Manly Library Artist Book Award - The List of Acquisitions Announced




My unique state linocut artist book, The Collected Dead Letters Volume 2 (15.8 x 21cm), has been chosen as one of the nine acquired at the Manly Library Artist Book Award. The full list is below, congratulations everyone!

More photos below of some of the inserts, and there are more here in my previous post.

24th March to 12th April

Manly Library
Market Place
Manly NSW 2095


The 2015 judges Helen Cole and Steven Miller opened the exhibition and announced the acquisitions; nine works were selected for purchase and inclusion in our permanent collection.

·         'Chance' by Helen Malone and Jack Oudyn | 2014 
·         'According to Plan' by Rob Kovitz | 2014
·         'The One Who Stopped' by Caren Florance | 2014 
·         'Country' by Bronwyn Rees | 2014 
·         'The Book of Asylum' by Bernard Appassamy | 2013 
·         'Collected Dead Letters, Volume 2 by Elizabeth Banfield | 2014 
·         'A Journey from One Reality to Another' by Mark Wingrave | 2014 
·         'Living Water: the river hid, logbook, codex' by Annique Goldenberg | 2014 
·         'Assimilated Museum' by Deanna Hitti | 2015 









Manly Library Artist Book Award - 2015 Finalist





The Manly Library Artist Book Award exhibition opens on Tuesday, this is my selected work The Collected Dead Letters Volume 2, a unique state linocut book (15.8 x 21cm).

The first volume was made for the New Ground exhibition at Hawthorn Town Hall Gallery early last year, and this one follows the same format; a concertina bound book with ten hand made envelopes, eight of which contain 'letters', with the last two containing small pamphlet bound books (a page of one of these is the new photo at the top of this site). The concertina binding allows for a lot of expansion, the book can still sit flat when closed, even though it is full of inserts and sewn leaves.

The letters and little books were all made from proofs, leftovers, trial prints and ghost prints. The only parts that were carved and printed specifically for the piece were the red and blue leaves, cut out and sewn to each letter. Below are photos of two of the letters, the first features a ghost print on red mingeishi paper, and the second features a proof print from a linocut of a few years ago Mountain Ash Jigsaw, with an overlay of one of the blocks from my book Shyness, the print was made when I was testing colour combinations for that book. The envelopes were made with cotton rag paper, Rives BFK 250gsm, and all the letters are made from Japanese papers sewn to a cotton rag 'card' to protect them.

My friends from the Firestation Print Studio, Bronwyn Rees and John Hinds, also have works selected for the exhibition.


24th March to 12th April

Manly Library
Market Place
Manly NSW 2095








photographs by Jeremy Dillon


2015 Burnie Print Prize Finalist





The Burnie Print Prize exhibition opened at Burnie Regional Gallery in Tasmania on Friday night. This is my selected work Turning to Ash, which was originally part of my Forest of Ambiguity exhibition at the Little Window of Opportunity at Port Jackson Press.

Below is a statement I wrote regarding the piece, and here are some photos of it in situ at Port Jackson Press.

Burnie Print Prize
Burnie Regional Art Gallery
Wilmot Street
Burnie, Tasmania

14th March to 10th May

10am to 4.30pm Monday to Friday
1.30 to 4.30 Saturday, Sunday and Public Holidays


With this print I wanted to look at our desire to live in beautiful natural environments, such as the Mountain Ash forests of southern Victoria.

I particularly wanted to confront my own feared bushfire scenario, the one that comes each February, when it feels selfish and foolhardy to live in an environment that includes fire as an important part of its life cycle.  Leaves fall from these trees at all times of the year; in winter they are green and covered with bright pink insect larvae casings, but in the summer they are dry and buckled, they swirl around in the hot northerly wind, much too reminiscent of the far-reaching embers that precede a bushfire.

The work is printed on two layers of Japanese Gampi Silk Tissue, held together at top and bottom with stitching and black etching paper, but still allowing the paper to flutter a little in the slight air movements of a gallery.

The flying ash texture was created by gently hand printing the lino block using just the palms of my hands. The translucency of the paper also allows the colour and pattern of the second (press-printed) layer to be evident without being fully shown. The holes cut through the leaves, corresponding with those made by insects, illuminate glimpses through.


It will always be just a glimpse, as we can neither fully understand the nature that surrounds us, nor our desire to live within it.



installation view, Town Hall Gallery, Hawthorn, 2014