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 is light alone that manifests these colours and shapes- not paint or anything that can be completely controlled.

I have largely invented this process, which involves arranging blood, clay, sticks, leaves, seeds, resin, ochres, etc., with road-killed animals or birds, on light-sensitised paper. Exposed 24 to 36 hours, while the sun arches east to west, fibre papers produce surprising arrays of colour. Over this I layer cliche-verre plates coated with resists of wax or paint, scratched with wire to create lines.

Sometimes I run electric currents over these plates to produce crystals in the ochre. For finer detail, I use chemigram variants, painting compounds like selenium or copper chloride directly onto feathers, scales or fur. I have called this Lumachrome glass printing because light produces colours in the emulsion (Lumachrome) and I use layered glass plates.

My process is different, adaptive, for each print. If an animal is still bleeding, I paint its blood into the image during exposure. Ochres, seeds, sticks, and other materials, are sourced where the animal or bird was found. If maggots and flies appear, their tracks are incorporated into the work. When the print is complete, the creatures are respectfully buried.

(From BETA magazine issuu 30)

See a slide show gallery of 2019 Lumachrome Glass Prints

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Ben sometimes felt he carried his artist girlfriend a lot, but she painted him stars while he slept

Lumen Print. cliché-verre Double exposure. Roadkill magpie, seeds and ash on fibre paper. First exposure, 12 hours under marked glass in the back of a ute. Second exposure, 12 hours with additional seeds and dirt. Winter light

Special Unique Edition only, 100cm x 72cm (available Maunsell Wickes Gallery from 17/9)

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Sometimes Greer, when she sleeps, becomes a tawny frogmouth inside a mountain. Her breathing startles the kangaroos. On nights like these, other nightbirds congregate in the foothills to wait. They know one day she’ll stay– lift through feathers and talon blades, her owl-quickened gaze, all hunger and intelligence and fear, to find her family perched around her in the pines

Lumachrome glass print, cliché-verre, chemigram. Roadkill Tawny Frogmouth under marked glass. Exposed 29 hours in tropical winter light.

Editioned prints 42cm x 75cm
(editions of 10)

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Mother lost to trucks, it was cold, and the night raining stars. Henry left the highway, following songlines across the great dividing range, to the sky country of kangaroos

Lumachrome glass print, chemigram. Frozen newborn joey on fibre paper, 36 hours in very cold conditions, mist and winter light.

Editioned prints 75cm x 58.5cm
(editions of 10)

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In dawn frost, Herb surrendered his body to tangled vines and lifted into the sun

Lumachrome glass print, chemigram, cliché-verre. Rat found in the ivy of Greer’s window, copper chlorides & acid (electrified), tennis ball and coffee filters on fibre paper. Exposed 30 hours under marked perspex in very cold conditions.

Special Unique Edition, 100cm x 79cm (available Maunsell Wickes Gallery from 17/9)
Also 75cm x 59cm editions (limited to 10)

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A bird is a shadow of something standing in the light. Over the beach, while Lee cradles an air-drowned penguin in her arms, a new bird casts itself from the fabric of space

Lumachrome glass print, cliché-verre, chemigram. Air-drowned fairy penguin (found by Lee), sand, seeds, crayon and chalk on fibre paper. Exposed 32 hours under marked perspex

Editioned prints 75cm x 36cm
(editions of 10)

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A sugar glider, carried gently from the road, ascends in Tamsin’s garden. They say angels will abandon anyone they can’t save

Lumachrome glass print, cliche-verre, chemigram and paint. Roadkill Australian sugar glider, grasses, petals, salt, graphite and acrylics on fibre paper. 26 hours under marked perspex in tropical winter light

Editioned prints 75cm x 40.5cm
(editions of 10)

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Enid, connected to Earth by zodiacal light– spider-strings in the old language, the umbilicus of Country

Lumachrome glass print, chemigram, cliché-verre. Deceased microbat on fibre paper. Exposed 26 hours under marked perspex.

Editioned prints 75cm x 54cm
(editions of 10)

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Christopher manifesting in bushfire smoke, near Nyrripi, where the water songline crosses the Southern Tanami Desert

Lumachrome glass print, cliché-verre, chemigram. Air-drowned Olive Sea Snake, leaves, ash, resin, on fibre paper. Exposed 32 hours in tropical winter light and eucalyptus smoke

Editioned prints 75cm x 48cm
(editions of 10)

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Delia in winter’s aurora, over Mt Majura– last decades of the Anthropocene

Lumachrome glass print, chemigram, cliché-verre. Window-collided Eastern Spinebill, blood, vegemite and paint on expired Novel darkroom paper. Exposed 32 hours under marked perspex

Special Unique Edition, 100cm x 58.5cm (available Maunsell Wickes Gallery from 17/9)
Also 75cm x 44cm editions (limited to 10)

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When Lionel died, his grandmother lowered a star string to the surface of the sea, and he followed it

Lumachrome glass print doubled exposed chemigram. National museum seahorse, salt, vegemite, selenium and string on expired Agfa paper under perspex. 4 hours first exposure, 14 hours second exposure.

