Julie Barratt
Terra australis II, 2005

Place and identity within the Australian landscape, whether that be within an historical perspective or a contemporary one, is of particular interest to this artist as is women’s history and their continuing stories. Terra australis II is dedicated to the memory of Elizabeth Roebuck and the many other courageous women, who not only pioneered harsh, isolated Australian landscapes but grew to love them in the process. Concertina format presenting 20 copperplate etchings with chine collé. 10 pp. 26 x 10 x 2 cm. Self-published in an edition of 4. $620

Darren Bryant
‘BEST BEFORE’, 2006/7

A nerd art project that represents the negotiation between, not only the artist’s love for eating bread, but rental and first homebuyer occupancy. The tags become signatures for time and place. An ongoing multiple project, ‘BEST BEFORE’ is a collection of found pages attached to a metal curtain ring with digital booklet, contained in a black cloth bound box. Signed and dated. 4.5 x 10.2 x 10.2. Multiple. $220

Darren Bryant
Letters from Brooklyn, 11205-7505′, 2006-7

Mailed correspondence between the postcodes, 11205-7505, collected during travel to New York and Europe during 2006. ‘Letters from Brooklyn’ is a mixed media metal slide box containing slide mounted intaglio etching on envelope paper, blind embossing, concertina booklet, magnified plastic box with found objects. Set within prefigured artistic agendas and nomadic collection strategies, ‘Letters from Brooklyn’ provides ongoing interpretations in the formation of a sense of place. Signed and dated. 37 x 19.5 x 7 cm. Unique. $550

Jan Davis
Across TERANIA, 2005
Across TERANIA is a narrative map of the valley in front of my studio. I live just north of Lismore, on a lightly timbered ridge that looks northward along Terania valley toward the Border Ranges. And although I know in a logical sense that I remain stationary, the hills and valleys that embrace the house appear to morph and change throughout the day, throughout the year, making a constantly changing place. The digitally printed book contains photographs, text, and ink and wash drawings of the sights, sounds, smells, changes of light, and comings and goings of the valley. 26 x 16 cm. Unique. $350

Louise Irving
HOUSE, 2007
Moving to Australia as a child, the artist’s family seemed to move houses every 6 months, shifting shells and rearranging furniture. HOUSE not only reflects on childhood inhabited spaces, but excavates the artist’s memories from each house however briefly inhabited, and conjures them into word, through poetry, image and etching. The linen cupboard, whose top shelf afforded the ideal hiding place in games with her sisters, is a particular memory of one house. In another, it is the stairwell that is remembered, the shape of the railing as it led upstairs. These memories return to the artist as aerial views. She is able to see through walls into the skeleton of these places, discovering things that may only be known in the distant hush of hindsight. Copperplate etching, sewing and felt. Signed and dated. 30 x 20 x 10 cm. Unique. $500

Gary Jolley
Breaking Time, 2007

‘Breaking Time’ is a continuous drawing that represents my passage through the snow this summer. The production of this drawing enacts multiple studio narratives within a nomadic itinerary of marking time and place. Each narrative is performed with a tennis ball twiddled between the fingers, with a soldering iron that scarifies a temporary belonging and a texta that reveals a projection. The resultant drawing is cut and folded into a fragmentary sequence of events, actions and recollections. 16 pp. 33 x 28 x 4 cm. Signed and dated. Unique. $600

Madeleine Jones
Seeing & Believing, Reflection & Perception, 2007
A vessel to question our perceptions and emphasize the disparity between the processes of thinking and seeing. Simple juxtapositions question how we see and what our pre-conceptions about seeing are. Is seeing believing? The titles are all important, as they ask the viewer to question the images, which are suggestive and ambiguous. They leave the viewer sorting out an equation of questions: what do I know + what do I see = what do I believe? The brain interprets and analyses what the eye takes in. Different people see and understand different things; this relates to the Post Modernist notion that the viewer sees and comprehends as an individual or as a member of a group culture. Photograph7 and digital imaging. Signed and dated. 33 x 11 x 1cm. $80

Magnus Kennedy
Foley Road, 2007

An eclectic mix of the weird, wonderful and most beautiful people ever to have shared a street the same street. They are the artist’s neighbours, friends and art muses. This book is the street; the paper it is printed on was collected from the street, the thread holding it together was also found in the gutter. This book IS the artist’s street. It is ‘Foleys Road’. 16 pp. 16 x 22 x 1 cm. $500

Tim Mosely
aesthetic distance, 2007

Aesthetic distance is a term from the vernacular of the theatre. It refers to the ” physical or psychological separation of an audience from the dramatic action, regarded as necessary to maintain the artistic illusion .. “.
Theatre often portrays itself – an illusion of the construction of an illusion. The (n)Ed Kelly†narrative was played out on a stage threaded with many dramas in play. What appears to be the stage can easily turn into the content of another drama on another stage. Edward Kelly was awarded for his courage and bravery as a child, courage that led him on a course of actions that led to a life as a bushranger. What narratives within the (n) Ed Kelly story†give it a significance to the Australian public above the stories of so many other bushrangers?, & what separations does the Australian public need to establish the aesthetic distance required to embrace this bushrangers story. Hand made paper, pulp printing, relief and rubber stamp. Signed and dated. 33 x 11 x 1 cm. Self-published in an edition of 4 plus 1 AP. $500

John Smith & Shelagh Morgan
elocutionary acts, 2006
Digital (inkjet) prints on 100% cotton arches paper. Unique. $800

John Smith & Shelagh Morgan
everyday places on the road most travelled 1 & 2, 2006
Aquarell & acrylic on drafting film. Unique object. $800.00

Scott Trevelyan
Momentary Lapse Of Reason, 2007

A human head collides with a tree at 140km/hr. Memories are erased by the impact. This is one from a set of five books, which represent the artist’s experience of the Traumatic Brain Injury (TBI) he suffered in this high-speed motorcycle accident. Using items salvaged from the crash and hospital scenes, he created templates for acid-etching into copper, emulating the way the crash has been engraved into his mind. He now uses the printmaking process in a cathartic manner on his road to recovery, while working to heighten public awareness of the challenges associated with TBI. Etching with serigraphy. 12 pp. 28 x 28 x 28 cm. $850