nicholas nicola etchings


A CATALOGUE OF AUSTRALIAN LANDSCAPE & COASTAL ETCHINGS  is split into  six PDFs due to technical reasons. The PDFs are below the etching images and after the NOTES which provide comments on many of the etchings. You can click on each thumbnail image and it will enlarge. The PDF files contain additional information and comments plus accompanying photos, drawings and other pictures etcetera about the images. Enjoy.*

It should also be noted that on YOUTUBE is a video tilted MOTHER EARTH FATHER SKY which uses quotes from philosophers and writers while displaying many of the etchings below can be found on the following link:   please go to the YOUTUBE submenu under ARTIST INFORMATION to see other Youtube links. A Youtube link dealing with a Super 8 film titled AMATA which also deals with the Australian landscape in Central Australia can be found in the Photos gallery webpage on the sidebar. Thank You.




It should be noted that except for the two OMEGA etchings in the OMEGA triptych the other etchings in the following groups are already in the main gallery. Full details for some etchings will be with the above images.


Coledale triptych. NSW South Coast.



Gordons Bay triptych 


ALPHA  OMEGA * diptychs  CENTRAL AUSTRALIA.  (*The beginning and the end of the universe). 


OMEGA* triptych. (*Beginning of the Universe). Central Australia. 


Tree Womb triptychMougamarra Reserve.  Ku-ring-ai Chase National Park.      


Eroding Rocks diptych. Jervis Bay. NSW South Coast.


Central Australia triptych. 




A selection of some of the Cooks River  10 cm X 7 cm size etchings.


Gordon's Bay 






 Please note that since the following notes were written some images have been deleted from this webpage and will be re-produced in the future on another webpage. Thus there maybe notes of etchings that no longer exist on this webpage. This website remains a 'work in progress.' Apologies.


The Dance of the Dead.’ 

Wolli Creek.B&W. 6”X 4”.  drypoint. copper plate.

 I did a somewhat abstract drawing of leaves strayed by the wind on the Mexican Day of the Dead thus the title. Whenever I go for walks through Wolli Creek I often go with my sketchbook and on this particular day this natural vibrant pattern gained my particular attention.

That tree, the universe.’ 

Sydney Botanical Gardens.  sepia. 6”X 4”  sugarlift. aquatint. zinc plate.

This etching is based on an idea that the universe is like a tree with the cosmos made of galaxies as its branches and stars as leaves. I think of ancient traditions of the cosmic tree and so forth. I was struck one day by the large old trees one finds in the Royal Botanical Gardens which for me typified this idea of universe as tree. There is also an old grand tree in the park beside Central Station that also leaves me in awe. Lastly, I should mention that I have read in an old school book how the tree pattern often occurs in nature such as in an electrical discharge; in the human body’s blood circulation as well as in the ‘tree chart’ that outlines the evolution of life on this planet.  


Coledale.  B&W. 6”X 4”. drypoint. copperplate.

 This work is based on one of many sketches which I had done in the early morning of the long grand escarpment behind the beach. I was struck by the sculptural quality of the rock face and of the interplay that existed between it and the translucent light falling on the cliffs. On a metaphysical level I equated what I saw with the equivalent interplay that I mindfully see happening between the spiritual and the material in our physical world. Misty Bluffs is also based on a sketch.

‘Coledale. Early Morning'. 

Coledale. B&W.  6”X 4”. drypoint. copperplate.

 Translucent immaterial, unseen light filtering over the texture of hard, dark form: this notion is what first came to my mind when I produced this image of this stretch of the Coledale cliff face at sunrise. The constant contrast of light and dark is a subconscious element which we are always aware of in our primal memory. I was staying, one weekend, long ago, at a friend-of-a-friend’s spacious light-filled house in Coledale (on the coast south of Sydney); to wake up early one Sunday morning, and - in the meditative silence - drew a series of sketches of the large protruding misty coal cliffs directly behind me. I have an ambition to capture the rather unique interplay that seems to exist to me between the spiritual and the earth (re: ‘earthiness’) that bears over the Australian terrain, especially in the bush. This work is one attempt towards this quest.  A friend once commented to me that the light areas reminded her of Stonehenge and I could immediately recognise what she meant by this remark (and the connection that also exists between spirit and earth in this noble megalith structure with its monumental strutting lintel & pillar rings of weighty ‘cairns’). The Australian landscape – in particular this enormous length of rock - also as megalith. I very much like that.

‘Well of Life.’ Cronulla. 

B&W  6”X 4”. copperplate.

