Elizabeth Banfield – letter to the lost

$440.00 inc GST

Linocut artist book, kozo tissue, thread, with portfolio enclosure. Velin Arches 250gsm black, Awagami Tengucho papers.
Edition of 30
Dimensions – book when closed: 18 x 18 cm
Portfolio: 19 x 19 cm
PCA Print Commission 2018

I recently revisited Loftia Park in the Adelaide Hills; I was at school nearby when the 1980 Ash Wednesday fire began. Bushfire has featured in my work before, but always with a focus on regrowth. After seeing that forest still scarred with black, I concentrated on the loss that others experience, the compassion I feel, but also the fear that the black landscape will again surround me.

Out of stock

Category: Tag:

Related Works
Linocut applique, three colours from 7 blocks on Japanese Kozo Igusa stitched to BFK Rives with cotton embroidery thread Edition of 30 Image size: 65 x 22. cm Paper size: 77 x 32.5 cm Printed by the artist at Firestation Print Studio, Armadale VIC PCA Print Commission 2010 The asymmetric, avian leaf of the Mountain Ash has become a recurring symbol in my work. When a blade of grass is placed through a small slit along the central vein, it becomes a sword; like those of the games of my childhood in the Adelaide Hills. I can carve cartographic lines within their shapes, transcribing a venerated memory.

View

Elizabeth Banfield – The Sword of Remembrace
Hand coloured linocut Edition of 34 Image size: 56 x 37.5 cm Paper size: 56 x 37.5 cm PCA Print Commission 2018 This image is one of an ongoing art museum series paying homage to iconic works of art. Several works by John Brack are referenced in this print. I imagine Brack’s people from a number of his paintings meeting in one place, viewing The Car in my lino print.

View

Sue Poggioli – The Car
Three plate etching, aquatint and spit bite Edition of 30 Image size: 43.5 x 59 cm Paper size: 43.5 x 59 cm PCA Print Commission 2018 The axe is a hybrid of the ‘natural’ and ‘man-made’, with its forest-born wooden handles and hardened cast steel heads. This duality connotes nature as commodity, the artificial in the natural, and duplicity in the worlds we inherit and construct. Stacked Against III plays on the inversion of this tool of destruction into one of creation. The old axe wears its history on its head, the scratches, fractures and chips of use and,ultimately, rust from neglect in their obsolescence. Stacked in multiples and viewed on end with slightly saturated colour, its abstracted form creates a strange constructed landscape.

View

Glenda Orr – Stacked Against III
Intaglio and inkjet Edition of 30 Image size: 42 x 29 cm Paper size: 60 x 42 cm PCA Print Commission 2018 My work combines the real and the imagined, with recent works incorporating a tracery of linework over photographs which are edited and abstracted. The combinations create scenarios which are uncertain and beguiling. Entrance sought combines a church exterior with arcane line drawings, offering an entrance to an imagined interior space. The manipulated photographic image was inkjet printed with an Epson 3880 onto Canson 310 gsm printmaking rag paper, and then a line photopolymer plate was inked and printed in black, silver and hand-painted pink.

View

Dianne Longley – Entrance sought
Five colour plate intaglio and relief Edition of 35 Image size: 70 x 50 cm Paper size: 70 x 50 cm PCA Print Commission 2018 The pictures I make explore ideas of aesthetics, experience, and elements of the landscape; colour, line, texture, and form. My work is inspired by the unique combination of my local regions’ dry and wet tropical landscape extending west of Townsville to Charters Towers, Magnetic Island, and as far North as Weipa.

View

Jo Lankester – Cortex: Balding Bay Walking Track
Etching and aquatint Edition of 30 Image size: 24 x 30 cm Paper size: 39 x 38 cm PCA Print Commission 2018 Harold is a three year old boy who likes to play with his imagined creatures and monsters at the Baldessin Press Studio. When I see him I am often reminded of my own childhood where I felt convinced of the presence of strange animals and monsters in the garden or in the house. They were as real as my cats and dogs, on the same level of existence.

View

Kyoko Imazu – Harold’s Garden
Monoprint, intaglio with hand-colour Edition of 35 Image size: 48 x 54 cm Paper size: 48 x 54 cm PCA Print Commission 2018 This work is part of an ongoing suite, placing myself at a point of uncertainty in a new landscape, surrounded by decreasingly predictable forces. Quiet Signs reflects a seemingly calm moment touched by portents of tumult.

View

Christopher Hagen – Weather Eye: Quiet Signs
Artsist

Sophie Westerman

Related products

0