2016-2018

Carving Memories: a new dialect, 2018.

Carving Memories: a new dialect (2018)
Image: “Carving Memories: a new dialect”, 2018. Vinyl-cut on Hahnemühle paper. Photo: Louis Lim. Courtesy of Onespace Gallery.

Carving Memories: a new dialect develops imagery focusing on observations of organic patterns and forms. The flora of my natural surroundings portrayed in the work captures memories, resonating moments that offer glimpses of my experiences; these are not static but have grown and evolved along with my changing environment. As the first piece of the Carving Memories series, the investigation of irregularity of line, form and direction acts as a catalyst to represent the fluidity of these experiences. Brought up in Western communities, I have often struggled with notions of identity as my families have lineage to multiple heritages. My creative practice has played a central role in connecting with European, Islander and Papua New Guinean cultures as the practice of visual art is consistent across all cultures. My passion towards printmaking and a deeper connection to my heritage has encouraged me to explore expression through carved line as a way to represent story, place, memories and relationships.

Carving Memories: a new dialect was selected to be apart of the Haugesund International Festival for Relief Print in 2019, Brisbane City Council’s public art exhibition Shared Connections in partnership with Blaklash Collective in 2019 , and recently acquired by the Griffith University Art Museum Collection.

 

Complex Ecologies (2019)
Image: “Complex Ecologies”, 2018. Vinyl-cut on Hahnemühle paper. Photo: Louis Lim. Courtesy of Onespace Gallery.

Complex Ecologies, 2018.

I develop an intimate experience with local flora as a way to create the organic patterns and forms seen in Complex Ecologies. The intricate patterns formed underneath the horizon line represent the complexity of nature. The simple form that is apparent above the surface demonstrates to the viewer that there is an underlying diversity and connection within the natural environment. What we might perceive as an isolated form, in reality reflects a narrative of interconnectivity. Using the play between these organic forms I represent my perception of nature, utilising printmaking as a tool to connect with nature on a personal level. I continue to draw upon my Torres Strait Islander heritage for imagery by embracing traditional carving methods and visual language.

 

 

Tamika Artwork LR-17
Image: “Rosalie (ochre)”, 2018. Vinyl-cut with hand coloured watercolour on Hahnemühle paper. Photo: Louis Lim. Courtesy of Onespace Gallery.

 

 

Rosalie (ochre), 2018.

Rosalie investigates the displacement of an antique toy bear in a suburban Brisbane landscape. Inspired by a series of photographs, the process of taking this bear on a journey evokes the curiosity of childhood, reimagining the familiar and seeking knowledge through exploration. By embracing this process I am able to incorporate the abstract nature of linocut carving to reconnect with the micro worlds of my suburban environment. Linocut carving is not simply used as a tool for visualising this environment but one that elevates my artistic curiosity and maintains a connection with my home.

 

 

 

Fragments of Ta Prohm (2018)
Image: “Fragments of Ta Prohm”, 2018. 6 block vinyl-cut on Hahnemühle paper. Photo: Louis Lim. Courtesy of Onespace Gallery.

 

Fragments of Ta Prohm, 2018.

Fragments of Ta Prohm investigates the shapes and movements created by the strong contrast of structure and nature that is seen in the temples of Angkor Wat, Cambodia. Through the creation of a series of snapshots, this experimental work captures my experiences and impressions as I explored Ta Prohm. Linocut carving is not simply used as a tool for visualising this environment but also for feeling the movement between the temples and their natural surroundings.

 

Garden Terrace (2017-18)
Image: “Garden Terrace”, 2017. 3 block linocut on Hahnemühle paper. Photo: Louis Lim. Courtesy of Onespace Gallery.

 

Garden Terrace, 2017.

An exploration of familiarity is explored in Garden Terrace as it captures snapshots of plants, trees and flowers commonly found in my residential suburb, 4104. This triptych of linocut prints investigates the continuity of line and shape that is seen within this native flora. The simplicity of using black and white allows me to accentuate the detail of carved lines and shapes.

Garden Terrace was awarded First Place in Printmaking at the 2018 Ipswich Art Awards.

 

 

 

 

 

 

Storyline (2017-present)

Inspired by the immediate environment of Brisbane, Storyline focuses my observations of organic patterns and forms. Storyline is created to have no ending. Each line carved represents a feeling, a memory, a relationship that entwines and evolves through creative exploration of my natural environment. This artwork was selected as a finalist in the 35th Telstra NATSIAA Awards at the Museum and Art Gallery of Northern Territory in 2018.

Storyline has been acquired by The Perera-Picco Collection of Australian Art, including a commission to extend the piece in its new home, Nthspace Gallery (Adelaide).

white EDIT_STORYLINE
Image: “Storyline”, 2017-present. Multi block vinyl-cut on Hahnemühle paper. Photo: Tamika Grant-Iramu. Courtesy of the artist.

 

 

Interior Landscape II, 2017.

Interior Landscape II is an extension of Interior Landscape I (2016) that explores how art and interior design can find points of connection rather than standing as separate entities. This multimedia artwork uses found furniture and imagery from local Brisbane landscapes, using the exterior to influence the characteristics of the interior domestic setting. Creating work on wallpaper is an area within the fine arts and design that I am eager to explore throughout my practice as a printmaker, being heavily influenced by William Morris and Florence Broadhurst.

 

"Botanical" (2016)
Image: “Botanical”, 2016. Vinyl-cut on Kansen paper. Photo: Tamika Grant-Iramu. Courtesy of the artist.

Botanical, 2016.

Botanical is a creative response to Brisbane’s native flora. Developed as part of a project that investigated themes involving the micro and macro, this linocut expresses the small details found in varied organic objects. This artwork was in collaboration with Interior Landscape I (2016) that used Botanical’s stylistic outcome to create a work exploring large scale reproductions of exterior micro imagery placed in an interior setting.

 

Interior Landscape I, 2016.