Curated Collection: Works on Paper

We've highlighted a few pieces from our new Works on Paper collection to give you an insight into the processes, stories and making of the artworks. 

From Fion Gunn’s paper patchwork paintings, to Jeannine Cook's intricate botanical drawings and Enzo Marra’s latest impressionistic ink pieces, the Works on Paper collection introduces you a selection of pieces our curators have their eyes on. 

 

Fion Gunn

Falling on Beijing by Fion Gunn

 

Falling on Beijing is part of Fion Gunn's Falling or Jumping series. The work is made up of 12 sheets of watercolour paper and is over two metres wide. With this piece, Fion uses the imagery of falling as a metaphor and in doing so, questions how we react to incidents throughout life and how we embrace the unexpected. 

The work is based on Fion's own experience of Beijing, of arriving in the city and not knowing anyone. A closer look at the backdrop of the painting reveals Beijing's Forbidden City, hidden behind the grey clouds. Falling on Beijing depicts the moment in which Fion let go of the past and all her preconceptions, instead deciding to embrace the changes of life. 

 

Jeannine Cook

Paperbark Eucalyptus Patterns by Jeannine Cook

 

Jeannine Cook's Paperbark Eucalyptus Patterns was inspired by a walk with a friend in Perth, Australia. The two were discussing the paperback eucalyptus tree and returned home to find a feather-light piece of the paperbark on the doorstep. 

This piece reflects the delicate nature of the eucalyptus paperbark, which Jeannine tells us, "reminded me somehow of Japanese fans and dancing ladies."

 

Enzo Marra

Shrunken Head Whirl by Enzo Marra

 

Enzo Marra works follows expressionistic approach, usually with a monochrome palette and an impasto technique. In his recent drawings, he seamlessly translates his distinctive style into a whole new medium.

Enzo's recent ink portraits, Shrunken Head Whirl and Shrunken Head are characteristic of his other portraits, with bold and assertive lines giving an emotive quality to both works. These new drawings have a tangible anguish to them, in which Enzo explores the concept of a shrunken head through direct mark-making.