Sting in the Tail, 2009

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Djumbunji, the Scorpion Story and The Legend of Kuiam Djumbunji, a Yidinji word translating as ‘belongs to the scorpion place’, now lies as what is known as Mount Whitfield or Bunda Djumbunji (Scorpion Mountain).

The story of Kuiam the warrior is a prominent legend that links the Yidinji people of Cairns and the people of the Torres Strait.

Kuiamguyuru (the Cyclone) was a young Yidinji warrior whose home was at Girriwandi Waree (Woree), the mouth of Trinity Inlet, Cairns. On his journey to become a man his father Kwiol showed him how to use the woomera and spear at a site named Giraba. His first right of passage was to fight the Djumbun (Scorpion) who lived north of Gimuy (Cairns). This fight lasted for many days, from which Kuiamguyuru bore the scars inflicted by the scorpion on his chest and shoulder. He killed the scorpion where it lays today at Bunda Djumbunji and continued his journey north where he travelled to the tip of Cape York. It was here that Kuiamguyuru made stilts from wood and travelled across the water to the Islands of the Torres Strait.

Seith Fourmile, Yidinji | Cairns Kuiamguyuru, after arriving in the Torres Strait, took a wife, Kuinam, and they had a child whom they named Kuiam. Kuiam lived with his blind mother Kuinam and his Uncle Tomagan at Gumu. As Kuiam grew into manhood his thoughts turned to fighting. Being of both Aboriginal and Torres Strait Islander lineage, he learnt to throw spears with his father’s woomera from a young age until he was expert in their use, but he also fashioned two emblems, Giribu and Kutibu (that he wore on his chest and back), which he endowed with special powers.

Kuiam spent his life as a fearless warrior guided by the Giribu and Kutibu, instilling both great terror and awe in people throughout the Torres Strait Islands and across to the mainland of Papua New Guinea. Upon his final fight, when he was struck down and killed, several men rushed in with their bamboo knives to behead Kuiam but they were stopped by their leaders who said “Don’t cut off his head for he is a great man with a wise head, a head teeming with ideas, a clever head; let him lie where he stood for he mastered all of his surroundings (the islands).” So instead of insulting the great warrior, they honoured him, piling over his dead body their bows and arrows, spears and stone clubs, saying as they went about this that now that Kuiam was dead all the fighting was over.

Brian Robinson | Cairns

A c k n o w l e d g e m e n t s Cover image: Gerald Fourmile, Shake a leg, 2009, etching printed in three colours from one plate on Hahnemühle 300 GSM off white paper, edition of 30, 980 x 490 mm.

This catalogue commemorates the first major body of work created at Djumbunji Press KickArts Fine Art Printmaking Studio after its opening in January 2009.

KickArts Contemporary Arts is a not for profit company limited by guarantee and is supported financially by Arts Queensland and the Australia Council for the Arts through the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

KickArts Sponsors and Partners Arts Queensland Australia Council for the Arts James Cook University Boom Sherrin Publisher KickArts Contemporary Arts 96 Abbott Street Cairns QLD 4870 Australia Postal address: PO Box 6090 Cairns QLD 4870 Australia www.kickarts.org.au administration@kickarts.org.au Telephone: 07 4050 9494 International telephone +61 7 4050 9494 Published in association with the exhibition, ‘Sting In The Tail’, held at KickArts Contemporary Arts July 2009 to September 2009.

KickArts Contemporary Arts Staff Rae O’Connell - Director Beverley Mitchell – KickArts Shop Manager Linda Stuart – Administration Manager Samantha Creyton - Curator Morgan Brady - Administrator Jan Aird – Marketing Manager Dian Darmansjah – Djumbunji Press Studio Manager Belinda Simonsen – Program Officer Julie Dimitrijevski – Djumbunji Press Studio Coordinator Former contributing Staff Members Andrew Weatherill - Djumbunji Press Leith Maguire - KickArts Djumbunji Press Contractors Jacinta Numina Waugh – Editioning Printer Hannah Parker – Editioning Printer © KickArts Contemporary Arts 2009 Copyright KickArts Contemporary Arts, the artists and authors 2009. This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced without prior written permission from the publisher. No illustration in this publication may be reproduced without the permission of the copyright owners.

