Antonia’s work demands engagement from the viewer; whether the larger scale colour pieces which draw the viewer into the prints foci, the monochrome prints which create movement and add third and fourth dimensions; both physical and temporal.
The pieces are drawn from line; recent studies have developed from undergrowth photographs that emphasise negative space. The freedom and movement of the line is implied by space and space is created by line. The work remains conscious of the viewer and the simplicity evokes a phenomenological reaction. The pared down nature and use of colour forces the viewer to unconsciously perceive the work as a whole before the brain disengages the body from the work and dissects the marks. The almost fractal nature of the subject has allowed Antonia to play with scale and depth.
The nature of the prints is kinaesthetic, is allowed to develop during the process and the planning is always fluid. To this end the work can be seen as a continuum, with pieces answering and asking questions of the later and earlier prints. Not producing preconceived marks, but allowing flow, is key.
Antonia has her own distinct language in printmaking building up layers of abstract saturated colour fields overprinted with the line motifs.