- Catalogue Number
- Title and Date
- Two trees 1993
- Description of Featured Image
- A close-up view of densely grouped buildings, with a narrow passage between them; light strikes this area from an unseen source at right. On the left side of the walkway are rusticated nineteenth-century buildings, while those on the right and in the distance appear to be from the twentieth century. In the lower right foreground are two bare, spindly trees.
- Where Made
- Dunmoochin, Cottles Bridge
- Medium Category and Technique
- Intaglio Print: Etching over sandpaper ground, drypoint and burnishing on copper
- Wove paper. Identified papers: No papers identified.
Image size: 129 x 143 mm
Matrix size: 130 x 146 mm
- Artist’s Record Number
- Printer(s) and Workshop(s)
- Both impressions printed by Rick Amor in his Dunmoochin studio, Cottles Bridge.
- Summary Edition Information
- Two states. No edition.
- For a perceptive account of Amor’s views of the city of Melbourne, see Gary Catalano, The Solitary Watcher: Rick Amor and His Art, Melbourne University Press, Carlton South, Victoria, 2001, pp. 148–67. Amor’s comment on the city, quoted below, was made in an interview with Sonia Harford, published in the Age in 1994 and quoted by Catalano, p. 149.
- For an illustration of one of the painted variants of this composition, The secret city, 1993–94, see Gavin Fry, Rick Amor, Beagle Press, Roseville, NSW, 2008, p. 53.
- State Library of Victoria, Melbourne: one state impression, numbered 1.
This etching is one of a series of inner-city images depicting a lane near the corner of Collins and Russell Streets in Melbourne’s CBD. Each of these works takes a slightly different approach to its subject, with the variation lying in the angle of representation, or the architectural details included, or the placement of the two trees. E.082 is the only print in the group, and the only work whose title diverges from those of the others.
The drawing and paintings related to E.082 are all titled The secret city, thus reflecting a comment by Amor on those of his subjects that deal with life in the contemporary city: ‘I’ve always thought that behind the facade of a building all sorts of mysterious things go on. I suppose it’s from my childhood and reading Kafka. I like to suggest that behind prosaic reality something else is lurking’ (quoted in Catalano 2001, p. 149).
This observation applies equally to the present etching, which is in fact the most claustrophobic version of its subject, and the only version without figures.
The etching was substantially complete in the first state. However, Amor decided to add drypoint in the second and final state, not only to clarify compositional details, but also to emphasize the shadows in the image – thus rendering it more dramatic, and heightening its atmosphere of mystery and foreboding.
- City, Cityscapes & streetscapes, Melbourne
Record last updated 05/08/2017