Neither may information be stored electronically in any form whatsoever without such permission. Requests and enquiries concerning reproduction and rights should be addressed to the publisher. The views expressed are not necessarily those of the publisher.

ISBN 978-0-980340259 Dimensions of works of art are given in millimetres (mm), height preceding width preceding depth where applicable.

Publication team Artists: Valmai Ambrym, Edna Ambrym, Ruben Ambrym, Samuel Clarmont, Margaret De Jersey, Daphne De Jersey, Geoff Dixon, Elizabeth Dunn, Carl Fourmile, Gerald Fourmile, Lillian Fourmile, Njrami Fourmile, Seith Fourmile, Jessie Hall, Raymond Harris, Lenore Howard, Arone Meeks, Billy Missi, Joel Sam, Zane Saunders, Shanoah Shepherd, Kristin Tennyson, Samuel Tupou, Brian Underwood, Philomena Yeatman Director and Editor: Rae O’Connell Curator: Rae O’Connell Writers and contributors: Dian Darmansjah, Rae O’Connell, Brian Robinson and Seith Fourmile Design and production: Sam Creyton Photography: David Campbell Proof reading: Beverley Mitchell Printed by: LOTSA Printing, Cairns With thanks to Weipa Arts Hub Charles Street Yarrabah Council Yarrabah Museum Roy Gray Henrietta Marrie Seith Fourmile Brian Robinson TNQ TAFE KickArts Contemporary Arts Board Of Directors Gayleen Toll - Chair Jenni Le Comte – Secretary Robert Willmett Robin Maxwell Jeneve Frizzo Billy Missi Robyn Baker Gaylene Whenmouth Kristin Tennyson Mike Fordham (Former Chair)

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F o u n d a t i o n

P a r t n e r s

The Queensland Government is the foundation partner of Djumbunji Press through its Backing Indigenous Arts Program. Djumbunji Press is generously supported by James Cook University.

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I n t r o d u c t i o n

In March 2009 KickArts Contemporary Arts officially opened Djumbunji Press KickArts Fine Art Printmaking.

This new fine art printmaking studio provides major cultural infrastructure for Cairns and for all artists across Far North Queensland and has been made possible with the support of our foundation partner, Arts Queensland, through its Backing Indigenous Arts program. James Cook University have also generously supported the project by providing access to one of their off site buildings.

This building has been redeveloped to provide specialised professional printmaking facilities with good ventilation, waste and wash up areas, an abundance of natural light and printmaking presses to allow for all techniques of printmaking. Surrounded by lakes, creeks, giant paper bark trees and lush gardens it is truly a tropical studio.

The services offered through the studio include workshops from beginners to master classes, an open access studio for printmakers to print their own editions, custom printing and commissioning of new works of art.

Djumbunji Press will commission and publish new works of art that will be professionally distributed to commercial galleries, collectors, public institutions and online. We are also starting to establish an Artist In Residence program.

The studio aims to support artists’ professional development through residencies and exposure to visiting artists, workshops, forums and creative industry opportunities. Djumbunji Press also aims to provide support to remote community artists and Art Centre coordinators by providing printing and editioning services and workshop delivery. These workshops will cover techniques in printmaking that can be delivered utilising our travelling press and will also look at the contemporary market for works on paper, the importance of editioning at industry standards and how artists can develop their arts practice by having a body of works on paper that can be sold, delivering them some steady income.

