Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved.

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Line works I have read that writers write to find out what they think, and similarly, artists draw to recognise what they see. Each work in this series is the product of this kind of process; there is a puzzle to be solved, and a new “thing” comes into being, which can be examined and shared. They begin with a loose mesh, drawn out slowly, but randomly - a rough draft, without intention or judgement. As boundaries begin to separate spaces, and shapes appear, intuition steps in - some are chosen, and some are buried, in a kind of reverse editing process where only addition is possible. Simple lines gradually build complex patterns, and pathways are woven into being. I seek out indeterminate objects, existing in a liminal space between abstraction and representation. These landscapes may be of human or geological invention, they may be macro- or microscopic, aerial, or terrestrial views. Though I push towards a resolution of the drawing, I hope that they remain open and conversational, a mystery never quite solved. Tania Rollond August 2023

Time and place, portrayed through an engagement with landscape, are the common threads running through my work in ceramics, drawing and print. Fired clay holds time for thousands of years, each mark permanently embedded, while collages are objects made and re-made, artefacts of change. In these works, I call upon the material language of paper and print to evoke the intangible and ephemeral - the changing light across the day, and the landscape’s progression through the seasons. Each collage, like the land itself, has endured a journey through cycles of creation and destruction, briefly holding the past, present, and possible in provisional arrangement, before settling into its current form. The steady, deeply carved gestures of my original woodblock prints have been crushed, torn, overdyed and reassembled into new, fragile associations - a network of fragmented marks which may suggest ripples or strata, the movement of air, water, or earth. The soft paper has become worn and the surface dense with intricate detail, as several prints condense into each new, vibrating whole: a simply structured field of colour, holding the energy of a moment in time.

Time and place, portrayed through an engagement with landscape, are the common threads running through my work in ceramics, drawing and print. Fired clay holds time for thousands of years, each mark permanently embedded, while collages are objects made and re-made, artefacts of change. In these works, I call upon the material language of paper and print to evoke the intangible and ephemeral - the changing light across the day, and the landscape’s progression through the seasons. Each collage, like the land itself, has endured a journey through cycles of creation and destruction, briefly holding the past, present, and possible in provisional arrangement, before settling into its current form. The steady, deeply carved gestures of my original woodblock prints have been crushed, torn, overdyed and reassembled into new, fragile associations - a network of fragmented marks which may suggest ripples or strata, the movement of air, water, or earth. The soft paper has become worn and the surface dense with intricate detail, as several prints condense into each new, vibrating whole: a simply structured field of colour, holding the energy of a moment in time. Signed Tania Rollond in pencil on verso Tania Rollond August 2023

Time and place, portrayed through an engagement with landscape, are the common threads running through my work in ceramics, drawing and print. Fired clay holds time for thousands of years, each mark permanently embedded, while collages are objects made and re-made, artefacts of change. In these works, I call upon the material language of paper and print to evoke the intangible and ephemeral - the changing light across the day, and the landscape’s progression through the seasons. Each collage, like the land itself, has endured a journey through cycles of creation and destruction, briefly holding the past, present, and possible in provisional arrangement, before settling into its current form. The steady, deeply carved gestures of my original woodblock prints have been crushed, torn, overdyed and reassembled into new, fragile associations - a network of fragmented marks which may suggest ripples or strata, the movement of air, water, or earth. The soft paper has become worn and the surface dense with intricate detail, as several prints condense into each new, vibrating whole: a simply structured field of colour, holding the energy of a moment in time.

Time and place, portrayed through an engagement with landscape, are the common threads running through my work in ceramics, drawing and print. Fired clay holds time for thousands of years, each mark permanently embedded, while collages are objects made and re-made, artefacts of change. In these works, I call upon the material language of paper and print to evoke the intangible and ephemeral - the changing light across the day, and the landscape’s progression through the seasons. Each collage, like the land itself, has endured a journey through cycles of creation and destruction, briefly holding the past, present, and possible in provisional arrangement, before settling into its current form. The steady, deeply carved gestures of my original woodblock prints have been crushed, torn, overdyed and reassembled into new, fragile associations - a network of fragmented marks which may suggest ripples or strata, the movement of air, water, or earth. The soft paper has become worn and the surface dense with intricate detail, as several prints condense into each new, vibrating whole: a simply structured field of colour, holding the energy of a moment in time.

