a stór mo chroí, 2024. Paper sculpture made with kozo, found stone, Eucalyptus kino (33.98354° S, 151.05673° E), and Black Wattle gum (38.89422° S, 150.50305° E). 6 x 7.5 x 3.5 cm. Front view.
Image Description: A chili-pepper-red sculpture, the shape of a wonky pyramid, sits atop a patch of pale lichen. Its texture is shiny and cracked, akin to a ceramic glaze. This texture resembles the geometry of the soil crack networks often seen in clay soil shrinkage. In the center of the piece, a small, smooth stone is embedded like a seed, flush with the surrounding surface of the sculpture, and similarly “glazed” with bright red Eucalyptus kino (gum).
Milo’s Damstone, 2024. Paper sculpture made with kozo, found rock (31.44808° S, 152.93218° E), Black Wattle gum, Lithographic gum, koikuchi sangomatsu iwa-enogu (a natural mineral pigment made from ground coral), Usukuchi-murasaki (glass pigment with metal oxides), glass pigment from an abandoned trona-milling industrial complex in Bartlett, California (36.47445° N, 118.03072° W).
Image Description: a small rectangular talisman sits against a rock, surrounded by mossy growth. The sculpture has a shiny surface, the colour of a blistered purple grape, with a subtle web of tiny cracks within the glaze-like surface. A bright yellow stone is embedded in the center of the sculpture, signaling a partial erosion.
Maskros, 2024. Paper sculpture made from kozo, turritella agate fragment (gifted), sandalwood dye (pterocarpus soyauxii), ruby shellac and dandelion florets (34.10675ºN, 118.29621ºW). 6 x 4.3 x 1 cm. Front view.
Image Description: a small rectangular talisman sits on a dark grey rock surface with bright orange and neon-yellow lichen punctuating the bottom-half of the frame. The sculpture has a shiny parchment-coloured surface with a window in the center that reveals a cross-section of turritella agate, signaling a partial erosion. Splaying up and outwards from this central window are 10 individual dandelion florets, sealed beneath the glaze-like finish.
If you leave it alone, it might just happen, 2022. 1-run stone lithograph on Okawara Select, 51g/m². 7 ½ x 9 ½ inches (19.05cm x 24.13cm), edition of 28 + Artist’s Proofs.
Image Description: a lithographic print on light-weight natural-coloured paper hangs from brass pin-clips against a white wall. The print features a toner wash, its shape and flow emulative of an algal bloom. The wash is centered on the paper and is printed with black ink.
Folded Quiet, 1-run lithograph (positive plate) with watercolor on handmade Japanese paper. 5 ¾ x 8 inches (14.6cm x 20.3cm), variable edition of 6.
Image description: a multimedia artwork on laid paper, depicting a figure amidst a whirling pool of water. Printed over the figure in handwritten text are the words, “the folded quiet / the elemental and the sensory flow together.” The lines are broken by a row of six small, imperfect circles. The print has visible creases from having been folded and sent as a letter.
Where we have always known each other, 1-run lithograph (positive plate) on Echizen Shikibu Gampi, 18 g/m². 21 ½ x 30 inches (54.6cm x 76.2cm), edition of 16.
Image description: a lithographic print on light-weight yellow paper, laid out on a white surface. Abstract brush-stroke marks, printed in black, occupy the centre of the sheet.
We are shrinkable, papier-mâché sculpture with collaged print elements including fragments from a multi-run colour lithograph. 4 x 2 ½ x 3 inches (10.1cm x 6.4cm x 7.6cm), sculptural edition of 1, print edition of 6.
Image description: a papier-mâché sculpture of a house with an A-frame roof. The roof shape is hollow, containing a dried chrysanthemum flower. The papier-mâchéd lithograph features handwritten text and drawing printed in black and canary yellow. The words, “we are shrinkable” can be made out.
Sympathetic Shifting, 1-run lithograph (positive plate) on gold fleck xuan paper, folded & sealed. 3 x 5 ¾ inches, folded; paper size 6 x 11.5 inches (15.2cm x 29.2cm), sculptural edition of 1, print edition of 6.
Image description: a front and back view of a lithographic print on yellow rice paper with gold flecks. The print has been folded and sealed, resembling a tattered letter that has been rained on. Part of the handwritten printed text can be made out from both sides, through the translucent paper: “Please send me the frittering of your thoughts.”
Lime kiln damstone, 2024. Paper sculpture made from kozo, midorimenou iwa-enogu (a natural mineral pigment made from ground bloodstone), found ceramic tile and Black Wattle gum (38.89422° S, 150.50305° E). 6 x 4.2 x 0.6 cm. Front view.