One of the most significant services we are providing is the publishing and distribution of new works of art for individual artists and artists working through remote Art Centres. This service takes significant responsibility away from the artists and the Art Centres, as fine art prints need to be kept in a pristine condition away from dust, humidity and excessive handling in order to keep the paper clean so it retains its archival qualities and value as a collectable work of art. Managing works on paper in the tropics is extremely difficult as paper absorbs moisture, attracts dust and goes mouldy very quickly. Works on

paper need to be kept flat in a dry, clean place.

When Djumbunji Press publishes the prints they take on the responsibility of documenting the work, archiving the edition and keeping accurate records of their distribution.

Djumbunji Press then promotes the work to commercial galleries and collecting institutions, enters the work into competitions and promotes the work for reproduction in merchandise, corporate stationery, promotional calendars and public art opportunities, gaining licensing fees for artists. As the edition is sold, payments are made to the artists providing them with a good source of income, thus supporting the cash flow of their exhibition art practice.

All of these avenues have already brought the artists and their work into new environments for exposure and promotion.

This exhibition, Sting in the Tail, has come from the Djumbunji Press KickArts Fine Art Printmaking studio, since its opening in January 2009. Djumbunji Press Manager and Printmaker Dian Darmansjah has delivered workshops in Intaglio techniques with artists in Weipa through the Weipa Hub and Yarrabah at the Yarrabah Art Centre. He has also worked with Cairns based artists and the Fourmile family in our new professional fine art printmaking facility, which is located in the Cairns Cultural Precinct on Greenslopes Street; an idyllic location opposite the Flecker Botanical Gardens’ Fresh and Salt Water Lakes.

Some of these artists had worked with the technique of etching before, but for many of them this was their first time working in this medium. The experience of working with a printmaker such as Dian allows these artists to be guided through the processes of etching a plate for a single colour print or for a multiple coloured etching up to three colours. His expert skill in teaching the artists these techniques and helping them understand the complexities of these processes is evident in this body of work presented in Sting in the Tail.

The artists of the north are very lucky to have access to such a qualified and experienced printmaker who has worked with artists from the Northern Territory, Queensland and the Tamarind Institute of Lithography New Mexico, USA. Dian has held positions at the Charles Darwin University in Darwin as a Lecturer and Technician and at the Queensland University of Technology, Kelvin Grove. He was the Manager at Northern Editions Printmaking Workshop and Studio at Charles Darwin University until he set up his own studio, Firebox Print Studio, in Cooran, Queensland.

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Our printmaking residency program will commence with John Pule later this year through funding secured through the Australia Council for the Arts. John is a New Zealand based artist originally from the Pacific island of Niue and he will work with Dian and other staff over a two week period to develop new work and an artist’s forum. He will then travel to Darwin to deliver a workshop and artist’s talks. Further residencies will be with Brian Robinson, Judy Watson and Geoff Dixon. It is very exciting for us to have artists of this calibre working with us to develop new works of art and to provide opportunities for artists across Far North Queensland to interact with these prolific artists who include printmaking in their ongoing studio practice.

Djumbunji Press has offered workshops in intaglio techniques to the broader community for both beginners and some advanced printmakers, and also provides open access where artists can come in and print their own editions. These workshops encourage artists to explore these techniques and their vast ability to produce exquisite mark making opportunities. The beauty of this medium is the refined and varied lines that can be obtained, from fragile, soft, hairline strokes, to painterly brush marks and solid blocks of deep, pure colour. The artist has the ability to use this medium to create strong, contrasting dark and light tones and every shade in 6

between: the plate is extremely responsive. Plates can be simply scratched or brushed into to produce soft lines.

Once the plate has either been incised or coated with a ground, the lines or backgrounds can be enhanced with the use of acid and all the details are accentuated. The ink is applied with a small rubber squeegee that presses ink into all the marks made on the plate. It is important that the ink gets into all the burrs and layers of the incised parts of the plate. Once a thick layer of ink is applied, it is wiped back gently with tarlatan, leaving ink in the incised lines and textures. The different amounts of ink that are retained in the etched areas of the plate provide the variation in tone across the image. Paper is dampened to make it more flexible so that when it makes contact with the plate through the press it ensures better receptivity to the ink that is contained in the incised lines. Once the print is completed and the ink is dried, the paper is dampened again and flattened in a pressing box to flatten the paper. The work is then numbered, titled and signed by the artists.