 I was attracted by this large dark hole in this rock formation that I came across on the way to Shelley Beach at Cronulla. Residing within it the sea water that undulated around the contours of the rocks, shaping them. Movement; life within a still darkness. Henry  David Thoreau once remarked that a lake is the ‘earth’s eye’ it is a description which I feel also befits this smaller body of water.  

 ‘Angel Rock.’ Gordons Bay. 

B&W. 6”X 4”drypoint. copperplate.

 This is a strange rock at Gordons Bay. It juts out of the rocks near the beach and has always fascinated me. I like going to Gordons Bay as it is a tranquil spot squeezed in amidst the more crowded areas of Sydney’s eastern suburbs coastline. Although some locals disagree I have found that at this sparsely populated inlet there is always the space to be alone. A person can pretend they are many miles down the coast and for me – in my own offbeat way of thinking – often feel that this enclosed coastal spot is not only paradise but a microcosm of the whole universe. I have done many sketches here with this somewhat ‘cosmic’ attitude in mind. Thus it is appropriate to find an angel in this bay. The following two etchings are also based on sketches. I should also mention that many locals call this inlet Thompsons Bay.

 ‘Heart of the Universe.’ Gordons Bay. 

B&W. 6”x4” sugarlift. aquatint. zinc plate.

 Gordons Bay is squeezed in between Clovelly and Coogee beaches. I like going to Gordons Bay as it is a tranquil spot amidst the more crowded areas of Sydney’s eastern suburbs coastline. A person can pretend they are many miles down the coast and for me – in my own offbeat way of thinking – often feel that this enclosed coastal spot is not only paradise but a microcosm of the whole universe. I have done many sketches here with this somewhat ‘cosmic’ attitude in mind. I should also mention that many locals call this inlet Thompson Bay.

‘The Birth of Zeus.’

Nielson Park  B&W. 6”X 4” sugarlift. aquatint. zinc plate.

 Ancient Greek legend has it that Zeus was saved from being devoured by his father the Titan Cronus by Rhea his mother who used a disguised rock to replace him. When Cronus swallowed the rock he did not suspect anything. Rhea secretly gave birth to her son in Crete. Cronus ate his children as he had been forewarned that one of them would attempt to dethrone him. As it turned out it was Zeus who achieved this feat to become lord over all the other gods. Thus I have Zeus as this grand rock which appears to be emerging from the waters off Nielson Park in the harbour at Sydney.

‘It Will Pass’. 

Cooks River. Sydney.

6”X 4”. B&W. drypoint. copperplate.

With ‘It Will Pass’  I imagine the ceaseless flowing river in Herman Hesse’s Siddartha with its ‘thousandfold song’…the river’s voice of experience is full of both sadness & desire; yet the current is always heading towards its goal…thus I silently consider while walking beside this calm water how any personal tribulation can eventually be overcome by entwining – in this existence – one’s mental, spiritual and physical self with or to an over-riding, life-enhancing sense of a perfect ‘eternal unity’.

‘Archangel.’ Wolli Creek. 

B&W. 6”X 4” sugarlift. aquatint. zinc plate.

 Wolli Creek is a major natural bushland reserve in the inner south-west of Sydney. The etching is based on the sketch of a small tree in Wolli Creek. The tree caught the artist’s eye as the main trunk opened upwards to two main branches like welcoming outspread arms.

 ‘Mangrove Souls.’ (Awaiting to go to Paradise). Cooks River.

B&W. 6”X 4” sugarlift. aquatint. zinc plate.

Cooks River is near where I live and there is a pathway alongside it to walk along. I have done a series of sketches of the river including the mangroves that line its banks. In the afternoon a gloriously splendid orange sunlight falls on the mangroves giving them an almost unearthly almost heavenly appearance; yes, it certainly gives them a spiritual quality thus the title. Furthermore, the rhythm of the rows of the thin mangrove trunks which rise up from the still water that resides by the banks of the river echo for me the cosmic currents that flow across the universe as undulating ‘souls’ to its explosive creation. Our souls, perhaps, to be integrated into the dynamic life force of the ‘sweet cosmos’ that expands beyond us our mortal world.   

‘The Last Judgement.’ (Apocalypse). Wolli Creek.  

B&W. 6”X 4” sugarlift. aquatint. zinc plate.

This etching - which to me is filled with much drama and movement - is based on a dead leafless bush whose mangled ball shape was akin to an explosion burst strikingly ‘busting out’ from the track that goes through Wolli Creek; a bushland reserve near where I live. The title is in accordance to the spiritual/metaphysical/cosmological interpretations which I have given to many of my images of the Australian bush.

‘Alpha. Omega’.

B&W 6”X 4” sugarlift. aquatint. zinc plate. sepia. 6”X 4” sugarlift. aquatint. zinc plate.