Image Description: a small rectangular talisman sits on a porous rock surface with an oil-slick sheen. The sculpture is predominately a muted seafoam green colour, with warm brown areas revealing themselves like patina. The surface of the work is shiny—as if glazed—with kannyu (crazing) -like cracks emerging within the glassy finish.
Milo’s Damstone, 2024. Back view.
Image Description: a small rectangular talisman sits against a grey, wood-textured background. The sculpture has a shiny, parchment-toned surface with coral-coloured mottling, particularly along its edges. A bright yellow stone is embedded in the center of the sculpture, very slightly visible through an indented patch of erosion, as if worn away by ages of thumbing.
Boggy wellstone, 2024. Paper sculpture made with kozo, found ceramic shard (33.97560° S, 151.05098° E), found shell, shin-iwa wakaba (artificial mineral pigment), iwashinsha iwa-enogu (a natural mineral pigment made from ground garnet), Eucalyptus kino (33.98354° S, 151.05673° E), and Black Wattle gum (38.89422° S, 150.50305° E). 7.8 x 5 x 0.9 cm. Front view.
Image Description: a small talisman with a rectangular-shaped bottom and arched top sits on a dark grey rock surface, surrounded by splotches of honeydew and kombu-coloured lichen. The sculpture is dark red, its contours coloured with a lime green pigment made by firing glaze and metal oxides at high temperatures. The surface of the work is shiny—as if glazed—with kannyu (crazing) -like cracks emerging within the ceramic-like finish.
seanchuimhne ag borradh, 2024. 1-run stone lithograph on Kadoide Udasu (pictured), Okawara, Bunkoshi and 3 sheets of handmade paper made by Maya Kitakado Cannon. 7 ¾ x 10 ¼ inches (19.7cm x 26cm), variable edition of 19 + Artist’s Proofs. The image on this stone was etched using foraged, hand-processed gum endemic to south-eastern Australia, from Country of the people of the Dharawal and Dhurga language groups.
Image Description: a lithographic print on light-weight natural-coloured paper hangs from brass pin-clips against a white wall. The print features two discrete forms side by side. The left form is painted with lithographic tusche-wash, leaving a reticulative black mark reminiscent of chemical chains or a ladder. The right form, rendered with finely shaded crayon-work, calls forth a sideways keyhole, or some aereal archaeological impression.
Refuge, monoprint, paper sculpture on Rives BFK. 10 ¾ x 7 ½ inches (27.3cm x 19cm), edition of 1.
Image description: a brightly coloured paper sculpture sits on a shelf. The sculpture has two intersecting pieces: the front piece is diminuendo-shaped, with four triangular turrets on the left side and has two tiny thread baubles attached. The back piece plumes upward gesturally and loops back in streams of colour.
enso, 1-run lithograph on Kitakata Natural (handmade), 36 g/m². 15 x 22 inches (38.1cm x 55.9cm), edition of 20.
Image description: a lithographic print on light-weight natural coloured paper. Two irregular circular forms sit side by side, centered on the page. The left circle is accompanied by six fulgurations, moving outwardly from its left side towards the edge of the sheet. The right circle has a vertical line extending through the centre. The marks combine tusche wash, crayon drawing and manual erasure.
Room for Breath, 1-run lithograph (positive plate) with silver leaf on Kizuki Hosho. 8 x 8 inches (20.3cm x 20.3cm), variable edition of 6.
Image description: a lithographic print on light-weight natural-coloured paper, with visible creases along both the horizontal and vertical centerlines from having been folded and sent as a letter. Handwritten text is printed across the sheet, surrounded by 7 wonky circles clustered toward the left side of the composition. Each circle has been leafed with silver by artist M. Benjamin Herndon. Text reads, “not a circle / Maybe not enough of / my memories have / ROOM FOR BREATH / made it to jars.”
Room for Breath, 1-run lithograph (positive plate) with silver leaf on Kizuki Hosho, exhibited in Hold Us Tight, Fresh Eye Gallery, Minneapolis, Minnesota. Photo courtesy of Lauren Hughes.
Image description: in the foreground, a lithographic print in a white oak frame (Room for Breath) hangs on a gallery wall, with another artwork in a white frame hanging to its left. The gallery space lies out of focus in the background, with five other hanging works on display.
c’est la vie, 1-run serigraph on Zerkall German Ingres. edition of 25.
Image description: a screen print on light blue laid paper, with three cut edges and a deckled edge along the top. A crude line-drawing is printed in black ink. On the left of the composition, a single pansy sits in a glass of water. Extending from the base of the glass is a dense patch of scribble. To the right is a teacup. Between the two vessels are the words “c’est la vie” in handwritten block letters.