David Fairbairn – Auto Portrait No. 20

$440.00 inc GST

Etching and drypoint
Image size: 33 x 28
Paper size: 76 x 56 cm
PCA Print Commission 2017

I have been making copper etchings and drypoints since 1999, as part of a much wider drawing and painting practice. Portraiture has occupied a central role since 1984. Although this etching Auto Portrait No. 20 is a self-portrait the decision to work directly with a sitter is fundamental to my practice. The length of time spent with the subject, the day to day stopping and starting of a work as a series develops over time, and even the subtle daily differences that exist in both subject and artist are factors that contribute to the interpretation of the work. Much of the impetus for my work draws on an abiding dialogue with the great Western figurative traditions of the past including Goya, Munch, Freud and Giacometti.

Category: Tag:

Related Works
Copper etching on BFK Edition of 30 Image size: 34 x 26 cm Paper size: 76 x 56 cm PCA Print Commission 2012 Although this work is a self-portrait the decision to work directly with a model is fundamental to my practice. The time spent with a sitter, the day to day stopping and starting of work, and subtle daily differences in both subject and artist, all contribute to the interpretations of the work. My practice draws upon past artistic traditions, including the work of Francis Bacon, Leon Kossoff and Lucien Freud.

View

David Fairbairn – Auto Portrait No. 19
Drypoint, photogravure and chine collé Image size: 67 x 45 cm Paper size: 76 x 56 cm PCA Print Commission 2017 My work explores the relationship between autographic mark making, a response to place, and the mechanics of making multiple images.  Lie of the land – Mildura  is part of a series of work that refers to the process of navigating environments that are foreign to me and represents a map of my recollection of physical experience and visual perspective.

View

Jacqueline Aust – Lie of the land – Mildura
Multiple block woodcut Image size: 57 x 43.5 cm Paper size: 57 x 43.5 cm PCA Print Commission 2017 The exploration of colour and low tonality with quiet, muted, rhythmic tonal shifts of a contemplative nature and the broken moment of pattern call for reflection, allowing the many layers to unfold and reveal themselves. My iteration of mark embraces and celebrates machine-made aesthetics alongside evidence of the hand of the artist within an immersive, visual experience, looking to the essay in discretion, inwardness and silence in its minimalist, ethereal quiet.

View

TJ Bateson – Iteration Silver Fields
Lithograph Image size: 76 x 56 cm Paper size: 76 x 56 cm PCA Print Commission 2017 I made this lithograph at Lancaster Press with Warren Ellis when he was in Melbourne touring with Nick Cave and the Bad Seeds. Warren played the violin for me for 2 hours while I drew on a series of plates. Last Impression Available

View

Locust Jones – Warren Ellis One
Multiple block woodblock print (12 blocks. hand printed with a baren) Image size: 29.5cm x 46cm Paper size: 50cm x 65cm PCA Print Commission 2017 My woodblock prints have architectural, cultural and literary references intending to be evocative and contemplative, at the same time attempt to capture a serenity and simplicity through the use of minimal colour, light and form. The poetics of shade and shadows, secret places and the stillness of nightfall are all referenced in this work.

View

Roslyn Kean – Night Fall I
Linocut Image size: 51 x 58 cm Paper size: 51 x 58 cm PCA Print Commission 2017 This print pays homage to the bird pollinators, which along with insects are essential to the life-cycle of the many plant species that green our planet. Banksia and gum blossom are favourites of the Australian bush bird pollinators, which include the honey-eater and the parrot families.

View

Jenny Kitchener – In the service of trees: bird pollinators
Archival pigment print Image size: 31.3 x 23.2 cm Paper size: 48.4 x 33 cm Printed by Luke Ingram PCA Print Commission 2017 Pressed for Time is part of an ongoing exploration of the absence of women from history, in this case, of Chinese women during the Australian gold rushes. A detailed study of the period was undertaken, however the women could equally originate from any place or time, including the present.

View

Deborah Klein – Pressed for Time
Carborundum and solar plate etching Image size: 38 x 57.5 cm Paper size: 38 x 57.5 cm PCA Print Commission 2017 My work explores the idea of

View

Diane Masters – Ocean Drifters
Etching Image size: 30 x 40 cm Paper size: 56 x 76 cm PCA Print Commission 2017 I am interested in exploring the role of culture in affecting how humans interact with, and relate to, the non-human world. In previous series I have considered the commodification of nature in Western culture. In this work I am interested in exploring the way culture affects how landscape is perceived and understood. Some features of the landscape, such as power lines, are so ubiquitous that they virtually disappear. The origin of the materials used in construction become remote. In this image, the structure of a railway bridge reflects and echoes the form of the trees from which it is built, and is carried through again into the power lines. Humans, for the moment at least, remain inextricably intertwined with nature.

View

Gwenn Tasker – Material Echo
Etching Image size: 22.4 x 30cm Paper size: 44 x 48cm PCA Print Commission 2017 I predominately work in etching and explore the environment and our varied relationships with it. Recent works explore urban settings where the gritty marks and recordings found in these spaces are analogous to the marks and gestures made on the etching plate.

View

Joel Wolter – Celestial Lane

Related products

0