These prints are the second exhibition featuring the UK artists Greg Fuller, Jason Hicklin and Tracy Hill.
This new exhibition investigates the Hunter River and surrounding Ocean, and its similarities with the Mersey.
In 2016 Fuller, Hicklin and Hill were invited to participate in the Lock-Up’s Artist in Residence Programme in Newcastle. This allowed them time and support to immerse themselves in walks along the edges of the Hunter River, to reflect on the industrial past and present and to walk the shoreline of the Pacific, where the River enters the Ocean.
“My aim is to show the beauty of post-industrial landscapes through my artworks; to question our interpretation of, and to be cautious of, the digital data sources on which we are increasingly reliant to help us navigate; above all I aim to invite personal encounters with forgotten landscapes.” (Tracy Hill, 2019)
For this show at Editions Gallery each artist has produced six images based upon the A5 paper format.
“Having travelled to the other side of the world, I expected to find a landscape and culture so alien to my own and wasn’t disappointed. The majesty and beauty of the natural environment, fauna and flora left me lost for words. The constant sunshine and clear blue skies that intensified the colours left me lost for marks to describe it.” (Greg Fuller, 2018)
Alongside the A5 works are larger works conceived specifically for the Curve Gallery, and later in 2019 the A5 works will be collated into box sets and be available through the Curve.
The surrounding landscape of Newcastle, NSW and Printmaking are the central elements to these works and it is our interpretation of your landscape.
“During my time in Newcastle I was a long way from home, with the warmth of the sun on my back instead of being wrapped in waterproofs. I walked the banks of the River and the shoreline of the Ocean, drawing in my sketchbooks. Each day began with a 5:30 am swim: watching the sun rise over the Ocean. The light of the Southern Hemisphere and the rhythms of the Pacific Ocean are what define these works.” (Jason Hicklin, 2019)