Sting in the Tail is an exhibition presenting 53 new works of art that have developed through workshops and that will now be published by Djumbunji Press. Artists included in the exhibition come from Cairns, the Lockhart River Art Gang, Moa Island in Zenadh-Kes (Torres Strait), Yarrabah, Mareeba and Weipa. 52 works of art

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are etchings and there is one lino cut by Zane Saunders who came into the studio with Anna Eglitis to print this edition.

The first group to use the studio was the Fourmile family who are the traditional custodians of this area in Cairns where the studio is situated. Carl Fourmile, Gerald Fourmile, Lillian Fourmile, Njrami Fourmile, Seith Fourmile and Shanoah Shepherd all spent a week with Dian participating in the introduction to Intaglio printing workshop and produced a series of etchings. The imagery they used in their prints were predominantly stories and their individual totems that were important to them culturally. The artists developed three colour etchings using traditional colours of red and yellow ochre with strong contrasting black outlines.

The second group to participate in workshops were artists who Djumbunji Press were already publishing: Arone Meeks, Billy Missi and Joel Sam. Arone and Billy had done some etching previously and all artists have worked with lino cuts to varying degrees. Arone depicted his slender, elegant figures that talk of cultural stories and messages. Billy presented stylish patterns used for story telling and Joel developed a beautiful plate that presents Thanbu tutuwam (snake scales), utilising Chine Collé.

From this plate Joel went on to develop a large plate with

this complex design.

Dian then travelled to Yarrabah to work with artists at the Yarrabah Art Centre. Valmai Ambrym, Edna Ambrym, Ruben Ambrym, Raymond Harris, Brian Underwood and Philomena Yeatman spent five days at the Art Centre with Dian and his mobile press. These participants regularly work at the Art Centre and responded intensely. These artists too developed images of stories and their individual totems that were important to them culturally. They then went on to develop images of their community and places they like to spend their time, which was mainly at their beautiful beach, fishing, with the impressive Yarrabah Ranges surrounding their palm tree framed beaches.

Dian also travelled to Weipa to work with artists from the Weipa Indigenous Arts Hub. The Hub, run by Charles Street, is a collaborative project between Tropical North Queensland Institute of TAFE and the Cape York Institute.

These artists produced many plates, discovering the options of this medium with great vigor. Works were selected for publishing from Samuel Clarmont, Margaret De Jersey and Daphne De Jersey. Samuel Clarmont was visiting Weipa from Lockhart River at the time of the workshop, providing him with a great opportunity to explore this medium with his bold but sensitive mark making. The De Jersey sisters have been painting for 7

I n t r o d u c t i o n

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many years and they responded to this medium with their painting skills, which have transferred elegantly.

Djumbunji Press also offered workshops to Cairns based artists Geoff Dixon, Elizabeth Dunn, Jessie Hall, Lenore Howard, Kristin Tennyson and Samuel Tupou.

Once again, some of these artists had worked with printmaking previously, but for most this was the first time.

Geoff Dixon adapted his skilful drawing of birds in marsh land, with his signature spaceships appearing, adding energy and a sense of eeriness. The artists experimented with linear marks, painterly textures and solid shapes of colour. Lenore’s expert skills as a painter transferred across to this medium, demonstrating her technical and abstract excellence in the medium, and the dark side of Kristin’s new paintings also emerged in the works she produced during and following this workshop.

Zane Saunders carved a new linocut work, ‘Time Keeper’, which he printed with fellow artist Anna Eglitis on our new, custom made Manuca Press. Anna originally taught Zane at TAFE and both artists have continued to produce lino cut prints through their artistic careers.