 As presented each Alpha and Omega pairing are meant to be printed side by side on the same piece of printmaking paper to form a couplet. The empty white space (that can be extended)  between the two images can be considered as representing the totality of everything – including time and space -  that is between the very beginning and the very end of the Universe.  (Of course  each etching can also exist in its own right as a single independent image).   

‘Fabric of the Universe.’ 

8” X 8”. B&W. aquatint. sugarlift. zinc plate (reworked).

 This plate along with the following two were first roughly covered with two cross hatch rows of sugartint which would then emerge through the thin layer of hard ground that would cover it to reveal bare zinc that would be covered with rosin and exposed to nitric acid to make a black impression: one row of vertical lines going across the plate and another row of horizontal lines going down the plate. A somewhat primal attempt to express the ‘cosmic mesh’ as well as make some reference to the stellar currents that oscillate through the universe as echoes to the original creation explosion. Eventually after repeated reworking of the plate there is only an intimation of the original crosshatching as the rocklike texture attempts to capture the essential binding fabric of the universe which both shapes reality into a coherent body as well as allow it to be fluid at the same time: to flow and be firm simultaneously.  I understand how the universe can be perceived as a river.  

‘Black Poles’. 

8” X 8”. B&W. aquatint. sugarlift. zinc plate (reworked).

 The title is in reference to Jackson Pollock’s Blue Poles. Pollock was an artist whose large canvases visually epitomised the underlying co-ordinated structure of the universe. The artist would often be annoyed that viewers saw a pre-eminence of chaos in his work as he himself desired to comprehend the beautiful order of nature. I do likewise. I also venture to suggest the idea that the ‘poles’ are each like the axis of the Earth whose magnetic properties allow gravity to occur which in turn allows an atmosphere and therefore also allows life to occur. Perhaps, the overall gravity of the universe is underpinned by cosmic ‘magnetic poles’ to allow it and its creative forces to fully throb.  


8” X 8”. B&W. aquatint. sugarlift. zinc plate (reworked).

 In my first attempt to rework the plate the patterned image was rather flat and lifeless and so I came up with the idea of covering the whole plate with aquatint to make it all black. As if working on a mezzotint I then burnished the plate to revitalise it and give it life leaving the various degrees of lighter areas to produce a mysterious quality. Light emerging from darkness to overcome it: as it was Easter I was immediately drawn to the parallel of the Resurrection thus the title.  To make an afterthought remark the contrasting tonal shades in an abstract way hark all the way back to the dramatic spirituality of Caravaggio’s chiaroscuro which pleases me.

 Celestial Triptych

These three images form a triptych loosely based on the overarching idea of the first image in this series looking at the notion of the very material substance of the universe. It is as if a microscope has been able to zoom in to the very crevices and cracks that have resulted over time as the basic molecular structure of the cosmos ‘ages’ with the passing of so many billions of years. Yet, despite such stellar erosion the universe maintains a tight order and rhythm that allows it to exist as a single entity which will not suddenly dissipate and shred into a trillion parts. Within this organic structure there seems to be always ever new forms of existence birthing into material form and within this mystery called the cosmos is the even more extraordinary mystery called life.  In nature regular patterns such as those known as fractals can be discerned to give credence to the notion that there is an underlying organised order to creation. In the case of Platonism natural regular forms are mere attempts at imitating the ethereal ‘Absolute Forms’ from which visible reality corresponds too. What at first sight appears chaotic and random in natural phenomenon is actually the playing out of natural forces that work at shaping Nature as if doing it in a conscious way. Unless I am mistaken it is possible to design mathematical models to even predict what such natural energies can do and to comprehend what they have done. The universe has the equal contributions of the ‘randomness’ of quantum theory and the ‘predictability’ of the theory of relativity mysteriously working upon it in an intertwine way by which humanity is yet to understand and which is equally a micro as well as cosmic ir/regular process that leads the artist, musician, philosopher, architect, mathematician, scientist, astronomer as well as the theologian to consider worthy to explore.  Nature is a mystery. The human soul is a mystery. A relationship between the two entities seems to exist and as for myself one is motivated to at least attempt in an artistic way to consider its ultimate significance – so as to more fully perceive what it means to be human, yes to be fully human as finite physical beings in an infinite universe which allows us to also be ‘infinite’ through the human imagination as soulfully reflective of nature’s earthly and cosmic dimensions.

‘Cosmic Tracers.’ 

9.5” X 7”. B&W. aquatint. sugarlift. zinc plate (reworked).

