This work forms part of Peta Clancy’s extended series Undercurrent, which seeks to uncover Indigenous sites of significance. It was made as a part of her project that specifically looked at sites of significance from within the City of Monash and was created for MGA's commissioning exhibition, Portrait of Monash: the ties that bind. The work shows an Aboriginal scarred tree that was moved from its original location in Glen Waverley during the widening of Springvale Road in 1965. The tree has been conserved on behalf of the City of Monash as part of the council's commitment to the protection of the cultural heritage of the region. The distinctive shape of the scar on this tree was caused by the removal of a sheet of bark, which would have been used in traditional Aboriginal society for a wide range of social, economic and ceremonial purposes, including the construction of canoes, shelters and containers.
(2023)
Also known as Giclee prints or bubble-jet prints, pigment ink-jet prints are generated by computer printers from digital or scanned files using dye-based or pigment-based inks. A series of nozzles spray tiny droplets of ink onto the paper surface in a precise pattern that corresponds to the digital image file. In dye-based prints the ink soaks into the paper, whereas in pigment-based prints the ink rests and dries on top of the paper surface.
Whilst the term is broad, pigment ink-jet prints have come to be associated with prints produced on fine art papers. They are the most versatile and archival method of printing available to photographers today. A wide variety of material on which an image can be printed with such inks are available, including various textures and finishes such as matte photo paper, watercolour paper, cotton canvas or pre-coated canvas.
