EDITIONS & PROJECTS

‘RESOLUTION’ - FOR CURATE CHANGE

RISING WATERS, 2021

22.5 x 22.5 inches (57 x 57 cm) each

Watercolour drawings on Arches paper

Ocean maps featuring coastlines we are set to lose in the coming years, including Norway, China, the Netherlands, Iceland, Antarctica, Greenland, the Solomon Islands, Rapa Nui, and Fiji.

EARTHBOUND, 2021

21 x 21 inches (53 x 53 cm) each

Vivianite, indigo, buckthorn, lapis lazuli, black ink stone, iron oxide, mica, glacial clay, and ochre on Arches paper.

RESOLUTION, 2021

51 x 18 inches (130 x 48 cm)

Ochre, vivianite, iron oxide, green earth pigments, and graphite on Arches paper.

EARTH GUIDE, 2021

55 x 35.5 inches (140 x 90 cm)

Ochre, vivianite, iron oxide, and mica on Arches paper.

All works are permanently exhibited as part of ‘Resolution’ for Curate Change; a National Geographic and Lindblad expedition ship which travels to Antarctica and other polar landscapes.

Curated by Zaria Lynn.

BARDO GUIDES

INITIATION (fox), 2020

34.5 x 26 inches (88 x 66 cm)

Hand painted linoleum block print on Canson paper.

INITIATION (walnut ink), 2020

27.5 x 39 inches (70 x 99 cm)

Hand painted linoleum block print with walnut ink on Somerset paper.

INITIATION (ghost), 2020

34.5 x 26 inches (88 x 66 cm)

Hand painted linoleum block print on Canson paper.

INITIATION (moth), 2021

25.5 x 26.5 inches (90 x 67 cm)

Acrylic on Arches paper.

The word threshold means “the place where things are thrashed or beaten apart”. In rites of initiation it is a time when the boundaries of self are tested and broken, and we face an unknown landscape inhabited by ancestral patterns. Some of us will attempt to transcend the suffering. Some of us will be overwhelmed and imprisoned by it. Some of us in our attempts to rid ourselves of suffering will create more pain. Which path are we choosing? How can we work with this suffering so it becomes a door to compassion and compassionate action?

My notes from ‘The Fruitful Darkness’ by Roshi Joan Halifax

‘TRUE NATURE’ - PROSJEKTROM NORMANNS

TRUE NATURE: A STILL LIFE & DEATH DRAWING MEDITATION, 2019

A living installation of plants which decay over the course of the month, with a contemplation on impermanence through participatory drawing practices.

May 10 - June 8, 2019

Prosjektrom Normanns in Stavanger, Norway

Curated by Heather Jones. Floral design in collaboration with Stilken Og Strom.

Photos: Jan Inge Helga

LARGE PIGMENT COMPASSES

INNER EARTH COMPASS, 2017

36 x 36 inches (91.5 x 91.5 cm)

Ochre on paper.

VITAKKA & VICARA, 2019

44.6 x 44.6 inches (113.5 x 113.5 cm) each

Ochre, buckthorn, cochineal, indigo, lapis lazuli, iron oxide, green earth pigments on paper.

FIELD COMPASS, 2020

Ochre, indigo, cochineal, buckthorn, green earth pigments on paper.

CLOUD COMPASS, 2017

Azurite, lapis lazuli, indigo, and ochre on paper.

Exhibited as part of ‘Thinking Like A Mountain’ (2017) at Abhaya studios in Brooklyn, NY; and as part of ‘True Nature’ (2019) at Prosjektrom Normanns in Stavanger, Norway.

‘IN THE SEED WE HAVE THE UNIVERSE’ - INNER FIELDS NY

IN THE SEED WE HAVE THE UNIVERSE, 2016

Mixed media installation and guided drawing meditations with dancer Leah Mulartrick.

February 6, 2016

Inner Fields Studio, Prospect Heights, Brooklyn, NY

New York Times T Magazine: 'A Nature-Inspired Drawing Event - with a Dance Twist' by Ashley Hoffman, Feb. 8, 2016

Photos: Amy Lombard

‘HOW TO ENTER A DREAM’

BAI SHAO YAO (CLOUD PEONY), 2021

36 x 40 inches (96.5 x 101.5 cm)

Linoleum block print painted with ochre, indigo, buckthorn, and acrylic pigments on watercolour paper.

BAI SHAO YAO (INDIGO PEONY), 2020

36 x 40 inches (96.5 x 101.5 cm)

Linoleum block print painted with ochre, indigo, and lapis lazuli pigments on watercolour paper.

BAI SHAO YAO (JUNE MOON PEONY), 2019

36 x 40 inches (96.5 x 101.5 cm)

Linoleum block print painted with ochre, indigo, and lapis lazuli pigments on watercolour paper.

Each year I paint a white peony. It’s an herb in Chinese medicine known to cure night terrors and give you calming, watery dreams. They’re also good for cooling anger, impatience, bad tempers - good for people like me! Painting them is also a kind of medicine.

