EDUCATION RESOURCE PACK

Tracey MoffattKALEIDOSCOPE19 February - 15 April 2015

EDUCATION RESOURCE PACK

Tracey MoffattKALEIDOSCOPE19 February - 15 April 2015 PICA Central Galleries

ContentsAbout the Artist

From the Curator

Plantation Series

Suburban Landscape

Art Calls

Questions for Discussion

Classroom Activity - Photographic Memory

Classroom Activity - The Art of Interviewing

References

Image Credits

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Written by Melissa McGrath and Laura Evans; Designed by Melissa McGrath.

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About The ArtistBorn in Brisbane in 1960, Tracey Moffatt studied visual communications at the Queensland College of Art, from which she graduated in 1982. Since her first solo exhibition at the Australian Centre for Photography in Sydney in 1989, she has exhibited extensively in museums all over the world. A solo survey exhibition featuring all 7 video montage works at the Museum of Modern Art, New York opened in May 2012.

Moffatt first gained significant critical acclaim when her short film Night Cries was selected for official competition at the 1990 Cannes Film Festival. Her first feature film, beDevil, was also selected for Cannes in 1993. In 1997, she was invited to exhibit in the Aperto section of the Venice Biennale. A major exhibition of Moffatt’s work was later held at the Dia Center for the Arts in New York in 1997/98 which consolidated her international reputation.

Comprehensive survey exhibitions of Moffatt’s work have been held at the Museum of Contemporary Art, Sydney (2003-4), the Hasselblad Centre in Goteburg, Sweden (2004) and at the Art Gallery of South Australia, Adelaide (2011). In 2006, she had her first retrospective exhibition Tracey Moffatt: Between Dreams and Reality in Italy, at Spazio Oberdan, Milan. In 2007 a major monograph, ‘The Moving Images of Tracey Moffatt’, was published by Charta Publishers, Milan.

Her recent works included in her 2014 solo show at Roslyn Oxley, Spirit Landscapes represent a shift in her practice.

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From the CuratorLeigh RobbTracey Moffatt is Australia’s best known and most influential contemporary artist. Kaleidoscope, her first major solo show in Western Australia in over a decade, is a refracted and colour-saturated sojourn into Moffatt’s many worlds.

It brings together works from her recent 2013 Spirit Landscapes series, completed upon her return to Sydney in 2010 after 12 years in New York, which feature alongside her new pilot TV series Art Calls, in which the artist becomes a talk show host in a candid, unruly and comic TV pilot series, quizzing twelve artists on what art means to them.

Tracey Moffatt grew up in Brisbane suburbia in the 60s and 70s, and it was there she studied film and television at art school before moving to Sydney in 1982. The artist launched her career with her now iconic Something more series, in which she famously wears a striking red and black floral Chinese cheongsam dress against a dusty bush town and dreams of a better life. In her photographs, the interrogation of identity takes place between rural and suburban landscapes, often populated by haunting, fugitive figures, re-enacting vintage photographic tableaus.

Spirit Landscapes comprises five diverse photographic series, anchored around As I lay back on my ancestral land, six larger than life, pop-hued, digitally montaged works of the artist’s body viewed from above, veiled by foliage of gum trees in. Night Spirits is similarly diffuse and documents a lone, night road trip the artist took to revisit locations from her past, these hidden places blurred and straining to be seen through the dark.

Suburban landscapes on the other hand, maps the psycho-geographic coordinates of her childhood, capturing the streets of her youth where she stole a mars bar or went to guitar lessons, stencilling these moments in pastel watercolours.

Conquering the landscape by looking up, over and through it and the related political and territorial implications is suggested in Pioneer dreaming, but made explicit in Picturesque Cherbourg, the notorious Aboriginal mission and settlement where some of Moffatt’s family were forced from their lands and relocated. In contrast, in Pioneer Dreaming, Moffatt tightly crops wistful, longing shots of heroines of the Hollywood screen and pairs them with sweeping prairies and vistas, unravels the romanticism at the heart of the American west.

In an act of revisitation, Moffatt’s seductive Plantation series is also brought into the exhibition. Twelve pairs of delicate hand- coloured, fiery photographs of an undisclosed but familiar landscape suggestive of Australia’s tropical north, the Caribbean, or the American Deep South. The artist describes the photos as having a dream like texture, perhaps like the memory of a piece of prose from writer Doris Lessing’s The Grass is Singing.

