Ep. 60: KAIA 'Always Be Good To Y(our) Mother' — Limited Edition Art Print
LIMITED EDITION SERIES ~ (1 of 25) ~ (1 of 10) ~ (1 of 5)
Ep. 60: KAIA 'Always Be Good To Y(our) Mother' — Limited Edition Art Print
HAND-CUT RELIEF PRINT
PRINTED IN THE BYRON BAY HINTERLAND
Read the brackets again.
A woman kneels and folds her whole body around the earth, her hands meeting on the far side of it. Around her, hand-cut letters spell the instruction. In cobalt blue, with a dove, an olive branch and one ochre leaf.
The original artwork from Ep. 60, now as a limited edition archival print.
Made to order in the Byron Bay Hinterland. Please allow 3–4 weeks.
AT A GLANCE
— Original artwork from Ep. 60
— Hand-cut forms in flat colour, reproduced as an archival pigment print
— Ilford Galerie 310gsm, 100% cotton rag
— Framed or unframed
— A4, A3, A2 and A0
— Editions of 25, 25, 10 and 5
— Printed in the Byron Bay Hinterland
— Made to order · please allow 3–4 weeks (A0, 4–5 weeks)
✓ Archival 100% cotton rag · ✓ Pigment inks · ✓ Made to order · ✓ Closed edition
MADE TO ORDER · ALLOW 3–4 WEEKS
The whole argument is in one pair of brackets. Y(OUR) MOTHER — your mother, our mother, both at once, and the piece will not let you separate them. It is a typographic move rather than a drawn one, which makes it unusual in this series: the idea arrives through punctuation, and it arrives instantly. You read it, you blink, you read it again. Everything else in the image is in service of that half-second.
Then the colour discipline. Almost the entire picture is one cobalt blue — the figure, every letter, the dove, all the same flat tone. Only four things depart from it: the globe, a pale blue coral form, a teal branch and a single ochre leaf. In a composition this busy that restraint is what keeps it from collapsing. The earth is the subject because it is the only thing allowed to be a different colour.
Look at what the figure is doing with her body. She kneels — not standing, not seated. Kneeling is the posture of planting, of tending, of asking. Her back curves right over the globe and her arms come around it until her hands meet on the far side, and those hands are the only interior detail in the whole figure: thin white lines in an otherwise solid blue silhouette. Everything else about her is a shape. The hands are drawn.
The letters do the enclosing. They ring her the way the carved circles ring the figure in TERRA and the way the ridgelines extend from the body in MILA — in all three, the thing surrounding the woman is made of the thing being said about her. Here it is literal: she is inside the sentence.
And the scale has shifted. In MILA the woman is the earth. Here she is larger than it, holding it the way you hold a child — which is a different claim entirely, and a more demanding one. The title is an instruction, not an observation.
The dove and the olive branch are not subtle. This piece is plainly, unembarrassedly hopeful and makes no attempt to be cool about it. That is a choice, and given what the sentence is asking of you, probably the right one.
Sixty-five impressions of Always Be Good To Y(our) Mother will exist. Across every size, for the life of this label.
— A4 · edition of 25
— A3 · edition of 25
— A2 · edition of 10
— A0 · edition of 5
The editions fall as the paper grows. An A0 is not a larger A4 — it is a different object, on a different roll, taking two people to lift off the table and a wall tall enough to carry it. There are five.
1 of 5 means five people. Not five this season, not five per country. Five, ever.
When a size sells out, it closes. It does not return in another colourway, at another trim, or as an anniversary run. We keep a record of every edition against the artwork.
This is an edition, not the original. The original was made once and is not for sale. What you are buying is an archival pigment print of it on cotton rag, strictly limited, and then stopped.
Printed on Ilford Galerie 310gsm — a 100% cotton rag, acid-free, archival fine-art paper with a soft matte surface and a natural white tone. No optical brighteners, so it will not yellow or shift. Pigment inks, rated for over a century without fading under normal conditions.
Cotton rag was chosen to match the original. A relief print is a conversation between a hard block and a soft sheet — the plank grain, the skips, the uneven coverage all exist because paper with tooth received them. A slick paper would reproduce the shape and lose the reason.
Each print is produced to order in Australia and inspected by hand before it leaves us.
— A4 · 21 × 29.7 cm · edition of 25
— A3 · 29.7 × 42 cm · edition of 25
— A2 · 42 × 59.4 cm · edition of 10
— A0 · 84.1 × 118.9 cm · edition of 5
A0 is chest height on most people. It is a wall, not a picture. If you are deciding between A2 and A0, measure the space first — the jump is larger than it looks on a screen.
Framed prints arrive ready to hang — a slim flat white timber moulding, a deep white cotton-rag mat, and glazing. No assembly, no trip to the framer.
Unframed prints ship flat, interleaved with acid-free tissue, in a rigid board mailer. A0 unframed ships rolled in a heavy-gauge tube. Every size is standard A-series, so an off-the-shelf frame will fit without custom cutting.
Hang out of direct sunlight. Handle unframed prints by the edges or with clean dry hands — cotton rag marks easily. Do not use glass cleaner directly on a framed print; spray the cloth, not the glass.
Every print is made to order. Printing begins within two business days of your order, and we ask you to allow 3–4 weeks in total. A0 prints take 4–5 weeks, because they travel by freight rather than post.
It is slower than holding stock. It also means there is no excess, and nothing gets pulped.
— Prints ship separately from garments. If your order includes both, the tee will come first.
— A4, A3 and A2 ship tracked with Australia Post. International shipping is available on these sizes, calculated at checkout.
— A0 prints ship by freight carrier, not Australia Post, and are available within Australia only. They exceed international parcel limits in both rolled and framed form.
Returns on prints. Every print is made to order, so we are not able to offer refunds or exchanges for change of mind. Please choose your size and finish carefully before ordering.
If your print arrives damaged, faulty, or not what you ordered, that is a different matter entirely — email us a photo within 7 days at oldest@daughtercollective.com and we will replace it or refund it, your choice. Your rights under the Australian Consumer Law are not affected by anything on this page.
What does “1 of 25” mean?
The edition size. We make 25 of the A4 and A3, 10 of the A2, and 5 of the A0 — and then that artwork is never printed at that size again.
Will it ever be reprinted?
No. Once an edition closes, it closes.
Is this the original?
No. The original was made once and is not for sale. This is an archival pigment reproduction of it — the paper texture is real, the image is printed flat.
What is the paper?
Ilford Galerie 310gsm — 100% cotton, acid-free, archival. The same class of paper used for gallery editions.
Can I frame it myself?
Yes. Every size is standard A-series, so any off-the-shelf frame will fit without custom cutting.
How big is A0, really?
84 × 119cm — chest height on most people. A2 is 42 × 59cm, A3 is 30 × 42cm, A4 is 21 × 30cm.
Is this one suitable for a child’s room?
It is one of the few in the range that works there — bold flat colour, a clear message, nothing frightening. It also works in a kitchen or a hallway, which is where instructions belong.
Why 3–4 weeks?
Each print is made to order rather than held in stock, then checked by hand before it ships. A0 takes 4–5 weeks because it travels by freight.
Can I return it if I change my mind?
Not on prints, because each one is made to order for you. Damaged or faulty prints are always replaced or refunded.
We named this label Oldest Daughter because the women who carry the most deserve something built to carry them back.
Every artwork in this series was made by hand, for one episode, and printed in our studio in the Byron Bay Hinterland. The prints exist so the work can live somewhere other than a wardrobe.
🤎 from the OD team
