Showing 1–16 of 103 results

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Alexis Beckett – Fleeting

$250.00 inc GST
Etched blind embossing, archival digital print
Edition of 40
Image size: variable
Paper size: 56 x 38 cm
PCA Print Commission 2004

This work was inspired by the increasing absence of wild native birds from our cities. Small embossed portraits of a selection of lost bird species are combined with a bird’s eye view of the city, looking from the city centre to the outskirts and vice versa. Silent songs are reversed out of this panorama.

Andrea Przygonski – Portrait of a Killer – Suspect 2, Schisto

$180.00 inc GST
Screenprint
Edition of 33
Image size: 56 x 31 cm
Paper size: 80 x 60 cm
Printed by the artist
PCA Print Commission 2009

The microcosm – a world hidden from view – is a place of beauty, danger, deception and intrigue. To appreciate a broader world than our own, to confront our fears, maybe event to see beauty in unpleasant things, we must be liberated. In life, it’s the little things that count.

Special viewing instructions: This print incorporates a phosphorescent pigment that is charged by sunlight, black light (UV), or artificial light. Allow a minimum of 10 minutes for effective charging. The work has two states and is to be viewed in both daylight and the dark for full effect.

Out Of Stock

Andrew Antoniou – Shadow Play

$330.00 inc GST
Etching and aquatint
Edition of
Image size: 30 x 39 cm
Paper size: 56 x 76 cm
PCA Print Commission 2013

Shadow Play began life as a piece of theatre. I stand somewhere between being its director, screenwriter, set designer and stage manager but the plot remains a mystery. Characters were drawn individually, redrawn, cut out, assembled as a collage and drawn from the collage onto the plate. Creating an etching from the drawings lends the image a magic that no other medium can.

Andrew Antoniou – The Back Pages

$250.00 inc GST
Etching
Edition of 40
Image size: 50 x 35 cm
Paper size: 76 x 56 cm
PCA Print Commission 2004

The Back Pages was an idea that followed on from a series of etchings inspired by ‘Theatre of the Absurd’, pantomime and other forms of fantasy drama. This cast of characters is captured in a moment of absurdity, of contemplation and unspoken intent, which viewers must determine for themselves.

Annabel Nowlan – The clove hitch

$150.00 inc GST
Screenprint on Smooth Dutch Etch
Edition of 34
Image size: 60 x 43.5 cm
Paper size: 60 x 43.5 cm
Printed by Rebecca Mayo, The Dolls House Studio, Preston VIC
PCA Print Commission 2010

The clove hitch is a non-slip knot often used by farmers. Securely fastened to a rigid beam, it’s symbolic of man’s often futile attempts to restrain and tame nature. The place I’m from, Bimbi, means ‘Place of many birds’ in Wiradjuri language. As a white woman of the land I’m placed between its past and recent histories.

Anne McMaster – Kangaroo Bones, Broken Crockery, Drought

$350.00 inc GST
Multiplate etching mounted on BFK Rives paper
Edition of 40
Image size: 24 x 24 cm
Paper size: 38 x 33 cm
PCA Print Commission 2008

In the thick of drought kangaroos perish and farmers walk off the land. All that is left are bones and broken crockery. Overlaid images prompt the observer to question the Anglo-Saxon relationship to country, to that of indigenous tribes. Foul biting and earthy colours bring attention to the weathered landscape of Australia.

Annette Vincent – Reflection

$250.00 inc GST
Etching, chine colle, watercolour
Edition of 46
Image size: 22.4 x 30.4 cm (combined)
Paper size: 28 x 38 cm
PCA Print Commission 2005

Reflection was inspired by a new body of work. It echoes my passion for the old gnarled River Red gums that are slowly dying. This etching is derived from a pen and ink drawing. The plate was prepared with a wine-coloured ink and four layers of rice paper, and the tree highlighted with gouache.

Annika Romeyn – Inner Gorge

$300.00 inc GST
Lithograph
Edition of 47
Plate size: 28 x 15.5 cm
Paper size: 38 x 26 cm
PCA Print Commission 2013

In 2012 I spent nine days exploring the depths of the Grand Canyon, USA. The mighty Colorado River cut my path between the majestic, seemingly insurmountable canyon walls that constantly framed my field of vision and, for a time, defined my world. I was fascinated by the scale and intricacy of these walls as well as the elemental power and dynamism visible in their form.

