The suite of etchings from my final year for my BFA at NAS are explorations of contemporary society through satire and allegory. Religious Renaissance art has fascinated me all my life and I felt the pictorial semiotics of the most iconic renaissance subjects would be the most effective in conveying the intended themes.
The theme of comparing devout Renaissance beliefs with contemporary rituals and belief systems was first experimented with in my second year in 2019 and immediately stuck with me.
All works are appropriated from the paintings of Carlo Crivelli.
Pietà, Carlo Crivelli, tempera on wood, gold ground, 71.8 x 64.5 cm, 1476, The Metropolitan Museum of Art
The Annunciation, aquatint etching and gold leaf on Hahnemühle, 2021
The Annunciation, aquatint etching on Hahnemühle, 56 x 36cm (diptych), 2021
Instagram Influencer and Child, aquatint etching on Hahnemühle, 86 x 70cm, 2021
But I ordered soy, aquatint etching on Hahnemühle, 86 x 70cm, 2021
Scuomo, aquatint etching on Hahnemühle, 86 x 70cm, 2021
I also chose to participate in the DISRUPTION: Discourse and Exchange print exchange curated by Dr Carolyn McKenzie–Craig at 16abermarle Project Space in Sydney.
A collaborative project between the printmaking departments of the National Art School, Institut Seni Indonesia Surakarta (Surakarta, Indonesia), Queensland College of the Arts (Brisbane, Australia), and King Mongkut’s Institute of Technology Ladkrabang (Bangkok, Thailand).
This exchange was shown at 16abermarle Project Space 12 Aug-23 Sep 2023
WestConnex Revisited, aquatint etching and chine colle on Hahnemuhle, 50 x 45cm, 2021.
She Quit, aquatint etching on Hanhemuhle, 2021
staff appraisal, aquatint etching on Hanhemuhle, 53 x 78cm, 2022