by mary claire whalley BA
Linocut on 300gsm 100% cotton rag paper
h: 42 w: 36 d: 1 (cms).
It makes sense to look up at the architecture of Europe, but in the city where I now live, I find myself looking down. In the cracks of the pedra calçada (traditional Portuguese paving stones), I see a familiar wildness. Coming from New Zealand, a place known for its untamed beauty, I am fascinated by how plant life persists in the city. This print is both a self-portrait and a love letter to the 'in-between' spaces of Portugal. It records the slow disintegration of azulejos (traditional patterned tiles) and the quiet defiance of dandelions. It is a study of where I stand now—literally and figuratively.
£120 (As exhibited.)
£120
(Unframed print.)
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by mary claire whalley BA
Linocut on 300gsm 100% cotton rag paper
h: 42 w: 30 d: 1 (cms).
In 1880, Porto was named "The City of Camellias," a title celebrating the flowers that have bloomed in the city for more than a century. I've always thought of European cities as a kind of collage where generations of aesthetics are layered on top of one another. In this print, I’ve used a traditional azulejo (tile) pattern of camellias and textures of pedra calçada (paving stones) to frame a simple, human gesture. A passerby carries a bouquet; we are left to wonder about their destination. The technical challenge was to create a sense of depth and variety using only a single shade of blue taken from the colour of glaze often used in azulejos. By playing with pattern and scale, I aim to explore how the structured lines of architecture, the organic forms of nature, and the presence of humans interact each other for a fleeting moment on a Portuguese street.
£120 (As exhibited.)
£120
(Unframed print.)
Please Note: If you are overseas and interested in a purchase, please note that there will be additional costs for postage and packaging added to this price. Feel free to enquire about this using the button below.