Catapulted into a new perspective on life and a gruesome awareness of how the human mind tries to make sense of its surroundings after an extended period in my early forties, I use symbolism from events historically known to be layered with propaganda and manipulative messaging in my work to illustrate aspects of the human psyche. The decades long era of the Cold War, now rotting in the rear-view mirror of history offers ample material for dissection into how susceptible we can be to covert messaging and how we want or tend to believe things are as they appear. For these two works, The Zone I and II, I’ve made references to the aftermath of the meltdown of the reactor at Chernobyl in 1986, and the long-lasting effects that created the eerie environment that exists in its wake, still unsafe for human habitation. To create the references I worked from, I found dolls from the same period as those being played with by the children of Pripyat at the time of the event. Of course they didn’t arrive from the eBay seller in terrible shape, so I helped them along a bit :), and then went forward gathering the remaining props and shooting the pics in controlled low colored light. The works are executed in acrylic on 90lb Stonehenge rag paper. The degree of rendering ranges from representational to immediate marks that only fractionally describe forms made with translucent quinacridone pigments.

The Zone I and The Zone II Catapulted into a new perspective on life and a gruesome awareness of how the human mind tries to make sense of its surroundings after an extended period in my early forties, I use symbolism from events historically known to be layered with propaganda and manipulative messaging in my work to illustrate aspects of the human psyche. The decades long era of the Cold War, now rotting in the rear-view mirror of history offers ample material for dissection into how susceptible we can be to covert messaging and how we want or tend to believe things are as they appear. For these two works, The Zone I and II, I’ve made references to the aftermath of the meltdown of the reactor at Chernobyl in 1986, and the long-lasting effects that created the eerie environment that exists in its wake, still unsafe for human habitation. To create the references I worked from, I found dolls from the same period as those being played with by the children of Pripyat at the time of the event. Of course they didn’t arrive from the eBay seller in terrible shape, so I helped them along a bit :), and then went forward gathering the remaining props and shooting the pics in controlled low colored light. The works are executed in acrylic on 90lb Stonehenge rag paper. The degree of rendering ranges from representational to immediate marks that only fractionally describe forms made with translucent quinacridone pigments.

In this portrait, nature becomes an extension of the sitter, intertwining with her form. The contrast between her stillness and the lively plants creates a dynamic scene. The lino print technique captures this interplay, while hand coloring adds vibrancy and life. This piece celebrates the unity of woman and nature, highlighting the strength and femininity that bind them together.

Standing in the glow of the moon, the contrast between the cool lunar light and her warm, red skirt accentuates the duality of her nature. Through the lino print and careful hand coloring, her vulnerability and power are brought to the forefront, inviting viewers to connect with her quiet yet formidable presence.

In this vibrant scene, the model is surrounded by the colors of nature, yet her presence is striking and commanding. The contrast between the gentle surroundings and her formidable femininity is highlighted through the lino print. The hand coloring brings the flowers to life, and in doing so, accentuates the model’s powerful presence within the garden.

The wine stain rings serve as a metaphor for experiences that have left a mark, yet the figure remains resolute. The lino print technique captures her story with precision, while the hand coloring provides a sense of depth and resilience. Her femininity is portrayed as both gentle and unbreakable.

This piece is a study in contrasts – loneliness and togetherness, fragility and strength. The woman in this scene embodies a unique emotional landscape, yet she shares a common thread with others in this series: an unyielding essence of strength and femininity. Through the process of lino printing, her story is carved into the surface, capturing both vulnerability and power. The hand coloring adds depth, giving her life and a sense of individuality.

The ballet dancer, shadowed and resting, represents a moment of solitude. Yet, she also exudes a quiet strength. This lino print captures her essence, while the hand coloring infuses her with life. The balance of fragility and strength is at the heart of her portrayal, reminding viewers of the complex layers of female identity.

The delicate balance of fragility and strength. The figure, resting in her negligee, is surrounded by stark contrasts in the background, emphasizing her serene yet powerful presence. The lino print etches her essence into the surface, while hand coloring gives her a lifelike quality. Her femininity is portrayed as both gentle and formidable, inviting viewers to connect with her inner strength.

The work invites viewers to explore the contrasts between isolation and unity. The figures in this piece, depicted in a solitary moment with ones self. The mirrored model being with herself reflects an internal dialogue. Through the process of lino printing, her vulnerability and power are carved into the surface.