 This image was initiated on Anzac Day and thus these bands can be viewed as giant rhythmic columns of white laser light which, like tracer bullets, mark out the furious celestial forces of the initial creative explosion as they continually shoot outwards in this ever expanding universe.  

‘Reed Universe.’ 

11” X 8”. B & W. aquatint. sugarlift. zinc plate (reworked).

This image harks back to an earlier much smaller print of reeds based on a Cooks River mangrove. However, the first impulse for this print was to consider the cosmic pulses that infiltrate that much grander ‘river’ which we call the Universe. Whether one wants to focus on river reeds or streaks of celestial light I find there is a sense of peace about this image; a certain stillness that allows one’s mind to meditate on life and on creation.  

‘Galaxies Swirling Towards a Black Hole.’ Middle Head. Sydney Harbour.

8” X 6”. B&W. aquatint. sugarlift. zinc plate.

 I noticed this white speckled pattern on some rocks around a black hole and I envisaged them as swirling galaxies caught up in the gravitational pull of a black hole that would suck them into nothingness. Is death too merely an inevitable black hole whose ‘gravitational pull’ we call age take each being over into its ‘event line’ to a new mysterious dimension? 

Shell Nebula.’ Gordons Bay. 

9.5 ” X 7”. B&W. aquatint. sugarlift. zinc plate (reworked).

 A nebula is gaseous and results after the death of a galaxy. However, I envisage it as a hard shell and this conception results from my understanding that Georgia O’Keefe saw shells as typifying eternity due to their long lasting hardness. (In turn flowers were seen by her as expressing the fragility and mortality of life seeing their very beauty was transient). A nebula will pass away but compared to the miniscule life span of an individual – or even of the whole human race – this glowing cosmic cloud exists for an eternity. Thus the duality of the thought of something ephemeral as hard and stable resides comfortably in my mind without any semblance of inward conflict with this metaphysical contradiction: ‘reality’ is sometimes more applicably suited to exist within the mental realm.

‘Dark Matter Nebula.’ 

6” X 4”. sepia. aquatint. sugarlift. zinc plate.

