Feeling really happy with my recent solo exhibition ‘Architect of Dreams’ in Launceston. I was quite surprised with how many sold and such an interest for my pieces that incorporated blue, silver and purple! That really changed my perspective on things and how I would like to introduce new colours or subjects into my work. I have often felt scared to explore out of my comfort zone and also because there is a certain expectation of me to produce a certain type or style of work. This is of course an invisible expectation which I put on myself and tends to weigh on my shoulders like a tonne of bricks.

One of my favourite etchings in this exhibition was called ‘The God of Doors’. It probably doesn’t mean much from title or even just by looking at the image. But for me, it was highly sentimental, a pivotal moment in my life. It was inspired by my trip to Riomaggiore in Italy. I still remember sitting at that table one sunny morning looking up at this stair case - so many stairs in Cinque Terre! But it was more than that, I was questioning my future, where and what I would do next. I wanted to see the bigger picture and figure out which metaphorical door would open next. Ancient Roman God Janus, who was the God of Doors, represented the past, present and future. There are many translations and symbols for Janus but what intrigued me was how he felt so relevant in my apparent cross roads.

I purposely used silver leaf and an ultramarine shade of blue for this etching. I wanted to emphasise those etherial and dreamy thoughts that were evoking this composition. In retrospect red could have also worked and is a colour I am naturally drawn to, however this colour palette was humble and honest, creating a reflective quality through the silver leaf. The ultramarine blue, which translates to ‘beyond the sea’ is a rich, romantic and impeccable shade that lures the audience to specific areas of the etching. It brings attention to contours, to the figure and the chair and table in the composition. Ultramarine blue was traditionally used by renaissance painters and was the finest and most costly paint deriving from ground lapis lazuli. This historic period of art has been influential on this work as a sort of ‘rebirth’ and an unanticipated evolution in my practice.

Along side this one, was ‘A Night to Remember in Firenze’ Etching that was inspired by the Ponte Vecchio and the day I got engaged to my husband in Florence. I remember walking along the water, looking back at all the little houses stacked up on the bridge. They looked so whimsical and uneven. The sunlight slowly hitting them, brightening their appearance in just an instant. I felt the warmth on my face and on the sandstone wall of the river. I remember wearing a white dress and a large straw hat with a black thick ribbon that I had purchased days before in ones of those side street shops in Cinque Terre. I even remember Tim taking a photo of me in that moment - no idea where it went to but it felt surreal and unexpected. I think sometimes moments should just be moments and not captured on camera. They are just these special, intangible things we have to hold onto in our minds and treasure.

There are so many memories and hidden messages in this exhibition. Ones that even I’m discovering myself as I look at them closely. It is interesting how we find our own meanings and symbolism. I remember a man purchasing an etching from one of my exhibitions years ago and crying, looking at the architecture which reminded him of his Polish homeland. He saw the emotion and the sentiment in the detail and the lines. My biggest aim in my work is to deeply and sincerely connection with the audience.