JU HUA (YELLOW CHRYSANTHEMUM), 2022

45 x 45 inches (111 x 111 cm)

Hand painted linoleum block prints on Fabriano paper

Yellow chrysanthemum (Ju Hua) has been used for hundreds of years in Chinese medicine to cool and calm the nervous system, and heal respiratory ailments - a support for the breath. It’s also a symbol of cheerfulness and joy.

This is the companion piece to the White Peony (Bai Shao Yao), from a series inspired by the soothing, Yin quality of plants in traditional Chinese medicine.

HOW TO ENTER A DREAM, 2013-18

22 x 30 inches

Hand painted linoleum block prints on Somerset paper

Featuring queen of the night flower, wild indigo, and artist’s conk mushroom - ‘energetic’ plants for people who don’t dream, or can’t remember their dreams, because tuning into that creative bandwidth is an umbilical cord to all that is ancient and mysterious.

‘THE EARLY SEA’

FROM THE EARLY SEA, 2017

Linoleum block prints with watercolour on Somerset paper

THE EDGE OF THE SEA, 2017

Linoleum block print with acrylic, watercolour, and ink on Somerset paper

THE PRIMORDIAL SEA, 2018

Linoleum block print with acrylic, watercolour, and ink on Somerset paper

These pieces were exhibited as part of ‘Return to Waterways’ (2017) at Union Arts Center in Sparkill, NY; and ‘Thinking Like A Mountain’ (2017) at Abhaya studios in Brooklyn, NY.

‘THE CONSERVATORY OF NATURAL ORDER’ - GOWANUS BALLROOM

THE CONSERVATORY OF NATURAL ORDER, 2014

5 x 5 feet (1.5 x 1.5 metres)

Mixed media installation

June 13 - 22, 2014

Exhibited as part of ‘Concerning Matter’ (2014) at the Gowanus Ballroom in Brooklyn, NY.

A visual incarnation of the Wu Xing (Five Element Theory) in Chinese medicine and cosmology; a holistic system where internal and external emotions, temperatures, colours, directions, body parts, and senses (specific tastes, touch, smells, sounds) are all interrelated and communicate fluidly between one another, creating balance (health) or imbalance (dis-ease), according to the movement or stagnation of Qi.

Photos: Bay Milin

‘HERBARIUM FOR DARK SLEEP’ - ROBERT BLACKBURN SIP FELLOWSHIP

HERBARIUM FOR DARK SLEEP, 2011

Linoleum block prints with ink and collage on mount board

28 x 21 inches (71 x 53 cm) each

Created during the 2011 Studio Immersion Print Fellowship at Robert Blackburn Printmaking Workshop, New York, NY.

Exhibited at Blackburn 20|20 Gallery, Elizabeth Foundation for the Arts, New York, NY, in 2012.

‘AMULET’ - AUSTRALIAN PRINT WORKSHOP COLLIE SCHOLARSHIP

UNIVERSAL LAW, 2008

Etching with chine collé on Hahnemuhle paper

22 x 23 inches (56 x 60cm)

AN HONOURABLE DEATH, 2008

Etching with chine collé on Hahnemuhle paper

22 x 23 inches (56 x 60cm)

PROTECTION, 2008

Etching with blue relief on Hahnemuhle paper

22 x 31 inches (56 x 80cm)

THE ONE, 2008

Etching in silver graphite with chine collé on Hahnemuhle paper

22 x 23 inches (56 x 60cm)

A SAFE PASSAGE, 2008

Etching in silver graphite with chine collé on Hahnemuhle paper

22 x 23 inches (56 x 60cm)

This series was created as part of the Australian Print Workshop’s 2008 Collie Scholarship (yearlong residency).

They were exhibited as part of ‘Observatory’ (2008) at the Australian Print Workshop in Melbourne, Australia; and as part of ‘Amulet’ (2009) at 1947 Center Street gallery in Berkeley, California.

‘THE FOOTSCRAY FORTUNE GARDEN’ - TROCADERO ART SPACE

THE FOOTSCRAY FORTUNE GARDEN, 2007

Mixed media installation

Exhibited at Trocadero Art Space (2007), and Brunswick Bound (2008), in Melbourne, Australia.

From tomorrow, I will be a lucky person

Feed horses, chop wood, travel the world

From tomorrow, I will think of my health and eat more vegetables

I will have a house facing the ocean;

the warmth of Spring will blossom.

Cha-Haisheng

‘UNMAP’

THE PACIFIC OCEAN TO ANTARCTICA, 2006

Etching on Hahnemuhle paper

31 x 31 inches (78.7 x 78.7cm)

THE PACIFIC OCEAN TO MEXICO, 2006

Etching with chine collè on Hahnemuhle paper

31 x 31 inches (78.7 x 78.7cm)

THE PACIFIC OCEAN FROM AUSTRALIA TO NEW CALEDONIA, 2006

Etching with chine collè on Hahnemuhle paper

31 x 31 inches (78.7 x 78.7cm)

CONSTELLATION, 2006

Etching with relief on Hahnemuhle paper

31 x 31 inches (78.7 x 78.7cm)

CONSTELLATION FROM 1000 POINTS, 2006

Etching with relief on Hahnemuhle paper

31 x 31 inches (78.7 x 78.7cm)

These etchings were exhibited as part of ‘Printed Matter Only’ (2006) at First Draft gallery in Melbourne, Australia.