‘Time Keeper’ demonstrates Zane’s skilful use of strong line work and clever design that flows through his prints and paintings.

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This exhibition of new work from Djumbunji Press has been an interesting curatorial process. There were over 100 images created from these workshops. The prints selected for publication at this stage make up the exhibition, which marks the beginning of the work that will come from Djumbunji Press KickArts Fine Art Printmaking. The studio will aim to act as a leader in the development of fine art printmaking, to be a centre that strives for excellence and best practice in industry standards.

The are many people to thank for their contribution to this project, which we have been striving towards for over six years. The project could not have been realised without the support of Arts Queensland and James Cook University. The KickArts Board of Directors has been constantly working with staff to lobby for this new business unit for KickArts that will provide major cultural infrastructure for the artists of Cairns and Far North Queensland. Staff at KickArts have worked very hard to get this project off the ground and are now constantly working to develop new programs, systems and plans to keep the studio exciting, new and prosperous.

Rae O’Connell Director KickArts Contemporary Arts

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Image series 1

Leith Maguire and Dian Darmansjah working at Djumbunji Press 2009, pp 6 + 7

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The Fourmile Family workshop held early 2009 at Djumbunji Press, pp 8 + 9

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The Yarrabah workshops held offsite at the Yarrabah Art Centre early 2009, pp 10 + 11 9

C o l l a b o r a t i o n s

“But, where’s the original?”…This is a question that often echoes around many print studios, galleries and institutes that exhibit fine art prints. It is not my intention here to analyse perceptions of the original as it relates to the fine art print, nor do I want to launch into a diatribe on the evils of reproductions, passed off as original fine art prints. What I truly want to discuss here is how original those original fine art prints are, especially in relation to the collaborative printmaking process, a process that involves more than one pair of hands in the production of an original work of art.

All of the works in this catalogue and exhibition (with the exception of Zane Saunders’s piece) are the results of the collaborative printmaking process. This is a process where an artist works with an artisan (the printmaker) who has the technical skill to assist the artist in translating their practice into the print medium. The printmaker assumes responsibility for all technical processes, thus allowing the artist to focus solely on the aesthetic concerns or challenges inherent in the production of a work of art.

During this collaborative process the print matrix (or plate/ block/screen) is created. The matrix is often confused as the “original” work and subsequent prints that are pulled from the matrix are mere reproductions, but in truth the matrix is only part of the original fine art printmaking process.

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After the matrix is created, the artist experiments with colours and directs the printer in what colour/s they wish to use and the manner in which that colour is applied.

The resulting prints that are produced from this particular step in the collaboration are often referred to as the “Colour Trial Proofs” (CTPs). It is from these proofs that the “Approval To Print” is selected and it is this ATP that the printmaker must match during the editioning process, where the complete number of prints in the edition are created.

It has been said that the collaborative relationship between artist and printmaker is much more than a simple merger of the artist’s creative energies and the printmaker’s technical skill, but it fundamentally cannot be “much more” without compromising the integrity and originality of the individual artist’s work of art.

In Australia, there are as many approaches to collaborative printing as there are printmakers. There exists no professional standard or code of conduct other than those that are self administered by the individual printmaker or print studio and herein lies a great calamity.

For without a national standard how can we be sure that the work we are admiring or purchasing is truly an accurate and original realisation of the artist’s intentions in the print medium?

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In the collaboration and editioning of the work, “the printer must avoid the imposition of his aesthetic viewpoint upon that of the artist”¹, a simple quote from a seminal text for printmakers throughout the world and one to which I, and those who work with me, strive to adhere. I say strive, as I could either be labelled as delusional or a hypocrite (or both), for the line that we walk in a collaboration is thin and advice or suggestions of a technical nature, and even the very mediums we supply to the artists, unavoidably have an aesthetic impact on the work.

to you. Thank you for your time and creative endeavours, collaborating with you is the highlight for me in my role as a printmaker, the rest of it is just work. And apologies for my lack of praise or response when you asked, “What do think of the work?” What I think doesn’t matter. What matters most is the integrity and originality of your work created through this collaborative venture.

