Victoria Arney is a visual Artist working mainly with Drawing and Etching. She regularly shows in Europe  (France,Venice, Finland and Barcelona in 2015) and London with Bearspace Gallery, the London group and is in public collections and the private collection of Richard Greer.  She now now lives and works in the Languedoc region of France.

She works mainly with drawing and printing questioning her own relationship to nature  – and mans, where one begins and ends.
The sources of her drawings and prints can be divided into two categories – contemporary destruction sites and personal experience sites. Both question where we site ourselves within them, walking through or observing from a distance.

Many of these landscapes hold the sublime nature of catastrophe, places fractured by physical shifts – often produced by man and they are shared spaces that are experienced through the internet and maps. She is interested in the translating these images through the intimate activity of drawing and printmaking. 

Discourse surrounding a break in nature and a sense of tragedy or scarring is explored through recurring elements such as dust, ash, vapour and smoke which present themselves as exposing or concealing nature in its transformative state, comminuted or broken down, fragments that connect with a sense of whole, while exposing our fragility.

The motif of circle or oval interrupts and introduces a rogue element, raising questions surrounding reality, representation and space. These circles hover above the work, creating an indefinable space that interrupts and a viewing point outside of the landscape. These circles are a target or focus within the work They illuminate and float within the spaces of the drawing. Ultimately leaving us in a precarious state within this fragmented world of a digital nature, where we struggle to place ourselves within our natural landscape.

Japanese woodcut is very important both in relation to her etchings and her drawings .  Incorporating coloured motifs through chine collé – drawing on the rich history of book illustrations of everyday events and catastrophic events that were prevalent in the boom in woodcut books in japan in the 1800’s.

Much of her work is about what is left rather than what is there – about the invisible and the passing of landscapes .

Her most recent set of prints and drawings have holes that use braille through the landscapes literally using the gap of what is and is not there through a landscape that shifts and falls in lines. The code of holes relating to another kind of space that may or may not be read.  These are being explored with threads that run through the prints and drawings making the drawings three dimensional coming out into the space around them.

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