Elizabeth Banfield studied printmaking at the South Australian School of Art (Bachelor of Arts, Fine Art, 1984), and now lives and works in Melbourne.
Elizabeth has won the Print Award at the biennial Swan Hill Print and Drawing Acquisitive Awards for her artist book 'from Loftia Park'. Her work is also held in many private and public collections, including the Art Gallery of South Australia, the National Library of Australia, State Libraries of Queensland, NSW and Victoria, as well as many Regional Galleries throughout Australia. She has been selected as a finalist in many prestigious juried exhibitions such as the National Works on Paper, the Geelong Acquisitive Print Award, the Rick Amor Print Prize, the Silk Cut Award for Linocut Prints and the Libris Award for Artist Books.
Elizabeth's current practice continues to centre around the use of Japanese tissue papers. She is able to make use of their delicate structural qualities to facilitate layering, translucency, pattern and colour mixing. The seemingly ephemeral nature of the paper contributes to her on-going themes of the ever-changing landscape, and our ever-changing memories of it and its associations. (Link to CV)
Elizabeth has won the Print Award at the biennial Swan Hill Print and Drawing Acquisitive Awards for her artist book 'from Loftia Park'. Her work is also held in many private and public collections, including the Art Gallery of South Australia, the National Library of Australia, State Libraries of Queensland, NSW and Victoria, as well as many Regional Galleries throughout Australia. She has been selected as a finalist in many prestigious juried exhibitions such as the National Works on Paper, the Geelong Acquisitive Print Award, the Rick Amor Print Prize, the Silk Cut Award for Linocut Prints and the Libris Award for Artist Books.
Elizabeth's current practice continues to centre around the use of Japanese tissue papers. She is able to make use of their delicate structural qualities to facilitate layering, translucency, pattern and colour mixing. The seemingly ephemeral nature of the paper contributes to her on-going themes of the ever-changing landscape, and our ever-changing memories of it and its associations. (Link to CV)
Finalist - Burnie Print Prize 2019
Burnie Regional Art Gallery
Wilmot Street
Burnie, Tasmania
23 March to 5 May 2019
epistolary, 2017, linocut artist book, Tengucho tissue, 38cm x 58cm
Photograph by Matthew Stanton
Wilmot Street
Burnie, Tasmania
23 March to 5 May 2019
epistolary, 2017, linocut artist book, Tengucho tissue, 38cm x 58cm
Photograph by Matthew Stanton
Imprint: A Survey of the Print Council of Australia - Parliament House, Canberra
Level 1, Parliament House, Canberra
1 March-12 May
9am to 5pm daily
Free entry
letter to the lost, 2018, linocut artist book, 18cm x 18cm, portfolio enclosure 19cm x 19cm, Tengucho tissue, Rives black 250gsm, thread, edition of 30
Photograph courtesy of the Print Council of Australia Inc.
prints and artist books available through:
PG Printmaker Gallery
227 Brunswick Street, Fitzroy
image: letter 17 - heartfelt, 2017, linocut, kozo tissue, thread, 51cm x 111.5cm
Photograph by Matthew Stanton
Photograph by Matthew Stanton
Queenscliff Gallery and Workshop
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Douglas Stewart Fine Books
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image: exposure, 2016, linocut, kozo tissue (crumpled), thread, 26cm x 21cm |
image: Charcoal, volumes 1 and 2, 2013, linocut artist book, double concertina, with phase box enclosure, 15cm x 10cm (page size) Photograph by Jeremy Dillon |