For me this print really epitomises the monoprint and the monotype. The artist has achieved a quality of mark making that is very varied and interesting. There is a richness to the quality of the ink, with deep saturated sections. There is the work done on the plate, but also the way she has worked into the sheet. She has dug in, so that you get more than just a flat surface - she has challenged the delicate nature of the paper. This piece suggests to me the constellations above or the litter on a forest floor, it’s very evocative. It’s really hard to make mark making dynamic and interesting, and this work does that - it really draws you in, it holds your interest, your eye wants to keep moving around it.

— Cathy Leahy

It’s a work that has really used the paper as a material, versus something on which to print. The concept of ‘paper’ is so deeply embedded in the concept of the work. I, like Cathy, am drawn to how this work is actually made, the depth of colour, the 50 million blacks, greys and silvers...all of that...achieved through the inking ...and the complexity of working into the plate, There is a lightness of touch in some parts, there is a gauging in other parts. There is a real materiality about this work. And yes, the idea that you mention Cathy, is it a constellation or a forest floor? That ambiguity is really beautiful... the viewer occupies the middle space between the forest floor and what is potentially above. So there is microcosm - you could be looking into a microscope, and macrocosm - you could be looking at something more universal or cosmological. A sense of worlds within worlds.

— Dr David Sequeira