In the Kaleidoscope is Moffatt’s two-part pilot TV series – Art Calls. She interviews a broad mix of Australian and American artists, filmmakers, designers, dancers, architects and historians she admires including Destiny Deacon, Clinton Nain, Janina Harding, Jenny Kee, Deborah Kass, as well as Jan Billycan from the Kimberly, and Perth art star brothers Abdul-Rahman and Abdul Abdullah. Interviewed on skype, across continents, coasts, time zones and airwaves, Moffatt,

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glamorous as ever, communes from a black and white backdrop with a full moon and parting clouds.

She plays a knowing medium of sorts, opening the channels with frank banter in a hilarious and down-to-earth expose of both the interviewer and interviewee. Each session segues into the next, transported by an experimental Dada-like score by WA composer Cat Hope and a surrealist montage by Queensland filmmakers Julie Pitts and Miles Blow. Here too there is an undressing of sorts, a comic curiosity whereby the artist clearly revels in peeling back layers of convention and expectation.

In Kaleidoscope, each body of work in the exhibition draws out a distinctly different observation of place, country and memory. The

word Kaleidoscope is derived from the Ancient Greek to examine beauty, or the observation of beautiful forms. There is a joyous sense of rediscovery and re-acquaintance in Tracey Moffatt’s return to places and the spirits and characters that haunt them, which is as mysterious as it is mischievous.

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Plantation (Diptych No. 1 – 12) 2009

When searching her archives for a different purpose in 2006, Moffatt re-discovered the black-and-white negatives that form the basis for the Plantation series after having forgotten that she had shot the work 9 years earlier.

“At the time I had put these 20 rolls of negatives and contact sheets away because I didn’t like them. I was ashamed of the images and their simplicity, directness and obvious nature.” - Tracey Moffatt (1)

Moffatt took these photographs in an undisclosed location. Not wishing for the work to be ‘located’ as images shot with the intention of a documentary shoot.

These photos are not a record of a specific place; instead they invoke a dreamlike feeling as if they could have been taken in Far North Queensland, the Caribbean, the Deep South of America, South East Asia or Africa. Each Plantation print is slightly different having been individually printed and touched up by hand with watercolour paint andpatched with ripped pieces of paper and archival glue. All cracks or missing pigment are deliberate interventions to the surface of the print made by the artist. The images are intentionally meant to look as though they are degrading. (2) Obsessed with vintage photography, Moffatt intended that the

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images feel as though they have been discovered in an old suitcase buried underneath a collapsed colonial house. They are imbued with a sense of historicalnarrative.

As an artist Tracey Moffatt plays the role of:

“…a cultural figure who is not afraid of presenting new ideas about older, sadder histories. Her art involves staging scenarios that offer many readings and that challenge us with different ways of ‘looking’.” – Catherine Summerhayes (3)

Presented as diptychs, Moffatt blends 19th and 20th century framing devices with traditional photography on film, as well as digital printing processes. The results reference colonial anthropological and topographical photographs. Her placement of a black male figure within these scenes, offers alternative perspectives on the accepted understanding of societies which appear like this in our visual culture. An ambiguous narrative develops, with implications of violence and desire, and the interrogation of identity both real and imposed. (4)

Suburban Landscape No. 1 – 6, 2013From the series Spirit Landscapes

seeking out one’s ancestral lands with the intention of reconnecting with history and personal biography. After many years living abroad, Moffatt began to explore places that were scenes of important events in her own life and that of her family.

“(Moffatt) has retained an irrepressible connection to her origins and a deep interest in ideas of place and memory...” - Kathryn Weir (5)

Moffatt lived and worked in New York from 1997 until 2012 when Moffat returned to live again in Australia. Her most recent body of work – Spirit Landscapes which is comprised of six distinct photographic and video series – represents a similar return to personal themes of family, home, and the land, dealing quite specifically with her Australian Aboriginal heritage.

A key concept is the notion of returning to country – undertaking a pilgrimage and

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Tracey Moffatt was born in Brisbane in 1960, and grew up in the working class suburb of Mt Gravatt. Millicent “Peg” Davidson, anIrish-Australian woman, fostered her along with three of her siblings. This was an amicable arrangement with her Indigenous biological mother Daphne Moffatt.

