"Local Places, Global Interfaces" - by Lana Nelson and Margaret McAteer

Mma Ramotswe - Breaking through glass ceilings in Botswana
Lana Nelson
Archival pigment print (limited edition)
$450 framed$240 unframed print

Phone Box Salamanca Arts Centre
Margaret McAteer
Archival digital print
$450 canvas
$200 paper

Eucalyptus Deglupta (Rainbow Gum)
Lana Nelson
Archival pigment print (limited edition)
$880 framed$380 unframed print

Renovations at 156 Collins St
Margaret McAteer
Archival digital print
$450 canvas
$200 paper

Tasman Island - After the Storm
Lana Nelson
Archival pigment print (limited edition)
$880 framed$280 unframed print

The Telegraph Hotel
Margaret McAteer
Archival digital print
$450 canvas
$200 paper

Plastic Tides - Mermaids' Tears
Lana Nelson
Archival pigment print (limited edition)
$450 framed$240 unframed print

The Mercury Building
Margaret McAteer
Archival digital print
$450 canvas
$200 paper

King Neptune's Wedding Dress
Lana Nelson
Archival pigment print (limited edition)
$880 framed$280 unframed print

The Great Barrier Grief
Lana Nelson
Archival pigment print (limited edition)
$450 framed$240 unframed print

Margaret McAteer

Margaret’s inspiration comes from an interest in people, which leads her into diverse areas including politics. Screen printing allows Margaret to express her political views in the style of pop-art posters. She also creates screen prints of people from all walks of life, taken from original recent and historical photographs.

Lana Nelson

Lana is a visual artist currently working in photography, acrylics and handmade paper. Her earliest work was in clothing and fashion design incorporating her own screen printed fabrics.

Lana is a member artist of Inka Gallery Inc located in the Salamanca Arts Centre- Hobart’s iconic waterfront arts precinct. Recurring themes in her work include concepts of nurture and relationships between people, places, objects and time. Her island home of Tasmania means she is often drawn to the coast and the sea and these environments are often the subject or context of her work. Her pigment prints are derived from her lifelong private collection of photographs that are then digitally edited to allow her to ‘paint in’ her responses to the people, places, objects and events captured through her camera lens. The editing process (including digital drawing and painting) enables the manipulation of images – transposing their visual aesthetic forward and backward in time, in style, in colour, in texture, meaning and intensity.

Her work often blurs the boundary between reality and abstraction. Conscious choices in the selection of printing substrates ranging from her delicately textured handmade papers through to a variety of artists’ and photographic papers are also used to convey her aesthetic and often political intent.