Art, Identity & Place

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


Anbangbang Billabong Revisited – cont.

The collage treatment of my original artwork digitalised into an edition onto printmaking paper continues, allowing strong colour beneath to show through the finely textured rice paper. This effect is similar to an oil painting technique where a thin semi transparent veil of paint can be painted over often flat strong colour as a way to give atmospheric depth to a composition. I love the play of opaque surfaces with tonal atmospheric and nuanced texture and much overlapping adding to the sense of ‘painting with paper’.

Nuanced texture and atmospheric tonal values made from overlapping transparent, semi transparent and semi opaque layers of either paper or paint produce and effect that seem so characteristic of outback Australian landscapes – no glaringly obvious focal points, in-defined shapes, blinding sunlight and obscuring dust haze and quivering mirage obscuring clear any horizon line.

We arrived at this location in the dry season when burning off was in progress making the haze, glare, heat contribute to how I imagined these images as I sat next to the dried billabong with its remnant and dried vegetation transported by wet season floods left caught on sticks and branches scattered across the dusty surface that resembled triangular stooks of hay.

Anbangbang Billabong Flood Plain, 2017

Anbangbang Billabong Flood Plain, 2017, rice paper collage and pen and ink, 75×30 cm

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Flood Plain Across Anbangbang Billabong, 2017, rice paper collage on original digital image plus ink wash and pen, 75×30 cm