“She has described both her mothers, however, as strong role models who grounded her in Aboriginal and white culture.” – Sebastian Smee (6)

Moffatt has managed to frame her artistic practice beyond the constraints of simply being considered an Indigenous artist. While her work comments from a place of knowledge about the experience of being Indigenous and a woman, she refused to be “ghettoized” and intentionally speaks on behalf of the whole human condition, rather than from the perspective of a minority. As with any work by Moffat, in Suburban

Landscape there is space provided for a universal meditation on the significance of land and place to the construction of identity.

The Suburban Landscape series explores the physical presence of “home.” Images depicting locales in suburban Brisbane that the artist roamed as a youth, have been overlaid with texts that relate certain key memories she associates with these spaces, the psychically charged slogans contrasting sharply with an almost childlike innocence suggested by the stenciled crayon lettering. (7)

In revisiting and documenting these locations, childhood memories return colored by the high-keyed emotions of first time experiences. Text stenciled in water crayon over the photographs in this series acts like a semi-transparent veil of memory over the streets of her youth. (8)

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Art Calls, 2014

The impetus for Art Calls was Moffatt setting out to make interesting television that featured creators who she admires from around the world (contemporary artists, architects, writers, filmmakers, dancers, fashion designers). Creating a situation that would allow them to speak in a relaxed and informal manner, she employs an interview style which allows the conversation to shoot off in all directions rather than sticking to organized formats. “I am actually very Aboriginal in that I hate answering serious, direct, already-thought-through questions. I blank out, look away or change the subject, which can be seen as rude to Westerners. But I find direct questions so intrusive. It is one reason why I never ‘do’ press. The ‘prying’ is hideous. So if I am about to intrude on another creative person’s life I’m going to approach them in an entertaining way, as I would like to be approached. I will simply talk around the question most of the time rather than go

directly to it. Or if my questions seem to come out directly, I try to allow the interview subject the chance to hear me or watch me arrive at it, allow them to watch my mind work — then, hopefully, it feels more natural, it has a logic and it’s not ‘affronting’.” – Tracey Moffatt (9) Art Calls sits in good company with her latest photo series Spirit Landscapes. For Art Calls Moffatt was drawn to images of nature and the elements - the sky, clouds, moon etc. By embedding herself in the role of TV hostess amongst a black-and-white skyscape, she aims to illustrate the fact that she is communicating from ‘another world’, or rather, ‘another frequency’. Interviews were conducted with each artist via Skype and telephone, so Moffatt found herself literally ‘in the airwaves’ as a result of the process of recording Art Calls. Once again, she does not document a location in particular, such as a studio, instead she creates an ambiguous backdrop from which she can explore what is happening elsewhere.

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“Moffatt looks out beyond the foreground of her visual frames; she is looking for ‘something more’ than the immediately obvious. Her searching gaze is directed outwards at what being in the world means…” (10)

Moffatt draws from the analogue methods of surrealist and DADA film making techniques of the 1920’s and 30’s in the development of the visuals and soundtrack for Art Calls. The intention was for the films to be dream-like, and visualize Moffatt’s quest for communication. Making use of clichéd imagery that could be more aligned with “communing” there are shots of nature and the elements, message sticks and telephones, moving as if in an séance and the lighthouse with its searching beacon. (11) Studying film and television in the 1980s in Brisbane, Tracey Moffatt embraced the postmodern tropes of appropriation, pastiche and cinematic montage early on. Her work has been described as post-colonial critique as she inserts herself into historic narratives about indigenous displacement, relation to country and place.

West Australian composer Cat Hope composed the soundtrack music for Art Calls. She created the music based upon two descriptive emails sent by Tracey without ever having met. It casts a sort of art-film spell as it moves the images along between interviewees. The score is inspired by The Creation of the Earth by French composer Darius Milhaud which features in Hans Richter’s Film Studie 1. (12)

For the creation of Art Calls, Moffatt has collaborated with a number of experts such as composer Cat Hope and artist/filmmakers Julie Pitts and Miles Blow. There is a lot of trust in these relationships between Tracey and her collaborators, who work independently and provide aspects to the work within their areas of expertise. Similar to the relationships Tracey seeks to develop in the Art Calls series between herself and her interviewees, these interactions are allowed to develop organically with input and direction from both parties, rather than being highly prescriptive from the outset.

