Heart of the Frond (2015) 印花与版画 由 Rosemary Collard

印花与版画在玻璃上, 54x36 in
US$4,931.95
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I'm offering for sale this unique and rare print on glass. 100cm H x 80cm W x 5mm D - with connections for hanging. It sits 4 cm from the wall face. It is unique as the original artwork files no longer exist so additional prints are no longer possible. It is rare as it was the final print to be made, a preliminary print was produced which is in a private [...]
I'm offering for sale this unique and rare print on glass.
100cm H x 80cm W x 5mm D - with connections for hanging. It sits 4 cm from the wall face.
It is unique as the original artwork files no longer exist so additional prints are no longer possible.
It is rare as it was the final print to be made, a preliminary print was produced which is in a private collection.

The work was an entry in the 2015 Glover Prize in Tasmania. The theme for that year was the Tasmanian landscape.
The tree fern - Dicksonia antarctica - was the subject I chose, as it is my favourite plant and in my view quintessentially Tasmanian.
The central motif was a photo of a slice of the trunk or rhizome of the fern, a paver commonly marketed for garden use.
I've used photo montage technique as well as vector images created in Illustrator to compose the design.
It took several months of researching the fern tree, in my own garden and on a site visit to the Tarkine. I embraced the project with excitement and commitment.

The final work I thought resembles a microscopic slide capturing this ancient plant life.

The work was overlooked by those in charge of selecting finalists but it remains for me one of my favourite pieces.

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FerntreeDicksonia AntarcticaAbstractNatureDigitalart

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Rosemary Collard (b.1948, d.2025) was an abstract digital artist. Born and raised in Western Australia, she later moved to Tasmania, Australia. Inspired by the work of Kandinsky, her long-held goal was to develop [...]

Rosemary Collard (b.1948, d.2025) was an abstract digital artist.  Born and raised in Western Australia, she later moved to Tasmania, Australia.

Inspired by the work of Kandinsky,  her long-held goal was to develop an abstract style of her own.

An advocate of the art of subconscious doodling, she began most work in this manner,  creating what appeared to be random chaos.  The challenge was to create a plausible image from this starting point. Titles were important and often revealed as the work progresses.   

She made the transition from physical to digital art after seeing its potential in the mid-1990s.  Since then, she had worked exclusively on the computer, developing her skills and artworks, contract works and commissions.



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