Art, Identity & Place

How wild places, deep time and archaeology inform my contemporary art process

Collagraphs about Mungo

Collage from previous etchings are mixed into the second collagraph, whereas, in the first, I combined a torn collagraph element with another piece of collagraph. This grey piece of rectangular shaped BFK Rives printmaking paper, obtained from a ghost washy print that picked up some ink remnant left on the plate, resembled part of Mungo’s terrain between the red dust bearing hills and the pink dunes.

In the second image the soft grey area was printed from another washy (drop of gum turps. and a little oil ) ghost print which being very liquid spread across to the edge of page as it passed under the roller. Then I combined two pieces of torn image, one consisting of an intaglio and the other a drypoint on perspex from past leftovers, into ‘seeing heads’. The beige surround alludes to viewing as tho through a frame.

I was trying to depict two types of vision into a single image. One head is sightless and ‘sees’ as if from below the landscape and ‘becomes’ the landscape, and the other sighted head and torso view the landscape through and with perspectival visual construction.

Author: elainedesterre

I have been producing oil paintings, mixed media, prints (etching), digital prints and drawings for many years travelling to the Australian outback and overseas for inspiration and further education. My formal education consists of a PhD in painting and a BA in printmaking and my artwork is represented in public and private collections. My purpose and ongoing challenge is to create a gender-balanced and environment-focused iconography within the Western canon of European oil painting. These themes find expression within imagery about time, memory and identity as well as in geomorphology of evolutionary and environmental significance.

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