  The art of Jasper Johns is noted for challenging the viewer’s perception of reality such as diffusing the reality between ‘high art’ and the ‘everyday object’ which echoes the Duchampian concept of the readymade; yet what interests me more so about the art of this intriguing American artist is a far deeper philosophical questioning of trusting our physical senses to perceive what is physically ‘actual’ or real through his disorienting/decontextualising use of everyday subject matter to make the eye ‘work’ at trying to ‘realise’ what exactly the eye is looking at as there is an ambiguity to his paintings and prints which leads the viewer to uncomfortably realise all is not what it seems; his art echoes Magritte (who Jasper Johns admires) to some extent but I feel there is a clarity to Magritte’s visual manipulations which can be eventually sorted but not so readily with Jasper Johns. Yet, what Jasper Johns aims for is to extend the viewer’s mind beyond what is ‘real’ - that is: the usual illusionary trickery of perspective which is the standard bearer of much that is considered as normal art practice since the time of the Renaissance. However, perspective is actually a ‘mirage on the eyes’ making the viewer believe in a three dimensional representative space which does not really exist; which in reality is actually impossible to exist on the two dimensional ‘window’ plane of the canvas. Modern physics with, for example, the formulation of quantum physics as intimated by Max Planks, comes into play for we now know that what appears stable to us in the physical world is merely different combinations of buzzing particles that create in contradictory ways different aspects of matter from gas plumes to liquids to so called ‘solid’ steel.  Perspective merely deceives the eye to convince the brain that what is being viewed is as real as the ‘real world.’ Yet neither the scene painted or the actual scene that is being copied by the artist can be viewed as being what they truly are. Our five senses more or less convince us that what is around us is real in much the same way that Renaissance perspective convinces us what we see on the picture plane is real; yet we are learning that our five senses are merely filtering to us a ‘reality’ that our minds can cope with as other aspects of reality such as the multi-dimensional reality of a microscopic qauntum universe - which helps to create what we see - is held back from our daily conscious perception of everyday matter. Perhaps, just as well, for it is a micro-universe difficult for us to conceptually comprehend. However,  if human consciousness is to reach full fruition - so as to reach a fuller humanness - what Jasper Johns confronts our senses with in his art - that disrupts our present conditioned way of looking at the world - is to be very welcomed. The unconscious could be equated with the nether world of quantum physics while the ‘high conscious’ Neoplatonic realm of Ideal Forms advocated from the time of Aristotle all the way up to the time of Plotinus in the early foundation centuries of Christianity is more akin to the Theory of Relativity. It seems even that for the last few hundred years the matter of the Universe has been seen as a uniform substance as it has become accepted theory that the same star particles that form the Earth and the living things on it – including human beings – and that have formed (and continue to form) the furthest celestial fires from us are essentially the same; it is in the process of cooling and local cosmic variations that different molecular structures form different materials as varied as living cells to rock to blood to water.The universe as uniform equates to a universe that is a stable entity yet we know quantum theory defies that ‘secure’ evaluation and there is much effort these days to resolve what is in  state of pre-ordained uniformity with what is in constant inconsistent unpredictable flux. Thus, one may put forward the artisitc challenge that in much the same way science is seeking an overall unified theory of everything connecting quantum theory with relative theory art can delve towards a unity between the perceived unified 3-D illusionism of western linear perspective and the metaphysical conceptual explorations into an art qantum ‘fourth dimension’ that Marcel Duchamp pursued and which the likes of Jasper Johns considers. Michael Cricton in his book ‘JASPER JOHNS’ states how Cezanne noted that for painter the eye and the brain had to work together with the eye revealing what nature beholds while the brain could logically organize every visual sensation so as enable the painter to personally express his or her response to nature; what Michael Cricton asserts from Cezanne’s opinion is that in art history although the eye and brain are two poles which complement each other the twentieth century was a time when the brain had the upper hand so to speak over the eye.  Certainly, a case in point is Marcel Duchamp’s conceptual art which is aimed at stimulating the mind rather than further exciting the eyes with ‘retinal art’. Visually speaking however it is to be noted that the emergence of Cubism with its emphasis of a multi-persepective frasgmented analysis of its subject matter led to a breakdown of the tradition of linear persepective in European art. The mind involves deeper engagement and the viewer is no longer passive and must become more active in comprehending what is before him or her or as Duchamp had surmised it is ultimately the spectator which provides supreme meaning to a work of art and correspodingly it is us – as artist, as medical practitioner, as physicist, as astronomer, as musician, as historian, as ruler, as ordinary person-on-the-street and so forth that ultimately provides both social and empirical meaning to the world; to the universe in which we live. It could be said that ‘mind art’ one is no longer simply ‘presented’ with a ‘window’ through which to view a particular reality but one is invited to become involved in shaping what reality may actually be -  allowing art to become a catalyst for the mind to consider new conceptual possibilities rather than displaying - or reinforcing - present perceptions.  A more interactive dialogue may also be opened up between creator and spectator. All of us may eventually become increasingly aware of the manner in which we give meaning to our existence and to which we can mis/trust that our meaning is ‘true’ or ‘real’ or ‘absolute’ or ‘social’ or relative’ or ‘scientific’ or ‘objective’ or ‘subjective’ or ‘binary’ or ‘un/changing’ and so forth…thus our organic brain by way of that ephemeral mystery ‘within it’ – the mind – can lead to heightened thought processes that allow the synapses – those cerebral connectors – to evolve once more to see with ‘new vision’.  In the new age of cyberspace it seems the conceptual experimentations of forward thinking artists such as Marcel Duchamp and Jasper Johns can lead to greater human in/sight especially when on a cultural and psychological level there are may come a redefinition of time – a keystone of our everyday perception of reality – in the same way that Einstein exposed that time itself is relative to the speed of an object in relation to mass and gravity diminishing its former Newtonian absolute quality. As the darkest recesses of the human mind links up more consciously with its ever awakened consciousness to arrive at a higher perception of ‘quantum time’ which may become as familiar to us as our present understanding of time in relation to the theory of relativity. Furthermore, there are also the social conditions of present day reality that art can also explore and which also play a major role in our definition and redefinition of reality per se. (After all, art has always played the dual role of both serving a propaganda purpose for the status qou as well as to initiate an ideological breakdown of the prevailing beliefs of the day to herald in a new status qou that in turn will need to be challenged by new ideas and so on and so on…such is the general cyclic nature of much human activity continually oscillating between tradition and innovation).* It is time to remark on the etching Dark Matter Nebula which is a deliberately very simple work that involves a grainy textured area surrounding a ‘pitch black’ shape whose outline originates from the ‘shell nebula’ of the etching with this title. Yet what appears as a straight forward negative space contains ‘dark matter’ which  although invisible to the ‘naked eye’ may also be viewed as solid and yet what one may really be seeing (through a celestial ‘window’)  is the immeasurable dark space of the universe; the grainy rock like texture surrounding it could be seen as the uncountable mass of billions of stars that leads to an impenetrable ‘solid look’ but is truly an ephemeral gaseous cosmic expanse. In other words one may view this image two ways much like the well known hour glass outline that can also be viewed as the profiles of two human faces. (Truth or deception: which is it or is it both at the same time undermining the Aristotlian binary view of reality and matter so prevelant in the West’s thought processes).   What is considered as accepted reality can often be a case of one’s point of view for it was commonly though the Sun revolved around the Earth as a material ‘reflection’ of of a theological idea that redemptive ‘Man’ (as women were excluded, as Eve who was convenientally first decieved by Satan was ‘temptress’ leading to  Adam’s sinful downfall) as God’s ultimate representative was at the centre of the universe until it was scientifically ‘seen’ that it was rather the Earth that revolved around the sun. It is not how we actually see the world but rely on an Enlightment understanding of a cosmic reality that it is us who are actually moving and not the Sun. (We are still but we are moving). Thus this etching can be viewed conceptually two ways as a representation of a conceptual appreciation of the dynamism of human perception which still needs to be very much explored as intimated by Jasper Johns as well as  by – perhaps the one truly great ‘art visionary’ of the twentieth century – Marcel Duchamp.     