Editioned prints 65cm x 43.5cm
(editions of 10)

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Bound together by an invisible cord, a spider’s string, Dorothy and Charlotte find each other again in the darkness of space

Lumachrome glass print, chemigram, cliche-verre. Cat-killed finch, roadkill marsupial mouse, crayon, resin and household chemicals on fibre paper, 26 hours under marked perspex in winter light.

Editioned prints 42.5cm x 65cm
(editions of 10)

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Stella weaves songlines across the darkness of space

Lumachrome glass print, chemigram, cliche-verre. Asian Koel, fallen in a poet’s garden, sand, vegemite, ballpoint pen and marker, on fibre paper. 32 hours under marked perspex in cold, wet conditions.

Editioned prints 34cm x 65cm
(editions of 10)

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Anthony over Henry’s Country, where the possum-men armies fought and were buried by pythons, beside speartrees, on the edge of a dry waterhole

Lumachrome glass print, cliche-verre, chemigram. Roadkill brush tail possum, fur painted with Copper Chloride, Magnesium Sulphate, Gold Chloride, developers and salt, on fibre paper, 28 hours under perspex marked with crayons.

Special Unique Edition, 100cm x 61cm (available Maunsell Wickes Gallery from 17/9)
Also 65cm x 39.5cm editions (limited to 10)

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In her last hours Joyce watched the eastern horizon for Venus to lift the sun on a string of zodiacal light. And when dawn came, she followed them into the sky, and their light carried her weight

Lumachrome glass print, cliche-cerre, chemigram. Roadkill Brushtail Possum, resin, seeds, crayon and brushed ochre on fibre paper and muslin, exposed 32 hours in winter shade.

Editioned prints 65cm x 40cm
(editions of 10)

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When Richard was ready, magpies sang at his hospital window until he remembered wings

Special Unique Edition, 100cm x 63cm (available Maunsell Wickes Gallery from 17/9)
Also 75cm x 47cm editions (limited to 10)

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Lily returns to Altair, the brightest of Aquila’s stars, wearing the body of a crow

Lumachrome glass print, cliché-verre. Roadkill crow, ochres & dandelion seeds on fibre paper. Exposed 32 hours in autumn light under brushed perspex

Special Unique Edition, 100cm x 79cm (available Maunsell Wickes Gallery from 17/9)
Also 75cm x 59cm editions (limited to 10)

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Gerard becoming stars, in the sky over Henbury crater field- where falling stars once became lizards

Editioned prints 65cm x 37cm
(editions of 10)

Lumachrome glass print, chemigram, cliche-verre. Eastern dragon run over in Andrew’s driveway, ochre, resin and paint, on fibre paper. Exposed 26 hours under scratched glass.

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When death came for Freddie, he kept his eyes on the light, as his Grandmother told him- and the light recognised him from his gaze

Editioned prints 65cm x 51cm
(editions of 10)

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Jessica becoming stars, in the place of fireflies and river trees, last ceremony ground of the rex hares

Editioned prints 75cm x 59cm
(editions of 10)

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One clear night, Lilian followed the Milky Way out toward Orion. All her life she had stared up at Betelgeuse, the giant red star, and felt it staring back

Lumachrome Glass Print and chemigram. Roadkill Australian Masked Owl on fibre paper. Two printings– 32 hours and 21 hours under perspex in full summer sun and starlight.

Special Unique Edition, 100cm x 77.5cm (available Maunsell Wickes Gallery from 17/9)
Also 68.5cm x 53cm editions (limited to 10)

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She had never been a big person, but when Caroline entered the afterworld, the movement of her wings turned the air to ice crystals

Lumachrome glass print, cliche-verre, chemigram. Deceased Damselfly and metal salts/acids (under electric current) on fibre paper, 42 hours under marked perspex in summer light.

Special Unique Edition, 100cm x 44.5cm (available Maunsell Wickes Gallery from 17/9)
Also 55cm x 24.5cm editions (limited to 10)

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Otto and Astrid leaving the Tanami Desert. Some love stories are stronger than death

Lumachrome glass print, cliche-verre, chemigram. Two roadkill Kookaburras, soil, wax, resin and ochres on fibre paper, 32 hours in sand storm conditions and varied light.

Special Unique Edition, 100cm x 81cm (available Maunsell Wickes Gallery from 17/9)
Also 68cm x 55cm editions (limited to 10)

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Poisoned by humans, Hannah called out, in all her terror and aloneness, and the sky drew her back into its womb, on a string of blood and hair

Lumachrome glass print, with chemigram. Baited marsupial mouse and blood on fibre paper, 14 hours under marked perspex in thick humidity and summer light.

Special Unique Edition, 100cm x 65.5cm (available Maunsell Wickes Gallery from 17/9)
Also 62cm x 40.5cm editions (limited to 10)

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Renald transfigured as aurora. “Light shines into the darkness, and the darkness does not understand it”

Lumachrome glass print and chemigram. Roadkill Horsfield’s Bronze Cuckoo, blood and chemistry on fibre paper. 39 hours under perspex in heavy rain, lightning and storm light.

