- Media category
- Materials used
- lift ground aquatint, drypoint on steel, black ink on white Velin Arches 300 gsm paper
- 120.9 x 79.9 cm sheet; 134.3 x 94.8 x 4.2 cm frame
- Signature & date
Signed and dated l.l.
- Contemporary Collection Benefactors 1993
- Not on display
- Accession number
- © Aida Tomescu/Copyright Agency
- Artist information
Works in the collection
Aida Tomescu worked on the four plates that form this suite at the same time, allowing her gestures to flow freely between them, thus uniting them as a whole.
"Overall the work evolved as a chain of experiences which opened up a space where structure and form grew out of the making of it. Although the drawing on each etching plate was self-contained there is an implicit serial relationship to the work. The layering that happened within each work opened the potential for the next. My concern was with the resonance within the spaces and with the openings of light. It was the stillness that opened up intriguing possibilities".
Australian Art Department, AGNSW, 2000
Shown in 3 exhibitions
Review: works by women from the permanent collection of the Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 08 Mar 1995–04 Jun 1995
Australian prints from the Gallery's collection (1998-1999), Art Gallery of New South Wales, Sydney, 06 Nov 1998–07 Feb 1999
Aida Tomescu: Under the Iron Moon, Orange Regional Gallery, Orange, 03 Dec 2021–23 Jan 2022
Referenced in 3 publications
Deborah Edwards, Daphne Wallace, Margo Neale, Victoria Lynn and Sandra Byron, Review: works by women from the permanent collection of the Art Gallery of New South Wales, "Women Artists in the Contemporary Collection", Victoria Lynn, p13-15, Sydney, 1995, 15, 27.
Hendrik Kolenberg and Anne Ryan, Australian prints from the Gallery's collection, Sydney, 1998, 155 (colour illus.). cat.no. 132
Margaret Marsh, Michelle Watts and Craig Malyon, A.R.T. 2 practice, South Melbourne, 2005, 32 (illus.). illus.no. 2.14
Other works by Aida Tomescu
See all 27 works