‘Ghost Nebula.’ 

6” X 4”. B&W. aquatint. sugarlift. zinc plate.

 Something that we can see that is no longer there. Astronomers tell us when we look at the stars some of those that we see no longer exist. Thus this etching is what we are viewing is the light released from such now extinguished fiery furnaces. It is simply the case that the light waves have taken uncountable years to reach  Earth. What we are seeing with our eyes are ‘light ghosts’ and raises questions about the natural laws of the universe affecting our physical perception of it. Light photons that are real registering an object that is no longer physically present.   

'Note of the Universe.’ Royal National Park.

7” X 2”. B&W. aquatint. sugarlift. zinc plate.

 Walking back  from the Curramoors these long very dark brown long stalks were sighted on a scrub plain as if stabbing the sky. I was reminded of musical notes and thought how an ancient astronomer such as Ptolemy thought of the solar system and stars aligned on a series of musical spheres and of a modern artist such as Kandinsky corresponding colour harmony to an underlying musical structure of the universe to create ‘visual music’ that would eventuate in spiritual, life enhancing ‘vibrations of the human soul’. A cosmic symphony for each individual being. (The Lithuanian musical composer and mystical nature painter M.K. Ciulionis also crossed my mind who it is said influenced Kandinsky).     

‘Pillar of Time.’

Minnamurra Rainforest. Jamberoo.

9.5” X 3”. B&W. aquatint. sugarlift. zinc plate.

This image of a tree was achieved with one mindful calligraphic brushstroke using sugarlift;  a few seconds of time passing to initiate an ‘icon’ to which one may focus the mind on time eternal.

‘Dark Matter Stems of the Universe.’ Wolli Creek.

8” X 6”. sepia. sugarlift. aquatint. zinc plate.

 This textured image also explores the boundaries of human perception. The dark columns are based on three trees in Wolli Creek; in this etching they can be viewed either as enclosed foreground masses or as ‘open-ended infinities’ of a cosmos beyond the other galaxies in the ‘positive spaces’ around them.  It is a continuum of the issue of the way we view the visible world; to process it, so as to (subjectively/objectively) comprehend ‘what is reality’ (as first hinted at in Dark Mass Nebula). Although originally based on trees I have used the term stem (rather than trunk) in the title as stem is a word that more readily implies organic growth (such as in the term ‘stem cells’) and to imply not only the infinite celestial growth of the universe but also the mental ‘growth’ of the human mind that is also without end - like the cosmos. It should also be noted that our human imagination can be envisaged as multi-dimensional; which on a conceptual level supersedes our known three-dimensional universe.  The three stems may also be considered as referencing the number three which is a number commonly implicated with the divine. The texture for this image belongs to a scratched up etching plate that was sanded back to reveal and accentuate the multiplicity of textures which initially emerged from the natural process of the plate gradually eroding over time. Sugarlift was then brushed on to form the three dark strokes on which eventually an aquatint was applied.

‘Accelerating Universe.’

 10” X 6”. B&W. aquatint. copperplate.

