drawing & printmaking

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The Longlist for the Signature Art Prize 2015 Drawing & Printmaking Category





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    Sister in Thought

    About this piece:

    Someone's expression can say so much yet so little. It can reveal

    much yet can hold back a lot. It can suggest doubt,

    pensiveness, reflection, insecurity or contentedness. I wanted my

    piece make the viewer wonder what the subject may be thinking

    and feeling.

    Pencil and Wax Crayon

    21 x 29 x 0 cm


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    About this piece:

    On this linocut is a pioneer of the Yellowstone National Park. I

    really love making art connected with nature, and this person

    means for me the protection of natural beauty and recalling how

    people living in cities will always miss the wildlife. I also like to

    make precise works with strong contrast to catch the eye.

    Realistic work gives me satisfaction, especially human faces. I

    enjoy portraying faces because we can see in them the entire

    history of life.

    Linoleum, Paper, Burins

    23 x 35 x 0 cm


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    Mrs E.

    About this piece:

    The presented work is the result of an earlier experiment with

    different materials and techniques. My interests have always

    included the portrait, but in my work I try to move away from the

    classic depiction. The portrait was created in two phases. The

    first of them was a direct contact with the model it was then

    that I created a sketch. The next phase was to oppose the

    sketch with memories which reminded in my mind after the

    previous experience. Models of those portraits were not chosen

    at random. They are my family, some friends and also people

    whom I highly value.

    Paper, Ecolina

    49.5 x 53.5 x 0.01 cm


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    About this piece:

    Ongoing themes in my work include the body, self-scrutiny, the

    senses and memory. In short; imagining how it feels to be human


    Bodies explores the outside influences that shape our bodies

    and our view of them. I want to establish a positive connection

    to the body, to see it as a complicated, changeable, fleshy

    thing, not as a vessel for improvement or punishment. The

    obsessively detailed pencil drawing mirrors the nature of body

    culture, how we intensely analyse the body and attempt to

    sculpt them in ways often out of our control.

    Paper and Pencil

    120 x 150 x 0 cm


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    Untitled 70, Trap and Snare Series

    Graphite Pencil

    29 x 42 x 1.5 cm


    About this piece:

    In my recent practice I have been exploring the idea of the

    animal as practitioner and how different species might shape,

    frame and make space in our everyday urban environments

    through methods of sculpture and drawing. As human beings we

    share our urban environments with a variety of different species

    whether they are domestic, wild or farmed for their produce, most

    of them contributing to our own survival, but when does a wild

    animal like a rabbit or a bird for example become


    My practice has aimed on exploring these issues by not only

    creating sculptures that are works of art but are also spaces for

    an encounter between species. As a part of this project I came

    across the term Vermin culture. This term is given to various

    species of animal which are considered a nuisance or a pest.

    This inspired me to produce a number of sculptures made from a

    variety of found objects that I placed in a deranged manner to

    give the illusion of an unstable structure that could trap or snare

    an animal. From these sculptural spaces, I have used traditional

    drawing techniques with a contemporary aesthetic to document

    and record these temporary structural forms. To consider the

    boundaries of what it means to be human rather than animal

    (OReilly,2009,p.149.) is a quote I have used as a guiding

    principle in my work to address questions about the residual

    traces left by animals, looking at the spaces animals inhabit and

    turning them into sculptural forms.

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    Semi II

    About this piece:

    This piece depicts an abstracted human head almost packed

    into a box.

    Ambiguous graphic forms reveal to us cares of human everyday

    life, shyly reveal another layer of ordinary and unusual hopes

    and dreams and loose thoughts permeating involuntarily in the

    structure of objects that appear in the production line

    Paper 300g/m, Charbonnel Ink for Etching, Aquatint, Etching

    100 x 70 x 0 cm


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    Everything is Turbulence

    About this piece:

    The process of printmaking has always intrigued me, as it

    combines the methodical act of layering colours and line with an

    element of chance. The inks are merged together with each pass,

    so the images become uncontrollable, imperfect and dynamic. I

    take my colour palette from a collection of my own pinhole

    photographs. The dappled light and abstract washes of colour

    inspired this ambiguous act of mark making. The three rectangles

    are clean and minimal, yet within each shape, tiny details give

    an impression of a landscape awash with colour. The title is

    taken from 'The Sea Inside' by Philip Hoare; the contradiction of

    'turbulence' against the stillness of the straight edges points out

    the spontaneity of printmaking.

    Silk Screen Print on Bread and Butter 200gsm paper

    26.5 x 37 x 0.05 cm


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    Corrosive Stage 11

    About this piece:

    The Corrosive series focus on diseased cells and malformations

    in Nature. Allowing the alchemy of etching to overtake my

    original drawing, the boundaries and restrictions of the plate

    decompose, leaving behind the appearance of an organic,

    natural print.

    The fine line between the beautiful and the grotesque intrigues

    me; how an image can simultaneously attract and repel.

    Etching on Paper

    56 x 75 x 10 cm


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    His Momentous Burden (Atlas)

    About this piece:

    My works often develop into playing with traces of the past, and

    through this act I celebrate the activities that govern and

    construct who we are as human beings. In my current works I

    have ironically drawn internal organs appended with tattoos,

    which are generally inscribed on the external of the body. I've

    imprinted internal thoughts, used irony, known text, classic

    metaphors and subverted specific motifs in Greek mythology to

    assert my own idiosyncratic visual language. Each organ is

    selectively chosen to represent a significant character from a

    Greek myth, that myth then dictates what kinds of images are

    inscribed onto the organ. This form of body modification

    becomes an expression or identification of the fictional

    character. The myth and the imagery of tattoos become the

    template for expressing my own cultural and linguistic systems.

    The notion of these expressive tattoos being placed underneath

    the skin rather than externally suggests deeper thoughts, inner

    reflection, viewing the internal as a way to understand the

    external, and the microscopic versus the macroscopic. The use of

    internal organs is to exaggerate the concept of being human

    and human beings ("we're all the same inside"). However, by using

    the unique and intimate qualities of tattoos I have ironically

    personified these organs that were deemed to be once a

    component of an individual. The organs also furthers this idea

    that death and decay is inescapable, and immortality is a fool's

    dream - flesh is the very death of the body.

    Pencil on Paper

    76.2 x 50.8 x 0 cm


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    I Remember, Therefore I Exist

    About this piece:

    I have always been focusing at memory, nostalgia and what

    makes us - us.

    I consider this as my signature piece as I am working with such

    mediums that have been around for centuries which allow me to

    further develop my relationship with the ongoing theme in all of

    my works. I consider my more recent works as turning point in my

    artistic career as I used to (and still am) using photographs from

    my family archive, but have expanded my research into

    cyanotype to push myself further.

    Cyanotype, Watercolour on Plywood

    61 x 61 x 1 cm


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    About this piece:

    Essentia was created using acid techniques such as aquatint,

    aqua fort, soft vanish and split. I wanted to express my relation

    to the creative process and its connection to my personal

    feelings. I named the piece Essentia to outline the fleeting

    importance of this work. In this work, I aim to share deeply

    concealed emotions, over which I want to take control by

    materialising them. "We fear violence less than our own feelings.

    Personal, private, solitary pain is more terrifying than what