For this exhibition I invited six printmakers whose work addresses ideas of landscape and the sublime. There is a thread of water connecting this work although it is not a thread held taught as a theme but rather a recurring note or a current. Water, coastlines and ships are recurring notes across the exhibition.
When describing the sublime, it can be the overwhelming feeling of a landscape much vaster than yourself. A landscape that may not be concerned with you and a possible feeling of smallness. Like the feeling of being on the ocean without land in sight. Some of the large works in this show can touch on that feeling in their vast uncertain spaces.
I chose to title the show “The Farthest Shore” because it implies the possibility of the edge of the world or the edge of what is known and unknown. And is a place of boundary and transition. And edge between one and another and the edge between you and me. The title is also a translation of a line from the Heart Sutra as in a teaching that goes beyond the edges of what we know.
Many of these are not traditional prints as we think of them. The large scale works on paper challenges some traditional presentations of how prints are exhibited.