High Above The Hakka Houses
2019, 89 x 64cm, edition of 30
5 colour silk-screen print on HahneMuehle fine art paper.
Printed on location at the Guanlan Printmaking Base, Shenzhen, China,
This work is born out of an appreciation of nature and a growing concern about the human relationship with it. Triggered by environmental movements and underpinned by the Chinese proverb, 蜻蜓点⽔” (qīng tíng diăn shuĭ), - “The Dragonfly Touches the Water Lightly” (a metaphor for a superficial contact),
I explore how our interactions with nature often cause more harm than good.
Whilst predominantly joyful and playful in tone, these prints contain an underlying layer of frustration towards mankind’s impact on the environment and the contradictory manner of this ‘love’ for nature.
These prints present fleeting moments of playful curiosity, layered with a yearning for a deeper connection with our planet Earth.
They interrogate the concept of Hiraeth (woeful longing ofsomething already gone) as an environmentalist longing, for a natural landscape, pure and untouched by human hands, that feels increasingly out of reach.
2019, 89 x 64cm, edition of 30
5 colour silk-screen print on HahneMuehle fine art paper.
Printed on location at the Guanlan Printmaking Base, Shenzhen, China,
This work is born out of an appreciation of nature and a growing concern about the human relationship with it. Triggered by environmental movements and underpinned by the Chinese proverb, 蜻蜓点⽔” (qīng tíng diăn shuĭ), - “The Dragonfly Touches the Water Lightly” (a metaphor for a superficial contact),
I explore how our interactions with nature often cause more harm than good.
Whilst predominantly joyful and playful in tone, these prints contain an underlying layer of frustration towards mankind’s impact on the environment and the contradictory manner of this ‘love’ for nature.
These prints present fleeting moments of playful curiosity, layered with a yearning for a deeper connection with our planet Earth.
They interrogate the concept of Hiraeth (woeful longing ofsomething already gone) as an environmentalist longing, for a natural landscape, pure and untouched by human hands, that feels increasingly out of reach.
2019, 89 x 64cm, edition of 30
5 colour silk-screen print on HahneMuehle fine art paper.
Printed on location at the Guanlan Printmaking Base, Shenzhen, China,
This work is born out of an appreciation of nature and a growing concern about the human relationship with it. Triggered by environmental movements and underpinned by the Chinese proverb, 蜻蜓点⽔” (qīng tíng diăn shuĭ), - “The Dragonfly Touches the Water Lightly” (a metaphor for a superficial contact),
I explore how our interactions with nature often cause more harm than good.
Whilst predominantly joyful and playful in tone, these prints contain an underlying layer of frustration towards mankind’s impact on the environment and the contradictory manner of this ‘love’ for nature.
These prints present fleeting moments of playful curiosity, layered with a yearning for a deeper connection with our planet Earth.
They interrogate the concept of Hiraeth (woeful longing ofsomething already gone) as an environmentalist longing, for a natural landscape, pure and untouched by human hands, that feels increasingly out of reach.