined scene is a combination of my interest in vintage fabrics, the female form, human/animal relationships and the human need to find refuge to reflect and connect with nature. The print was created from one linoleum block and ten individual colours were used.  

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Gwen Scott – Beautiful Entanglement
Rangihoua Pigment print Edition size: 35 Image size: 48 x 67 cm Paper size: 56 x 76 cm Rangihoua, in the northern Bay of Islands is highly significant as the site of early, prolonged contact between Maori and Pakeha.  It is the location of one of the earliest trading posts, the earliest mission station, and the first formal transfer of Maori land in New Zealand, as well as the earliest recorded church service and the earliest European school. The Europeans arrived in December 1814.  The mission closed in the 1850’s by which time very little land was left in Maori possession.  The arrival of the Europeans at Rangihoua was the start of a process which would eventually transform the country. This work began by re-visiting photographs and drawings made at a particular time and place.  Photographic, hand-made and digital images, captured, drawn or found.  Time fixed, recorded and stilled.  Rangihoua is made with layered photographs and a scanned soft ground etching made from objects gathered at the site.

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Mark Graver – Rangihoua
The Pleasure of Making Multiple block woodcut Edition size: 30 Image size: 55 x 39 cm Paper size: 76 x 56 cm This time of uncertainty and change in the world and in our everyday lives has highlighted for me the infinite and intimate pleasure of making. As one example, I chose the figure of the ceramicist working in its studio.

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Laura Castell – The Pleasure of Making
Mullinmur Billabong Linocut Edition size: 30 Image size: 42 x 56 cm Paper Size: 56 x 76 cm Mullinmur Billabong is inspired by my solitary walks along the Torryong River (Ovens) in Wangaratta during Covid 19 lockdown and the discovery of this regenerated wetland that sits hidden so close to suburbia. The ancient red gums reflected in the water providing solace and a sense of hope.

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Anita Laurence – Mullinmur Billabong
Chromatic Linear Rhythm Series 1-9 Ultrachrome archival pigment print Edition size: 40 Image size: 26.5 cm x 17 cm Paper Size: 30 cm x 20 cm This artwork is part of a series of chromatic linear rhythms based on the investigation between color and the visual perception of rhythm. As a result, every color that appears static is converted into chromatic movements. This visual synergy leads us to a peculiar perception of colour that transports us from the reality of the work to an alternative space, both emotional and imaginary.

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Carlos Almenar Díaz – Chromatic Linear Rhythm Series 1-9
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