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Questions for Discussion:

1. After abandoning the original photographs, why do you think Tracey Moffatt returned to make the Plantation series, almost 10 years later?

2. Why might Tracey Moffatt choose to keep the locations private of where she shot the photographs in the Plantation series?

3. Why do you think Tracey Moffatt used the colours that she did in her Suburban Landscape series (black and white photographs overlaid with candy-coloured letters)?

4. Why do you think Tracey Moffatt used stencils in her Suburban Landscape series?

5. Can you think of reasons (personal or professional) why Tracey Moffatt may have decided to return to Australia after living and working abroad for so many years?

6. Why do you think Tracey Moffatt moved from photographic work to video work in Art Calls?

7. Tracey wanted her Art Calls videos to be “dream-like.” In what ways do they embody this quality?

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Subjects: The Arts, English, Geography

Estimated Time: 2 class periods

Age Group: Primary School

Materials and Equipment: Black and white copierPaperPencilsCrayons Letter stencils of various sizesMap of your state and country and worldOverview: Using Tracey Moffatt’s Spirit Landscape series as inspiration, students will create their own work using personal photographs, stencils & crayons.

Warm-Up Activity: Show images of Tracey Moffatt’e Spirit Landscape series (specifically, the Suburban Landscape works featured in PICA’s Education Notes) and give students a synopsis of Moffatt’s work and her inspiration. Explain why and how Moffatt created this collection of stenciled photographs. Talk about how Moffatt has used memories and places from her past as the source of her art-making.

Ask students to think of memorable places for them. As a group, brainstorm a list of questions that students could use to help inspire them as they think about their memorable places. Examples of questions for this list might be, “Where is the first place you went swimming?”, “Where were you born?”, “Where did you learn how to ride a bike?”, “Where does your family go for fun?”

After brainstorming questions that can inspire reflection, ask students to bring to class a photograph of a place that has a memory attached to it. Or, you can have students find a photograph on the internet of a place that is similar to or the same as the memorable place that they have been thinking of.

Main Activity: After students have brought in a picture of a memorable place, make 2-3 black and white photocopies of the picture onto standard-size paper.

Return the students’ pictures to them and give them the photocopies of their image.

Ask students to think about what memory is associated with their picture. Have them write down three to four words that convey that memory. Remind them of Tracey Moffatt’s photos by showing them the images from the Spirit Landscape series again and look at her word choices to convey her memory. Have students write down their 3-4 word memory onto a sheet of blank paper.

Pass out stencils of various sizes to students. Using pencil, have students stencil their memory phrase onto one of the copies of their photo. Ask them to think about size and placement of the words as they practice on this first image.

After students have had time to practice the placement and size of their memory phrase, pass out crayons and have them do a “final” version using colors, mimicking Tracey Moffatt’s images.

Conclusion Activity: Have students share their finished product and explain why they chose their photo and memory.

As each student shares, put a pin in a regional, country, or world map based on whether their memory was local, national, or global.

Discuss any patterns in the placement of the memory pins and how geography and place has to do with our memories.

Classroom Activity: Photographic Memory

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Classroom Activity: The Art of InterviewingSubjects: Drama, English, The Arts

Estimated Time: 4 class periods

Age Group: Secondary Students

Materials: A computer with projectionComputers or tablets for students to do researchRecording devices (smart phones, tablets, video recorders, etc.)Props and materials for creating a film setOverview: In this multiple-day activity, students will create their own version of Tracey Moffatt’s Art Calls. Using teamwork, students will work together to design and record an interview between two artistic personas that they create as a group.

Warm-Up Activity Day 1 Watch a number of Tracey Moffatt’s Art Calls (http://www.abc.net.au/arts/artcalls/) and, as a class, discuss the videos. Use critical questions to guide the class towards an understanding of Art Calls that will help them to create their own Art Calls-inspired video. Ask:

What kinds of questions does Tracey ask in the interviews?How does she seem to ask questions?Who does Moffatt interview?What sort of relationship does Tracey seem to have with the interviewee?What do you think the background means in Tracey’s videos (Moffatt’s backdrop and her intreviewee’s background)? Why do you think she chose it?Why do you think Moffatt used the soundtrack that she did for the videos?How is this interview different than an interview on a typical talk show?

As a class, critically discuss Moffatt’s video works and ask students to think about their own ideas for creating an Art Calls-inspired video as you talk.

