Contact me for limited edition print prices These works are the result of genuine collaboration with the landscape. They are literally constructed from light, earth and flesh. I love this technique of lumachrome glass printing for its ability to make dead animals and birds seem alive again. It is light alone that manifests these colours […]Read Post ›
Three poems from The Dingo’s Noctuary, in Verity La— Vision 1 Fitzroy Crossing; Vision 2 The Mongrels; Language of the Birds. First Descent of the Snake, or How Billy Graham was the Devil in the 1970s (Hecate Journal) Two Poems in Rochfort Street Review-– The Boabs; Elegy for a Thylacine in the National Museum Blake Poetry Prize winning […]Read Post ›
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Contact me for limited edition print prices These works are the result of genuine collaboration with the landscape. They are literally constructed from light, earth and flesh. I love this technique of lumachrome glass printing for its ability to make dead animals and birds seem alive again. It is light alone that manifests these colours […]Read Post ›
His whole life he’d dreamed of tidal waves, especially when frightened or overwhelmed. So when Jeffrey left his fox body, in a flooded river, he floated out over that gigantic amniotic ocean, and it lifted to meet his gaze, as if saying ‘you are known’. Lumachrome glass print, cliche-verre, chemigram sketch. Drowned fox cub with […]Read Post ›
Contact me for limited edition print prices See 2018 Lumachrome Glass Prints for Sale These works are the result of genuine collaboration with the landscape. They are literally constructed from light, earth and flesh. I love this technique of lumachrome glass printing for its ability to make dead animals and birds seem alive again. It […]Read Post ›
Contact me for limited edition print prices The earliest of these Lumachrome glass prints were made simply as expanded sunprints, on black and white fibre paper, coated with my own emulsions, and left to expose under glass for between 12 and 36 hours. This practice evolved through the use of complex layers of glass and […]Read Post ›
These galleries show working photographs for those interested in the practice of making these prints. They include images of deceased animals and birds, which some may find distressing. The first gallery shows some of the processes used in my prints, such as cliche-verre, chemigram etc. The second gallery shows my workspaces, from the earliest attempt […]Read Post ›
The Secret Language of Trees Nature studies, some of which will form the basis of a chapbook of images and poems. I take photographs of trees because it helps me to write poetry. Trees teach me to see. They bring me into the vital and immediate present in a way that culture cannot. These images […]Read Post ›
Kurdiji 1.0 is an app created by Warlpiri elders in collaboration with a small group of artists. It is designed to increase resilience in vulnerable Indigenous and non-Indigenous people, and to prevent suicides. This project has its roots in a decade long friendship I have developed with Warlpiri people in the Tanami desert. My role on […]Read Post ›
The Julfa Cemetery Digital Repatriation Project was initiated and developed by myself and Dione McAlary at Manning Clark House in Canberra. After the first year and a half we took the project to the Australian Catholic University and brought Harold Short and Drew Baker in to work with us. After our major exhibition in Rome, […]Read Post ›
Judith Nangala Crispin 