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WINHANGANHA
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dissolve your edges (2022). Installation view 'LIGHTMOVING' at The Commercial, Sydney. Photo: The Commercial.
dissolve your edges (2022)
Blind deboss on hand-torn BFK Rives White 250gsm paper,
7 parts, 
each sheet: 29.7 x 42cm, each frame: 50.5 x 37.5 x 3.8cm
, edition 8 + 2AP

Commissioned for 
LIGHTMOVING at The Commercial, Sydney
dissolve your edges (2022). Installation view 'LIGHTMOVING' at The Commercial, Sydney. Photo: The Commercial.
dissolve your edges, part 1 (2022) Installation view 'LIGHTMOVING' at The Commercial, Sydney. Photo: The Commercial.
dissolve your edges, part 1 (2022) Installation view 'LIGHTMOVING' at The Commercial, Sydney. Photo: The Commercial.
dissolve your edges (2022). Installation view 'LIGHTMOVING' at The Commercial, Sydney. Photo: The Commercial.
Jazz Money’s words are pressed into mould made paper with hand torn edges. The Wiradjuri artist/poet’s first series of editioned prints is a poem in seven parts. Inkless and refusing capitalisation, she points beyond the captains of written language to an older tongue. Quiet intonation is carried by the substrate of paper providing an aperture to atmospheres and pleasures of the phenomenal, mortal world.
dissolve your edges (2022). Installation view 'LIGHTMOVING' at The Commercial, Sydney. Photo: The Commercial.
dissolve your edges (2022)
Blind deboss on hand-torn BFK Rives White 250gsm paper,
7 parts, 
each sheet: 29.7 x 42cm, each frame: 50.5 x 37.5 x 3.8cm
, edition 8 + 2AP

Commissioned for 
LIGHTMOVING at The Commercial, Sydney
dissolve your edges (2022). Installation view 'LIGHTMOVING' at The Commercial, Sydney. Photo: The Commercial.
dissolve your edges, part 1 (2022) Installation view 'LIGHTMOVING' at The Commercial, Sydney. Photo: The Commercial.
dissolve your edges, part 1 (2022) Installation view 'LIGHTMOVING' at The Commercial, Sydney. Photo: The Commercial.
dissolve your edges (2022). Installation view 'LIGHTMOVING' at The Commercial, Sydney. Photo: The Commercial.
Jazz Money’s words are pressed into mould made paper with hand torn edges. The Wiradjuri artist/poet’s first series of editioned prints is a poem in seven parts. Inkless and refusing capitalisation, she points beyond the captains of written language to an older tongue. Quiet intonation is carried by the substrate of paper providing an aperture to atmospheres and pleasures of the phenomenal, mortal world.