by karen fletcher M.Ed.
Linocut and blind embossing on BFK Rives 100% cotton rag
h: 35 w: 35 d: 1 (cms).
The Top End of Australia is a place of extraordinary ecological richness — layered, teeming, and largely hidden from those who move through it too quickly. My practice as a printmaker is rooted in this environment: its wetlands, its birds, its intricate web of interdependent life. To make a linocut print is to slow down, to notice, to honour what is actually there. In Good Company centres on two brolgas — lifelong partners — standing among the lotus and grasses of a Top End wetland. Brolgas mate for life, and there is something quietly profound in their steadfast companionship. The inked layer reveals what the eye immediately sees — the brolgas, the lotus, the grasses. The embossed layer reveals what is easily missed: dragonflies hovering, a butterfly in the reeds, a St Andrew’s Cross spider, a caterpillar along the base. An entire community, present but unseen. Two blocks, two opposing carving logics, two ways of marking paper. The seen and the unseen together.
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