Portraits can tell a story without a long narrative structure because the artist tries to capture a point or in this case points in time within the space of one image. The image is still but it alluded to action and thought. I tried to capture some aspects of the mother and daughter relationship at a time when the mother’s influence waned and prominence of the peer group and the daughter’s sense of identity took the stage. The abstracted shapes like the keyhole and window referred to elements of vision about elucidation, obscurity and transition. The red column shape echoed those in ancient Minoan rituals that depicted aspects of female initiation.
Above the Window, 1/1, 2009, intaglio and drypoint on Fabriano 28×18 cm print, 50×35 cm paper
The title of the series to which these prints belong is Natalie with the Gaze and the Glance, 2009 – 2010.
Red Column 1, 2009, intaglio and drypoint 25×18 cm print, 35×25 cm paper
Red Column 2, 1/1, 2009, intaglio, 26×18 cm print, 37×28 cm paper
Imago, 1/1, 2009, drypoint and intaglio 25×21 cm print, 37×28 cm paper
Growing Persona, 1/1, 2009, intaglio and drypoint 26×18 cm print, 50×35 cm paper
In Focus, 1/1, 2009, intaglio and drypoint 25×18 cm print, 50×35 cm paper
Growing Focus, 1/1, 2009, intaglio and drypoint. Sold
Risen, 1/1, 2009, intaglio and drypoint 26×18 cm print, 38×28 cm paper
Enchroaching Memory 1, 1/1, 2009, intaglio and drypoint 25×18 cm print, 37×25 cm paper
Enchroaching Memory 2, 1/1, 2009, intaglio and drypoint 24×20 cm print, 35×28 cm paper
The Keyhole Image 1, 1/1, 2009, intaglio and drypoint on rice paper. Sold
The Keyhole Image 2, 1/1, 2009, intaglio and drypoint on rice paper.
Terms “gaze and “glance” referred to modes of seeing by artists, the first produced a structured work arranged in layers where underneath paint layers were gradually obscured until attainment of the desired effect for example in European oil painting. On the other hand the glance mode was more immediate and brush work encapsulated the image in one layer as in Oriental brush painting. I integrated both ways of seeing into my compositions.
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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