Clouding Over 20125 Rubber stamps on Korean paper 76X 56 cm. Exhibited: Firestation Print Studio, 4th Biennial National Monoprint Prize 2025. 2nd prize winner.
https://www.fps.org.au/monoprint-prize-20251.html
Judges’ Comments:
Clouding Over is a lyrical work that brings together art history, language and science. This visually complex, poetic monoprint is inspired by famed British landscape painter John Constable’s cloud studies of 1820-22, the nomenclature of clouds developed by amateur meteorologist Luke Howard in the early 1800s, and the constantly changing atmospherics of the sky. Using individual rubber stamps to compose the Latin names of clouds, Duxbury introduces varying degrees of intensity in repetition, layering and inking, to define cloud formations, and, as the artist states, to convey the ‘shifts and fluctuations in the sky as clouds dissipate and reform’. Duxbury’s study of historical engravings – specifically variations in the width of incised lines to achieve tonality in depicting skies and clouds – represents an interesting exchange between different printmaking processes and eras. The immediacy and uniqueness of the monoprint medium is perfectly suited to the subject of ever-changing, unfixed cloud formations, while the choice of thin tissue paper similarly lends itself to the imagery: the subtle movement of paper suggesting the mutability of clouds and weather conditions.
https://www.fps.org.au/monoprint-prize-20251.html
Judges’ Comments:
Clouding Over is a lyrical work that brings together art history, language and science. This visually complex, poetic monoprint is inspired by famed British landscape painter John Constable’s cloud studies of 1820-22, the nomenclature of clouds developed by amateur meteorologist Luke Howard in the early 1800s, and the constantly changing atmospherics of the sky. Using individual rubber stamps to compose the Latin names of clouds, Duxbury introduces varying degrees of intensity in repetition, layering and inking, to define cloud formations, and, as the artist states, to convey the ‘shifts and fluctuations in the sky as clouds dissipate and reform’. Duxbury’s study of historical engravings – specifically variations in the width of incised lines to achieve tonality in depicting skies and clouds – represents an interesting exchange between different printmaking processes and eras. The immediacy and uniqueness of the monoprint medium is perfectly suited to the subject of ever-changing, unfixed cloud formations, while the choice of thin tissue paper similarly lends itself to the imagery: the subtle movement of paper suggesting the mutability of clouds and weather conditions.
Splitting Light#5 2013. Screenprint flocked with mica. 80 X 100 cm
Splitting Light#6 2013. Inkjet print. 80 X 100 cm
Splitting Light#5 and #6 . Exhibited: Out of the Matrix at RMIT Gallery Melbourne, 2016. Photograph: Tobias Titz. https://rmitgallery.com/exhibitions/out-of-the-matrix/
What a Day! 2006. Inkjet prints. Each 50 X 75 cm
Wonder (between eye and sun) 2005. Inkjet and screen print. Each 75 X 95 cm
Double Moonbow#1 2006. Inkjet and relief prints Double Moonbow 2006. Inkjet print and acrylic on wood. Exhibited: Luminous World at Ian Potter Gallery, University of Melbourne 2014
Collection: Wesfarmers, Perth
Collection: Wesfarmers, Perth
Double Moonbow#2 2006. Screenprint and relief print, acrylic on wood. Each 28 X 28 cm. Overall 28 X 250 cm.
Exhibited: Proof at National Gallery of Victoria 2006. www.ngv.vic.gov.au/exhibition/proof/ Collection: National Gallery of Victoria, Melbourne
Exhibited: Proof at National Gallery of Victoria 2006. www.ngv.vic.gov.au/exhibition/proof/ Collection: National Gallery of Victoria, Melbourne
Sky Blue 1998. Inkjet and relief prints. Each 80 X 100 cm.
Sudden Shower 1999. Relief prints 300 X 800 cm.