Main Activity: Day 2 Divide students into groups of four per group. Ask students to further divide their group into roles to undertake the project of creating their own Art Calls. Suggestions for roles are:

Director (In charge of filming and editing the video) Interviewer (The “Tracey Moffatt” of the video. Asks relevant questions and keeps the conversation moving.) Interviewee (The person answering “Tracey Moffatt’s” questions) Sound and Design (Handles the background music and set design for the video)

Have students brainstorm how they want to undertake their Art Calls-inspired video. Ask students to choose an established artist (either living or dead) to be the interviewee. Give students time to research their chosen artist. Have students create a list of questions that the interviewer would ask their chosen artist, like Moffatt asks her subjects in Art Calls.

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After students have established which artist will be interviewed and have generated a list of questions, give them time to practice their short interview (not more than 5 minutes per interview).

As a group, students should brainstorm what kind of background and sound they want to incorporate into their video.

Day 3 Students should be prepared to video (using smartphones, tablets, or other recording devices) their interview during this class period. If your school has video editing facilities, give them time to edit their interviews. If not, allow students time to do multiple takes.

Conclusion Activity: Day 4 Have a viewing day where students show their own Art Calls-inspired video. Encourage students to talk to the class about their process of deciding who, what, and how to portray what they did in their work.

Classroom Activity: The Art of Interviewing

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REFERENCES:(1) Clements,L., MMcPherson, M., & Robb, L. (2012). Hijacked III: Australia/ United Kingdom. Cottesloe, WA: Big City Press.(2) Roslyn Oxley9 Gallery. (2010, April 9). Tracey Moffatt – Plantation, 2010 [Press release]. Retrieved from http://www.roslynoxley9.com.au/news/releases/2010/04/09/181/(3) Summerhayes, C. (2007). The Moving Images of Tracey Moffatt. Italy: Edizioni Charta Srl Retrieved from http://www.trfineart.com/pdfs/reviews/0000/0186/Moving_Images_of_Tracey_Moffatt_reduced.pdf(4) Art Gallery of NSW. (n.d.). Collection: Tracey Moffatt. Retrieved from http://www.artgallery.nsw.gov.au/collec-tion/works/60.2010.6.a-b/(5) ARTAND Brisbane. (2014). Selected Exhibition: Tracey Moffatt: Spirited. ARTAND. Retrieved from http://www.artandaustralia.com/news/reviews-commentary/tracey-moffatt-spirited(6) Summerhayes, C. (2007). The Moving Images of Tracey Moffatt. Italy: Edizioni Charta Srl Retrieved from http://www.trfineart.com/pdfs/reviews/0000/0186/Moving_Images_of_Tracey_Moffatt_reduced.pdf(7) Tyler Rollins Fine Art. (2013). Tracey Moffatt: Spirit Landscapes. Retrieved from http://www.trfineart.com/exhibi-tions/tracey-moffatt-spirit-landscapes(8) Weir, K. (2013). Spirit Landscapes. In Tyler Rollins (Ed.), Tracey Moffatt Spirit Landscapes (pp. 4). New York, USA: Tyler Tyler Rollins Fine Art. Retrieved from http://www.trfineart.com/pdfs/exhibition_catalogues/0000/0027/Tracey_Moffatt__Spirit_Landscapes_catalogue.pdf(9) Wright, S. (2014). A Conversation with Tracey Moffatt. In: Weir, K. (Ed.). Tracey Moffatt: Spirited (pp. 88–97). South Brisbane, QLD: Queensland Art Gallery, Gallery of Modern Art(10) Summerhayes, C. (2007). The Moving Images of Tracey Moffatt. Italy: Edizioni Charta Srl Retrieved from http://www.trfineart.com/pdfs/reviews/0000/0186/Moving_Images_of_Tracey_Moffatt_reduced.pdf(11) Wright, S. (2014). A Conversation with Tracey Moffatt. In: Weir, K. (Ed.). Tracey Moffatt: Spirited (pp. 88–97). South Brisbane, QLD: Queensland Art Gallery, Gallery of Modern Art(12) Hans Richter. (2013, November 27). Filmstudie [1925] By Hans Richter - Early Abstract And Experimental Films [Video file]. Retrieved from https://www.youtube.com/watch?v=fxIIgnC6bg0

