Body of Work
Fragments: a printed environment, 2020-2021
Fragments: A Printed Environment is an archive of my experiences and impressions of environments I have encountered. Using printmaking as a tool for reimagining an environment, I respond to natural forms that exist within diverse urban and suburban contexts. This body of work brings into focus aspects of the natural environment that often go unnoticed and yet are an important part of the identity and culture of place.
Onespace Gallery Online Exhibition Room Brochure.
Image: Fragments: a printed environment, solo exhibition at Redland Regional Art Gallery (Cleveland, Queensland). Photo: Courtesy of Redland Regional Art Gallery.
Fragments of Redlands, 2019-2020.
Vinyl-cut on Hahnemühle paper. Paper Size: 68.5 x 95.5 | Image Size: 50.5 x 88.7cm. Edition of 10. Photo: Louis Lim. Courtesy of Onespace Gallery.
Fragments of Redlands
I find that the complexities of nature can be seen within the strong contrast of flora found within a single location. Fragments of Redlands showcases the diversity of the natural Australian environment—from its ocean pandanus to its eucalyptus and the abundance of diminutive flora that surround these iconic trees. Within this landscape there is also a sense of continuous motion, a movement that comes from interactions and co-existence between people and place.
Fragments of Redlands: the eucalyptus, 2020.
Vinyl-cut on Hahnemühle paper. Paper Size: 68.5 x 95.5 | Image Size: 50.5 x 88.7cm.
Edition of 10. Photo: Louis Lim. Courtesy of the artist and Onespace Gallery.
Fragments of Redlands: the eucalyptus focuses on an iconic tree within the Australian landscape. The eucalyptus brings a sense of nostalgia; a personal nostalgia for me growing up surrounded by these trees, and one that also connects me with others through the shared experience of Australia’s native environment. Relief print carving is not simply used as a tool for visualising this environment but rather, captures my visceral impressions – the sparse yet minute details of the eucalyptus, the feeling of currents flowing through the branches bringing memories of the lightning filled skies of Australian summer storms, the tearing of bark showing the history of this tree as it sheds its own past experiences.
Fragments of Redlands: the ocean pandanus, 2021.
Vinyl-cut on Hahnemühle paper. Paper Size: 68.5 x 95.5 | Image Size: 50.5 x 88.7cm.
Edition of 10. Photo: Louis Lim. Courtesy of the artist and Onespace Gallery.
Fragments of Redlands: the ocean pandanus focuses on an iconic tree seen across the Australian coastal landscape. The ocean pandanus brings a sense of nostalgia; a personal nostalgia for Tamika growing up surrounded by these trees, and one that also connects her with others through the shared experience of Australia’s natural landscape. Relief print carving is not simply used as a tool for visualising this environment but rather, as a way of capturing Tamika’s visceral impressions of place. The constant randomness that arises from the direction in which she carves allows newly discovered forms to grow. There is an importance in the connection between the artistic process and herself as the medium, as it allows a new dialogue to come into play.
Image: Fragments: a printed environment, solo exhibition at Redland Regional Art Gallery (Cleveland, Queensland). Photo: Courtesy of Redland Regional Art Gallery.
Fragments of Ta Prohm: restoration, 2020
3 block Vinyl-cut on Hahnemühle paper
Paper Size: 199.5 x 84.8 | Image Size: 199.5 x 84.8cm. Edition of 5.
Photo: Louis Lim. Courtesy of the artist and Onespace Gallery.
Fragments of Ta Prohm
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. I am fascinated in the minute details of the bricks where the erosion from the environment has allowed new patterns and details to form. The engraving of stories from the Cambodian people within these temples is in confluence with the patterns made from natural erosion. Nature itself has woven a new story that is unique to the Ta Prohm temples.
Fragments of Ta Prohm: the canopy, 2020
Vinyl-cut on Hahnemuhle paper
Paper size: 75.5 x 96cm, Image size: 59.7 x 86.7cm. Edition of 10.
Photo: Louis Lim. Courtesy of the artist and Onespace Gallery.
Fragments of Ta Prohm: angkor wat abstraction I & II, 2021
3 block vinyl-cut on Hahnemuhle paper
Paper size: 68 x 24cm, Image size: 15 x 15cm (each print). Edition of 10.
Photo: Louis Lim. Courtesy of the artist and Onespace Gallery.
Photo: Jax Oliver. Courtesy of the artist and Designer Rugs Australia.
Fragments of Haugesund
Fragments of Haugesund brings together six unique prints that offer an insight into my encounters with Norway’s native flora and rocky terrain. When I first visited the small coastal town of Haugesund, I was struck by the vibrant yellow and purple flowers that dominate the landscape. Stepping further into the environment, I noticed the intricate linework travelling through grey rock surfaces, with glimpses exposed among the flora and opening out into cliffs of patterned detail. As I trekked up to the surrounding mountain forest, these patterns and colours were laid out before me, but from a place where the trees towered overhead—almost eerie in its atmosphere.
Fragments of Haugesund I, 2020.
Vinyl-cut on Hahnemühle paper.
Paper Size: 43 x 24, Image Size: 29.5 x 19.8cm. Edition of 10.
Photo: Louis Lim. Courtesy of Onespace Gallery.
Fragments of Haugesund IV, 2020.
Vinyl-cut on Hahnemühle paper.
Paper Size: 43 x 24, Image Size: 29.5 x 19.8cm. Edition of 10.
Photo: Louis Lim. Courtesy of Onespace Gallery.
Fragments of Haugesund VII, 2020.
Vinyl-cut on Hahnemühle paper and watercolours.
Paper Size: 43 x 24, Image Size: 29.5 x 19.8cm. Edition of 10.
Photo: Louis Lim. Courtesy of Onespace Gallery.
Fragments of Haugesund II, 2020.
Vinyl-cut on Hahnemühle paper.
Paper Size: 43 x 24, Image Size: 29.5 x 19.8cm. Edition of 10.
Photo: Louis Lim. Courtesy of Onespace Gallery.
Fragments of Haugesund V, 2020.
Vinyl-cut on Hahnemühle paper.
Paper Size: 43 x 24, Image Size: 29.5 x 19.8cm. Edition of 10.
Photo: Louis Lim. Courtesy of Onespace Gallery.
Fragments of Haugesund VIII, 2020.
Vinyl-cut on Hahnemühle paper and watercolours.
Paper Size: 43 x 24, Image Size: 29.5 x 19.8cm. Edition of 10.
Photo: Louis Lim. Courtesy of Onespace Gallery.
Fragments of Haugesund III, 2020.
Vinyl-cut on Hahnemühle paper.
Paper Size: 43 x 24, Image Size: 29.5 x 19.8cm. Edition of 10.
Photo: Louis Lim. Courtesy of Onespace Gallery.
Fragments of Haugesund VI, 2020.
Vinyl-cut on Hahnemühle paper.
Paper Size: 43 x 24, Image Size: 29.5 x 19.8cm. Edition of 10.
Photo: Louis Lim. Courtesy of Onespace Gallery.
Hear more about this body of work, Fragments: a virtual environment (2020) in my interview with Louis Martin-Chew.
Image: Fragments: a printed environment, solo exhibition at Redland Regional Art Gallery (Cleveland, Queensland). Photo: Courtesy of Redland Regional Art Gallery.