Basema Mahdi – Forest Debris-Cotter River

$200.00 inc GST
Woodcut
Edition of 40
Image size: 56 x 76 cm
Paper size: 56 x 76 cm
PCA Print Commission 2004

The image Forest Debris-Cotter River and much of my recent work employs a fine woodcutting technique, which has grown out of research into the traditions and techniques of nineteenth century woodcutting, engraving and etching. I use horizontal and linear cutting to create a rhythmic density which is further enhanced by the grain of the woodblock itself. The technique allows the images to emulate a sense of cutting into and through a slice of the landscape.

Ben Rak – Sole Surfer (If my clod be washed to sea]

$250.00 inc GST
Acrylic screenprint
Edition of 33
Image size: 38 x 39 cm
Paper size: 38 x 39 cm
PCA Print Commission 2011

This print is about the role surfing as a sub-culture plays in my life. I consider my connection to this culture to be a significant part of my identity. In recent years surf culture has been commodified by the popularity of the ‘surfing style’ of the clothing industry. This has blurred the line between those who belong to the sub-culture through shared experiences and those who only wear the style.

Out Of Stock

Ben Reid – for love or money

$300.00 inc GST
Intaglio and relief
Edition of 30
Image size: 50 x 70 cm
Paper size: 50 x 70 cm
PCA Print Commission 2013

I am interested in the fragile relationship that New Zealanders have with the natural environment and its ecosystems. New Zealand’s native species spent millions of years evolving in isolation. Free from any predators, their evolution disregarded any ability to defend themselves by fight or flight. Sadly, they became easy prey for exotic predators that overran New Zealand’s forests in the 19th century.

Bill Moseley – Angry Penguins

$300.00 inc GST
Copperplate photogravure on BFK
Edition of 50
Image size: 16.5 x 16.5 cm
Paper size: 38 x 28 cm
PCA Print Commission 2012

The image suggests a retelling of the story of Goldilocks and the bears. In a collision of realities, a bather’s solitude in a period bathroom is invaded by screeching penguins.
Stability is fugitive, insecurity is a fact.

Bridget Hillebrand – I remember when

$300.00 inc GST
Linocut, hand stitching and hand written text, Kozo paper chine colle
Edition of 30
Image size: 20 x 46 cm
Paper size: 57 x 64 cm
PCA Print Commission 2011

Approximately 80 years ago 500 pine trees were planted at the foot of Mt Arapiles in Western Victoria. Today 81 remain standing in the camping ground affectionately known as ‘the pines’. Drought and trampled roots from thousands of campers have ensured their slow and inevitable death. All too soon the memories we have of the shade and community they provided will only remain in stories which begin: I remember when…

Caroline Williams – Impropaganda: Amodernism and the Arrival of the Enlightenment in Terra Nullius: the Cockatoo

$150.00 inc GST
Monotype
Edition of 32
Image size: 40 x 50 cm
Paper size: 40 x 50 cm
Printed by the artist
PCA Print Commission 2010

All Thinking is the Same
As a pink Australian referring to the past I choose the Sulphur Crested Cockatoo as representative of the Unimpressed encountering the Enlightenment. As for monotypes – they are an example of why I find prints, drawings, paintings etc. to be similar forms of action – the outcomes of my thinking put to work with all the limitations of a lifelong work in progress.

Out Of Stock

Cat Poljski – After Euclid’s Rule (Diptych)

$500.00 inc GST
Etching, aquatint, photo-etching
Edition of 40
Image size: 30 x 25 cm x 2
Paper size: 30 x 25 cm x 2
PCA Print Commission 2003

Euclid’s elements show how to construct infinitely varied geometric compositions from points straight lines and arcs of circles. This diptych is based on spaces constructed using Euclid’s Rule with emphasis on architectural forms and the polemics of space. Four copper plates have been used in an attempt to suggest that the layers beneath each determine a specific experience of a space: a kind of chaos and order emerges in its completion.