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IMAGE CREDITS: CoverTracey Moffatt, , Picturesque Cherbourg no.4, From ‘Spirit landscapes’ series (detail), 2013. Digital print collage on hand-made paper 57 x 78 cm. Courtesy of the Artist, Roslyn Oxley9 Gallery, Sydney and Tyler Rollins Fine Art, New York. Page 3Tracey Moffatt, Art Calls Episode One (still), 2014, HD Video, 28 Minutes, 16:9, black & white and colour, stereo. Courtesy of the Artist, Produced with the assistance of GOMA, The Gallery of Modern Art Brisbane QLD, Visual Arts board of The Australia Council Sydney NSW.Page5 Tracey Moffatt, Pioneer Dreaming No. 1 (detail), 2013. From the series ‘Spirit Landscapes’, digital print on handmade paper, hand coloured in ochre, 27 × 61cm. Courtesy of the Artist, Roslyn Oxley9 Gallery, Sydney and Tyler Rollins Fine Art, New York.Page 6 Tracey Moffatt, Plantation (Diptych No. 10), 2009, Edition of 12 + 2 A/Ps. Digital print with archival pigments, InkAid, watercolour paint and archival glue on handmade Chautara Lokta paper, 46 x 50.5 cm (each). Courtesy of the Artist, Roslyn Oxley9 Gallery, Sydney and Tyler Rollins Fine Art, New York.Tracey Moffatt, Plantation (Diptych No. 9), 2009, Edition of 12 + 2 A/Ps. Digital print with archival pigments, InkAid, wa-tercolour paint and archival glue on handmade Chautara Lokta paper, 46 x 50.5 cm (each). Courtesy of the Artist, Roslyn Oxley9 Gallery, Sydney and Tyler Rollins Fine Art, New York.Page 7Tracey Moffatt, Plantation (Diptych No. 4), 2009, Edition of 12 + 2 A/Ps. Digital print with archival pigments, InkAid, wa-tercolour paint and archival glue on handmade Chautara Lokta paper, 46 x 50.5 cm (each). Courtesy of the Artist, Roslyn Oxley9 Gallery, Sydney and Tyler Rollins Fine Art, New York.Page 8 Tracey Moffatt, Suburban Landscape No. 3. ‘Bullied Here’, 2013. From the series Spirit Landscapes, Edition of 8. Digital print hand coloured in water crayon. Courtesy of the Artist, Roslyn Oxley9 Gallery, Sydney and Tyler Rollins Fine Art, New York.Page 9Tracey Moffatt, Art Calls Episode One (still), 2014, HD Video, 28 Minutes, 16:9, black & white and colour, stereo. Courtesy of the Artist, Produced with the assistance of GOMA, The Gallery of Modern Art Brisbane QLD, Visual Arts board of The Australia Council Sydney NSW.Page 10Tracey Moffatt, Art Calls Episode Two (still), 2014, HD Video, 28 Minutes, 16:9, black & white and colour, stereo. Courtesy of the Artist, Produced with the assistance of GOMA, The Gallery of Modern Art Brisbane QLD, Visual Arts board of The Australia Council Sydney NSW.Page 11Tracey Moffatt, As I lay back on my ancestral land no.3, From the series ‘Spirit Landscapes’, 2013, Digital print, 128x187cm, Courtesy of the Artist, Roslyn Oxley9 Gallery, Sydney and Tyler Rollins Fine Art, New York. Page14Tracey Moffatt, Art Calls Episode One (still), 2014, HD Video, 28 Minutes, 16:9, black & white and colour, stereo. Courtesy of the Artist, Produced with the assistance of GOMA, The Gallery of Modern Art Brisbane QLD, Visual Arts board of The Australia Council Sydney NSW.Page 15 Tracey Moffatt, Suburban Landscape No. 5. ‘Stole a Mars Bar’, 2013. From the series Spirit Landscapes, Edition of 8. Digital print hand coloured in water crayon. Courtesy of the Artist, Roslyn Oxley9 Gallery, Sydney and Tyler Rollins Fine Art, New York.Page 16Tracey Moffatt, Night spirits no1 ‘Nunnery in red, by the orange tree in blue, desert in yellow’, from ‘Spirit landscapes’ series (detail) 2013. Digital prints mounted behind acrylic, tryptych. Courtesy of the Artist, Roslyn Oxley9 Gallery, Sydney and Tyler Rollins Fine Art, New York.