SEED PODS

JANINE GOOD

SEED PODS - SYMBOL FOR WOMAN

17 Paintings, 2 Drawings, 18 etchings/mono print

After continuing to explore various natural elements from the landscape - bark, seedpods, tree scars, and continuing also with layering in printmaking I eventually made a connection between seedpods as a bearer of life and therefore a symbol of womanhood. But the seedpod alone wasn’t enough and so I found I could layer and merge the imagery of the pod with other imagery.

The study of these elements was invaluable as a reference for form and colour.

Blue Debut, Oil on canvas 152x122cm

Promise, Oil on canvas 152x122cm

Finalist John Leslie Prize

Origin, Oil on canvas 152x122cm

Finalist John Leslie Prize

Ultimo, Oil on acrylic-stained canvas 61x48cm

All Talk No Action,

Pastel & Acrylic on silver board 120x90cm

Private Collection

Shy Form, Pastel & Charcoal on Lana, 61x41cm

Poppy Seed Pod,

Oil & Acrylic on canvas 61x41cm

Unspeakable Unspoken, Oil & Acrylic on canvas 152x137cm

Finalist St Michael’s Archangel Prize

Open Secret,

Oil & Acrylic on canvas 152x122cm

Looking For Quiet Time, Pastel & Acrylic on board 125x110cm Private Collection

Untitled Monoprint 1

Coloured layered etching with chine colle 30x20cm

Untitled Monoprint 2

Coloured layered etching with chine colle 30x20cm

Untitled Monoprint 3

Coloured layered etching with chine colle and brushwork

30x20cm

PRINTMAKING

11 Artworks

Printmaking became far more experimental during this period using multiple plates overlaid, printing in different colour layers, using Chinecolle to add texture and colour and ultimately using etching plates to create monoprints with chine-colle, multiple plates and brushwork into the ink. These prints were essential to the layering outcome of the paintings. The interrelationship between drawing, printmaking and painting was an exciting interaction.