Editioned prints 50cm x 40.2cm
(editions of 10)

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Agnes was born in rain, and to rain she returned– a single drop falls into the Murrumbidgee River, into her mother’s body, and disappears

Lumachrome glass print, chemigram, cliche-verre. Baby brown snake from Helen’s garden, seeds and clay on fibre paper. 33 hours under marked perspex in very bright summer light, starlight and stormlight.

Editioned prints 50cm x 33cm
(editions of 10)

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In the afterlife, Rudolf struggled to say goodbye to gorges and riverstones, the oyster-coloured light of deserts, and so he lingered

Lumachrome glass print and chemigram. Roadkill Eastern Water Dragon, painted in selenium, and exposed 32 hours under marked perspex in full summer light and high humidity.

Editioned prints 65cm x 40cm
(editions of 10)

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Melissa singing from inside the storm, over Brown Mountain, lulling white eucalypts to sleep

Lumachrome Glass Print, Cliche Verre, Chemigram. Roadkill Eastern Brown snake, sticks, dried leaves, shed python skin, and clay on fibre paper. 32 hours in full summer light.

Editioned prints 67cm x 43cm
(editions of 10)

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Zebra finches herald rain, over the salt lakes at Mina Mina – women’s sacred country

Lumachrome glass print, cliche-verre. Beach-drowned jellyfish on fibre paper, under perspex marked with sticks, pencil, ochres and seeds. Exposed 22 hours in full summer sun, and a sprinkling of rain.

Editioned prints, 65cm x 43.5cm
(editions of 10)

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Four birds and a lizard return to their ancestors, on spider-strings, over Mt Cooroora, in Kabi-Kabi Country

This work was created at The Cooroora Institute in the South-East Queensland Hinterlands.

Five panel Lumachrome glass print, chemigram, cliche-verre. Landscape and sky: cliche-verre and lumen from beached jellyfish, shed python skin, echidna spines, spiders, human hair, garnia seeds, twigs, rainforest ochres, oil paint, vegemite, petals and crystals made from copper chloride and acid with a current run through it – with roadkill southern boobook owl, roadkill masked lapwing, roadkill eastern water dragon, roadkill purple swamp hen, roadkill rainbow lorikeet on fibre paper. Exposure times of between 29 and 41 hours under acetate and perspex in humid conditions. Summer light and rain light.

Special Unique Editions, 100cm x 77.5cm per panel (available Maunsell Wickes Gallery from 17/9)
Also 70cm x 30.5cm editions (limited to 10)

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Mel lifting to her ancestors, on a spider-string, over Mt Cooroora, in Kabi-Kabi Country

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Anika lifting to her ancestors, on a spider-string, over Mt Cooroora, in Kabi-Kabi Country

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Ross lifting to his ancestors, on a spider-string, over Mt Cooroora, in Kabi-Kabi Country

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Karla lifting to her ancestors, on a spider-string, over Mt Cooroora, in Kabi-Kabi Country

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Tamsin lifting to her ancestors, on a spider-string, over Mt Cooroora, in Kabi-Kabi Country

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There are strings, the echidna told me, like electric wires, that bind a spirit to its country

Lumachrome glass print, chemigram and cliche-verre. Roadkill echidna, flowers, wax, mud and resin on fibre paper, 30 hours under paint-scratched perspex.

Special Unique Edition, 100cm x 60cm (available Maunsell Wickes Gallery from 17/9)
Also 65cm x 39cm editions (limited to 10)

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After everything – rain and road, the uncertain drift over Mt Cooroora, Matilda opened her eyes and discovered she was strong

Contact printed Lumachrome glass print, cliche-verre. Roadkill ringtail possum, oil paint, tumeric, greased canvas, rainforest seeds, twigs, flowers and dirt on fibre paper. 26 hours in a refrigerated perspex box.

Editioned prints, 65cm x 44.5 cm
(editions of 10)

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Malcolm, knocked to ground by monsoonal storms, waited – feather and bone, stones, grass – until fire lifted him.

Lumachrome glass print, cliche-verre. Fallen baby Myna, stamens of Rainforest flowers, copper II chloride, Tumeric and salt on Ilford paper. 22 hours under marked perspex in variegated summer light.

Editioned prints, 65cm x 41.5cm
(editions of 10)

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Out in space, Doreen kept her Kingfisher form – it reminded her of diving, how the cold river closed overhead like an eye. And somewhere in that memory was love and, in that love, connection

Lumachrome glass print and chemigram. Roadkill Kingfisher (2nd print from the same bird) and Tamsin’s hair on fibre paper. 32 hours in high humidity and rainlight.

Editioned prints, 65cm x 33.5cm
(editions of 10)

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Tamsin dreams of Froglady, her hairstring grazing the tops of rainforest trees, like an invitation

Lumachrome glass print, cliche-verre, chemigram. Fallen rocket frog, a lock of Tamsin’s hair and copper chloride solution (activated with battery terminals) on fibre paper. 17 hours in very humid conditions.

Editioned prints, 65cm x 35.5cm
(editions of 10)

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