PLO to ADL
2022
cyanotype and encaustic on washi paper
34cm x 24cm (framed)
Claire Grant’s series of plane windows extend the historic printing style typical of cyanotype into abstracted vignettes. Aerial landscapes are suggested through simplified horizon lines, and hints of snaking rivers and coastlines are formed by a batik inspired wax resist technique, used in combination with blueprints from aviation navigation charts. Japanese washi paper is hand torn into the oval silhouette of an aircraft window. The use of washi is an homage to the ukiyo-e prints of Hokusai, in which he masterfully employed the striking Prussian Blue pigment that is also formed by the chemical reaction of the cyanotype process.
2022
cyanotype and encaustic on washi paper
34cm x 24cm (framed)
Claire Grant’s series of plane windows extend the historic printing style typical of cyanotype into abstracted vignettes. Aerial landscapes are suggested through simplified horizon lines, and hints of snaking rivers and coastlines are formed by a batik inspired wax resist technique, used in combination with blueprints from aviation navigation charts. Japanese washi paper is hand torn into the oval silhouette of an aircraft window. The use of washi is an homage to the ukiyo-e prints of Hokusai, in which he masterfully employed the striking Prussian Blue pigment that is also formed by the chemical reaction of the cyanotype process.
2022
cyanotype and encaustic on washi paper
34cm x 24cm (framed)
Claire Grant’s series of plane windows extend the historic printing style typical of cyanotype into abstracted vignettes. Aerial landscapes are suggested through simplified horizon lines, and hints of snaking rivers and coastlines are formed by a batik inspired wax resist technique, used in combination with blueprints from aviation navigation charts. Japanese washi paper is hand torn into the oval silhouette of an aircraft window. The use of washi is an homage to the ukiyo-e prints of Hokusai, in which he masterfully employed the striking Prussian Blue pigment that is also formed by the chemical reaction of the cyanotype process.
Claire Grant combines landscapes and personal experiences with alternative photography, printing in cyanotype and incorporating encaustic wax into delicate compositions on paper and textiles. She worked as a flight attendant for over a decade, taking inspiration from the aerial viewpoint and restricted perspectives offered out the plane window. Using light as her medium, she works with the sun, natural botanical elements, and water to form environmental imprints of time and place.
Originally from Aotearoa New Zealand, Grant moved to Australia in 2009 and currently lives in Meanjin (Brisbane). She holds a Bachelor of Fine Arts in Photography from the University of Canterbury and a Graduate Certificate in Museum Studies from the University of Queensland.
She has been a finalist in the Girra: Fraser Coast National Art Prize (2023), Banyule Award for Works on Paper (2021), Milburn Art Prize for Landscape (2021), and the Harold and Agnes Richardson Drawing Prize (2021).
@_loudandclaire_