 This image is very interesting as it is also produced by Nature with me simply being the facilitator of it.  It is another etching plate that has simply being lying around in my dusty, dirty wooden cabin studio. It may even have spent some time in a stack of etching plates of failed etched images. With etching one never quite knows what is to eventuate until the etched plate is actually printed. It is a source of both joy and frustration to lift the paper up off the plate to see an image meet – or even surpass all expectations or not be ‘quite right’ or even worse – be a disastrous smudge of greys, whites and blacks. I work more from ‘experimental instinct rather than follow any particular guaranteed technical approach – as formulae means death to me – especially the death of creativity. (Art is not craft). Art should always be the living expression of a living human spirit. (Otherwise a machine is more beneficial). Consequently the ‘hazards’ of human emotion and human decision come into play leading naturally enough to a degree of failure through unexpected results but also to a degree of success through unexpected results. As artist I can also choose to look at an naturally eroded etching plate and consider that the scratches, marks on it can convey the artist’s intention as in the case of this etching (and other ‘eroded etching plates). I simply placed the copperplate in a bath of ferric chloride for a while – maybe up to two or so hours – until I felt the plate had been sufficiently bitten to produce an adequate image – an image by the way I had only guessed at as to what it would be. However, I must admit to some human intervention as I did place an aquatint over the plate to guarantee some contrasting black areas would emerge. In any case the image above is what was achieved. I feel it contains a certain level of dramatic movement amongst the many textures, shapes and patterns which immediately reminded me of artist’s impressions of the celestial galaxies and supernovas. I had heard on the radio of the recent discovery that – contrary to what astronomers had expected – measurements of the speed of expansion of the Universe - after its initial creation - were showing that the Universe was actually accelerating rather than slowing down! It was a cosmic result that defied all previous human assumption. Thus, the Universe is reaching its supposed ‘endpoint’ much quicker than originally thought. What the endpoint of the Universe will actually be is still open to conjecture as it may reach a final expansion point and then contract in on itself like an elastic band or it may continue to expand to the extent whereby one day every star will be so out of reach of every other star that there will be no light – only a deathly black cold darkness will ensue. However, by then the Earth will have been swallowed up a gigantean red Sun going through  its death throes – perhaps in another four billion years from now. As the Universe accelerates I think of Jackson Pollock with those ‘swirling visions’ depicted in his drip paintings which unconsciously reflect the vibrating ordering of the Universe. There is not chaos in Pollock’s canvases but a psychological ‘tuning in’ with the underlying gravitational pulse of the cosmos that binds all reality together into a patterned, fluctuating methodical mass that follows its own internal logic as instigated by nature. “I am nature.” Pollock once forcefully proclaimed. It is said that in the development of the Universe there was the final step of attaining consciousness through the birth of life; humanity is an ‘eye’ of the Universe looking back on the Universe.* Yet, looking back on itself through Pollock’s eyes there is a manic imagination who drunkenly chose to end his own tortured life by speeding into a tree killing with him one of the two women also in the car. I wonder what sort of tumultuous future – or end -  may also be in store for the Universe if Nature chooses to press down on the accelerator even harder as this cosmic conflagration with its ‘terrible beauty’ continues to expand at an ever increasing rate.

Eroding Rocks.’ Jervis Bay.

 6” X 4”. sepia. aquatint. sugarlift. zinc plate

 Eroding rocks the measure of ‘time eroding’ on the physical plane.

‘Time Totem.’ Minnammorra Rainforest. Jamberoo.

 8” X 4”. sepia. aquatint. sugarlift. zinc plate.

 As I walked through this rainforest I considered it how it was a ‘living installation’ as it is hemmed in by the agricultural lands that surround it and how it is only due to a conscious human decision making process that it still exists. The whole region was once rainforest but it was all logged away and this ‘ecological sanctuary’ is all that remains. Marcel Duchamp considered that the  artist’s ‘discovery’ of a ‘found object’ was a sort of rendezvous between it and the artist who has by chance sighted the object (as if to have ‘met it’) and there upon chosen to confer a cultural validity upon it which overrides any previous purely utilitarian meaning. A new ‘higher mental dimension’ is ‘entwined’ into the physical attributes of the object to allow it serve a fresh cultural function.   To be a ‘new creature’ spiritually so-to-speak. As far as I can perceive there is no artistic rationale in Duchamp’s thinking that the object always has to ‘necessarily’ be industrial and thus as I walked through this rainforest I came across many natural ‘found objects’.  (It is simply a matter of fact that Duchamp lived in an urban setting in which he found his readymades).Thus when I ‘met’ this impressive tree trunk as it came across my path I naturally enough consciously deemed it as a ‘totem of time’.  As it was I was reminded of the totem poles that are associated with indigenous culture. Interestingly enough, on an artistic level this rainforest is a living, growing ‘nature installation’ , which will change form over the years and which could be recorded with every new visit.

‘Tree Couplet.’  Minnammorra Rainforest. Jamberoo.

 6” X 4”. B&W. aquatint. sugarlift. zinc plate

 To perceive beyond the exclusive binary logic of Aristotle (up/down, in/out. etcetera) is to see the endless possibility of multitude combinations that could exist. Quantum mechanics allows us to take a more lateral approach to reality and so it intrigues me how these two tree trunks have emerged from the ‘another organic plane’. Thus I do not dismiss binary logic (as it has its role to play) but  I see how a more dynamic reasoning is also boundlessly available – so as to fully open the Blakean ‘doors of perception’ – our eyes those ‘windows to our soul. 