There are some lines however as a printmaker that should not be crossed. For example, only the artist’s hand should create the marks on the printmaking matrix and resulting print. Advice or suggestions of an aesthetic nature must be avoided, regardless of how keenly they are sought by the collaborating artist. The printmaker’s role must remain in the bounds of technical assistance, as it is the artist’s creative potential that we want to see realised in the print and not the printer’s. There are many more examples I could give, but I think these two fundamental principles set a context for the work in this exhibition to be appreciated.

Reference:

Dian Darmansjah Studio Manager and Printmaker Djumbunji Press KickArts Fine Art Printmaking Studio

1 Garo Antreasian and Clinton Adams, (1971) The Tamarind Book of Lithography: Art and Techniques, H.N.Abrams, New York, p.79.

So, to the artists represented in this catalogue and exhibition I would like to both thank you and apologise 11

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W o r k s

T h e

F o u r m i l e

F a m i l y

Gerald FOURMILE Born: Yarrabah

Gerald FOURMILE Born: Yarrabah

Gerald FOURMILE Born: Yarrabah

Shake a leg 2009 Edition of 30 Etching printed in three colours on Hahnemühle off white 300 GSM paper 980 x 490 mm

Shark tooth in action 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper 244 x 165 mm

Shark design 2009 Edition of 30 Etching printed in three colours from three plates on Hahnemühle off white 300 GSM paper 176 x 122 mm

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Gerald FOURMILE Born: Yarrabah

Gerald FOURMILE Born: Yarrabah

Carl FOURMILE Born: Muluridji 1979

Shark in action 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper 245 x 325 mm

Shark tooth 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper 245 x 324 mm

Djumbun 2009 Edition of 30 Etching printed in three colours from three plates on Hahnemühle off white 300 GSM paper 176 x 122 mm My Great, Great Grandfather’s design: moth eggs and larvae.

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Seith FOURMILE Born: Yarrabah 1963

Njrami FOURMILE Born: Mareeba 1982

Njrami FOURMILE Born: Mareeba 1982

Makun (blood design) 2009 Edition of 30 Etching printed in four colours from three plates on Hahnemühle off white 300 GSM paper 176 x 122 mm

Stages of the moth 1 2009 Edition of 30 Etching printed in three colours from three plates on Hahnemühle off white 300 GSM paper (red ochre state) 176 x 122 mm

Stages of the moth 2 2009 Edition of 30 Etching printed in three colours from three plates on Hahnemühle off white 300 GSM paper (yellow ochre state) 176 x 122 mm

This is the blood emblem design which was put on warriors’ shields and was painted to ward off bad spirits.

The blood design signified the strength in one’s spirit and one’s spiritual connection to country/land and the law of that land.

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Ya r r a b a h

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Lillian FOURMILE Born: Cairns 1958

Shanoah SHEPHERD

Raymond HARRIS Born: Cairns 1984

Two crocodiles 2009 Edition of 30 Etching printed in three colours from three plates on Hahnemühle off white 300 GSM paper 176 x 122 mm

Mangroves 2009 Edition of 30 Etching printed in three colours from three plates on Hahnemühle off white 300 GSM paper 176 x 122 mm

Stomping ground 2009 Edition of 30 Etching printed in three colours from three plates on Hahnemühle off white 300 GSM paper 122 x 176 mm

Ruben AMBRYM Born: Cairns 1965

Ruben AMBRYM Born: Cairns 1965

Ruben AMBRYM Born: Cairns 1965

Meeting place 2009 Edition of 30 Etching printed in two colours from two plates on Hahnemühle off white 300 GSM paper with Iwaki Chine Collé 176 x 122 mm

