E.165 Brooklyn 2011

• I. 1st state of 8

  

  Etching. A view of a bend in a meandering creek, with a bare-branched tree in the left foreground, opening onto a vista of low-lying hills. In the mid right distance are two trees, beyond which, on the horizon, is a small hill of rubbish in a refuse dump. Traces of burnishing are evident in the left half of the sky.

  Impression on cream wove Stonehenge paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-1’; lower centre: ‘Brooklyn’; lower right: signed and dated ‘R Amor ’11’.

• II. 2nd state of 8

  

  The trees in the foreground, and the furthermost hills, have been reworked in drypoint. Drypoint accents have also been added to many areas across the plate.

  Impression on cream wove Stonehenge paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-2’; lower centre: ‘Brooklyn’; lower right: signed and dated ‘R Amor ’11’.

• III. 3rd state of 8

  More drypoint has been added, notably to the rise in the right distance, to the narrow triangle of land in the middle distance at right, and to the eroded banks of the creek bed below.

  Impression on wove Somerset paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-3’; lower centre: ‘Brooklyn’; lower right: signed and dated ‘R Amor ’11’.

• IV. 4th state of 8

  

  Oblique drypoint hatching has been added behind the tree at the left, to the creek banks in the middle distance, and at right.

  Impression on wove Somerset paper with watermark, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-4’; lower centre: ‘Brooklyn’; lower right: signed and dated ‘R Amor ’11’.

• V. 5th state of 8

  Drypoint has been added to the distant hills, to the hill of waste, and to the jutting area of the creek’s left bank.

  Impression on wove Somerset paper with watermark, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-5’; lower centre: ‘Brooklyn’; lower right: signed and dated ‘R Amor ’11’.

• VI. 6th state of 8

  Drypoint cross-hatching has been added to the area behind the tree branches at left, and to the top of the trees at the upper right.

  Selectively wiped impression with light plate tone, on wove Somerset paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-6’; lower centre: ‘Brooklyn’; lower right: signed and dated ‘R Amor ’11’.

• VII. 7th state of 8

  Drypoint cross-hatching has been added to the middle and the upper right of the furthermost hills.

  Impression on wove Somerset paper, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-7’; lower centre: ‘Brooklyn’; lower right: signed and dated ‘R Amor ’11’.

• VIII. 8th and final state

  

  Drypoint cross-hatching has been added to the middle and the upper right of the furthermost hills.

  Selectively wiped impression with plate tone, on wove Somerset paper with watermark, printed by Rick Amor in his Alphington studio. Inscribed in pencil, below the plate mark: lower left: ‘1-8’; lower centre: ‘Brooklyn’; lower right: signed and dated ‘R Amor ’11’.

• Edition, 2011

  Edition of ten numbered impressions, selectively wiped and with plate tone, on wove Arches paper, printed by Rosalind Atkins at Kate Herd’s studio, Alphington. The edition included an artist’s proof and a printer’s proof. Each impression is inscribed in pencil, below the plate mark: lower left: ‘[status of impression]’ [or] ‘[1 through 10]/10’; lower centre: ‘Brooklyn’; lower right: signed and dated ‘R Amor ’11’.

  Edition sheet size: 192 x 252 mm

• Edition impression, 2011 (Featured Image)

  

• Comment

  This etching is after a painting, done on site around Somerville Road, Brooklyn, an industrial suburb ten kilometres west of the Melbourne CBD. The area accommodates large landfill and waste recycling plants, located in the vicinity of the Kororoit Creek, which is depicted in this print.

  On being asked why he had wanted to paint the Brooklyn landscape, Amor remarked that, as a plein-air painter, he tries to avoid the clichéd view, and, besides this, he found the area appealing for its bleakness.