 Pendulum of Time.’ Central Australia.

 6” X 4”. B&W. aquatint. sugarlift. zinc plate

 This particular triptych of etchings is based on aerial Super 8 footage  taken from a Cessna while flying over Central Australia.  I was on the way to visit friends working as doctor and nurse at the Arunda community Amata. These images  have turned out to reference for me the idea of ‘return’ and ‘time’ as considered by T.S. Eliot in his poems the ‘Four Quartets’. Most significantly there is paradoxical idea of returning to a previously visited place to see it ‘for the first time.’ This is partly due to the technical decision of wanting to introduce a more textured background as seen in the ‘Alpha’ etchings of the same central Australian landscape after originally producing these etchings in the simple black & white contrast way they are presented here. The textured appearance was unsatisfactory and so I returned to my original presentation with an increased appreciation of this format.  In any case, I never imagined that when I filmed the landscape nearly twenty years ago I would ever use it as the subject matter of a series of etchings; especially for a set of prints that have taken on a rather contemplative edge to them. To meander to a more philosophical level I could state that for each individual there is between the ‘first time’ and the ‘second time’ there has been the passage of events that allows the ‘second visitation’ to resonate with an increased awareness that perhaps was lacking in the original visit. One’s ‘getting of wisdom’ is perhaps brought about by time weathering on the mind through memory which is a ‘mental residue’ of physical experience. Human comprehension leads to spiritual revelation and thus in turn human vision is renewed to allow a supposed known reality to appear ‘anew’. It is not necessarily so much that what was perceived before is to be negated but rather that any ‘truth’ that has earlier been envisaged is deepened. With that said it is seems Eliot saw time as somewhat contesting with eternity but rather once could see time as leading to a union with eternity: through the immateriality of the human mind consciously striving to be in contact with a spiritual realm beyond any physical dimension; that is ever constant and beyond any ongoing degradation. To perceive the invisible in the visible. Human memory can work as a bridge between what is seen and not seen and time and experience – those so called temporal qualities of reality – form the basis of human reminiscence. Thus in the same way we do not know what is ‘white’ without also knowing what is ‘black’ then we will not know the timelessness of ‘eternity’ without first understanding the mortal condition we presently live in. As to measuring any emerging insights this could be evaluated by revisiting by way of the cycle of time the different starting points – both physically and mentally – that have served as  consequential ‘life markers’ in one’s existence. The notion of a ‘pendulum of time’ thus resonates with me as the mind swings back from the present to past memory that can seem as equally real as the ubiquitous ‘eternal now’ to then through prophetic vision to envisage the  future yet to come. Life’s trajectory may not need to bend along some fatalistic, locked in course  but can be manoeuvred by taking in what has become before to help us make today a differing, unpredicted response. Thus through what were originally temporal images such as this one I have through the evaluative process of human thought come to meditate on a few universal realisations as to be perceived through these works.  In this particular etching I can easily imagine the almost smoke like ‘arm of time’ wafting back and forth across the deep dark hues of a mindful immeasurable connecting synaptic landscape between human experience and human memory and human realisation.       

Goolay'yari - Cooks River.

From a Marrickville Council pamphlet looking at useful plants of the Cooks River. The front cover includes the following Dreaming story associated with this waterway.  


ONE - Introduction to Catalogue (14 pages).pdf ONE - Introduction to Catalogue (14 pages).pdf
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Type : pdf
TWO - Main Gallery pages 15 - 28.pdf TWO - Main Gallery pages 15 - 28.pdf
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All the best...

FIVE APPENDIX Pages 59 - 66.pdf FIVE APPENDIX Pages 59 - 66.pdf
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I have added extra pdfs at the end of the catalogue pertaining to Aboriginal issues that I feel cannot be overlooked in the context of the Australian landscape.  The viewer should note that this section Is less purely aesthetic with it being far more political.

Size : 420.388 Kb
Type : pdf
'Australian Mateship' Final  MARCH 24 2012.pdf 'Australian Mateship' Final MARCH 24 2012.pdf
Size : 211.963 Kb
Type : pdf

 *I have been recently started to update this website with new images etc (Nov 2012) and was also going to polish it up but I've decided I'm not a shoeshine boy but a printmaker (not that I have anything against shoe shine boys who are to be deeply respected for their hard work) and I feel the 'home grown, cosy look is more appealing anyway. Adios.


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