Shark 2009 Edition of 30 Etching printed in two colours from two plates on Hahnemühle off white 300 GSM paper with Iwaki Chine Collé 176 x 122 mm

Yarrabah Bay (turtle hunting) 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper with Iwaki Chine Collé 166 x 245 mm

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Valmai AMBRYM Born: Cairns 1986

Valmai AMBRYM Born: Cairns 1986

Valmai AMBRYM Born: Cairns 1986

Yarrabah Bay today 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper 167 x 246 mm

Kids playing games on the street 1 2009 Edition of 30 Etching printed in three colours from three plates on Hahnemühle off white 300 GSM paper (yellow ochre state) 176 x 122 mm

Kids playing games on the street 2 2009 Edition of 30 Etching printed in three colours from three plates on Hahnemühle off white 300 GSM paper (red ochre state) 176 x 122 mm

Edna AMBRYM Born: Cairns 1967

Brian UNDERWOOD Born: Cairns 1984

Philomena YEATMAN Born: Cairns 1989

There’s no straight road in life today (all curves) 2009 Edition of 30 Etching printed in three colours from three plates on Hahnemühle off white 300 GSM paper 176 x 122 mm

Yarrabah by the sea 2009 Edition of 30 Etching printed in three colours from three plates on Hahnemühle off white 300 GSM paper 176 x 122 mm

Gatherings 2009 Edition of 30 Etching printed in three colours from two plates on Hahnemühle off white 300 GSM paper with Iwaki Chine Collé 176 x 122 mm

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W e i p a

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Daphne DE JERSEY Born: 1969

Daphne DE JERSEY Born: 1969

Margaret DE JERSEY Born: 1966

Untitled 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper 176 x 122 mm

Curry fruit 2009 Edition of 30 Etching printed in one colour from one plate on Hahnemühle off white 300 GSM paper with Iwaki Chine Collé 176 x 122 mm

Fish spawning 2009 Edition of 30 Etching printed in two colours from two plates on Hahnemühle off white 300 GSM paper 166 x 246 mm

L o c k h a r t

R i v e r

Margaret DE JERSEY Born: 1966

Samuel Clarmont Born: 1972

Samuel Clarmont Born: 1972

Fish galore 2009 Edition of 30 Etching printed in two colours from one plate on Hahnemühle of white 300 GSM paper 122 x 176 mm

Old ladies weaving 1 2009 Edition of 30 Etching printed in three colours from two plates on Hahnemühle off white 300 GSM paper 248 x 165 mm

Old ladies weaving 2 2009 Edition of 30 Etching printed in three colours from two plates on Hahnemühle off white 300 GSM paper 322 x 246 mm

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M o a

I s l a n d ,

( To r r e s

S t r a i t )

Billy MISSI Born: Waiben, Zenadh-Kes 1970

Billy MISSI Born: Waiben, Zenadh-Kes 1970

Billy MISSI Born: Waiben, Zenadh-Kes 1970

Bonaw minaral (bommie patterns) 2009 Edition of 30 Etching printed in one colour from one plate on Hahnemühle off white 300 GSM paper with Iwaki Chine Collé 176 x 122 mm

Warpiw naral 1 2009 Edition of 30 Etching printed in relief in black from one plate on Hahnemühle off white 300 GSM paper 176 x 122 mm

Warpiw naral 2 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper 176 x 122 mm

Bonaw is Kala Lagaw Ya dialect for bommie rocks on the reef, where many crayfish are found. The patterns and the surrounding corals have been inspiring for me when I have been diving for crays over so many years. They are like beautiful gardens.

This image represents those colour patterns found on the bommies.

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Z e n a d h - K e s

This is the term used to identify the sharp patterns commonly found on artefacts such as masks, drums and other material and cultural objects that are used throughout Zenadh-Kes (the Torres Strait). It also includes Papua New Guinea’s Western Province coastal villages when engaging with Islanders during trade practices and visits.

