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. 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.

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. 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. 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.