These patterns symbolise and signify us as the seafaring people of these regions and waterways between the two masses of land - Papua New Guinea to the North and Australia to the South. These images express the oral history that has been told and handed down from generation to generation since time immemorial.

C a i r n s

Geoff DIXON Born: New Zealand 1954

Geoff DIXON Born: New Zealand 1954

Arone MEEKS Born: 1957

Jabiru/Pandanus 2009 Edition of 30 Etching printed in two colours from two plates on Hahnemühle off white 300 GSM paper 122 x 176 mm

Jabiru in space 2009 Edition of 30 Etching printed in two colours from two plates on Hahnemühle off white 300 GSM paper 176 x 122 mm

Healing 2009 Edition of 30 Etching printed in relief in black from one plate on Hahnemühle off white 300 GSM paper 176 x 122 mm

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Arone MEEKS Born: 1957

Arone MEEKS Born: 1957

Arone MEEKS Born: 1957

Salt/Freshwater 2009 First state

Salt/Freshwater 2009 Second state

Salt/Freshwater 2009 Edition of 30 Etching printed in two colours from one plate on Hahnemühle off white 300 GSM paper 176 x 122 mm

These three prints show the development of the final published print.

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Arone MEEKS Born: 1957

Arone MEEKS Born: 1957

Arone MEEKS Born: 1957

Tidal moon 2009 Edition of 30 Etching printed in one colour from one plate on Hahnemühle off white 300 GSM paper with Iwaki Chine Collé 176 x 122 mm

Boab shield 2009 Edition of 30 Etching printed in two colours from two plates on Hahnemühle off white 300 GSM paper 176 x 122 mm

Trinity 2009 Edition of 30 Etching printed in two colours from two plates on Hahnemühle off white 300 GSM paper 176 x 122 mm

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Jessie HALL Born: 1991

Jessie HALL Born: 1991

Jessie HALL Born: 1991

Beauty (a study) 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper with Iwaki Chine Collé 176 x 122 mm

In my spare time 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper 176 x 122 mm

We are in love 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper with Iwaki Chine Collé 176 x 122 mm

Elizabeth DUNN Born: 1982

Elizabeth DUNN Born: 1982

Kristin TENNYSON Born: Toronto, Canada 1969

I know 2009 Edition of 30 Etching printed in relief in black from one plate on Hahnemühle off white 300 GSM paper 122 x 176 mm

You know 2009 Edition of 30 Etching printed in relief in black from one plate on Hahnemühle off white 300 GSM paper 122 x 176 mm

Joe and his mate SARS 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper 176 x 122 mm

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Kristin TENNYSON Born: Toronto, Canada 1969

Samuel TUPOU Born: New Zealand 1976

Samuel TUPOU Born: New Zealand 1976

Tarred and feathered 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper 176 x 122 mm

Pattern 1 2009 Edition of 30 Etching printed in one colour from one plate on Hahnemühle off white 300 GSM paper 176 x 122 mm

Pattern 2 2009 Edition of 30 Etching printed in relief in black from one plate on Hahnemühle off white 300 GSM paper 176 x 122 mm

Lenore HOWARD Born: Cairns 1955

Lenore HOWARD Born: Cairns 1955

Lenore HOWARD Born: Cairns 1955

Merge 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper 176 x 122 mm

Entangle 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper 176 x 122 mm

Absence 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper 176 x 122 mm

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Joel SAM Born: Bamaga 1977

Joel SAM Born: Bamaga 1977

Zane SAUNDERS Born: Cairns 1971

Thabu tutuwam (snake scales) 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper with Iwaki Chine Collé 176 x 122 mm

Thabu tutuwam (snake scales) 2009 Edition of 30 Etching printed in black from one plate on Hahnemühle off white 300 GSM paper with Iwaki Chine Collé 945 x 500 mm

Time keeper 2009 Edition of 15 Lino cut printed in black from one block 715 x 1270 mm

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