Ep. 84: ALA 'Earth Daughter Edition 02' — Limited Edition Art Print
LIMITED EDITION SERIES ~ (1 of 25) ~ (1 of 10) ~ (1 of 5)
Ep. 84: ALA 'Earth Daughter Edition 02' — Limited Edition Art Print
HAND-CUT RELIEF PRINT
PRINTED IN THE BYRON BAY HINTERLAND
One cut, and she exists.
A standing figure in deep forest green, hair gathered up, head turned. Her whole body is described by a single unbroken white line that enters at the shoulder and runs in one long curve down across the breast, the waist, the belly, the hip. Everything else is a flat field of ink with the grain of the wood block printed through it.
Earth Daughter. The original artwork from Ep. 84, second in the series, 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. 84 · second in the Earth Daughter series
— Hand-cut woodblock relief print, 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
Count the lines. There is essentially one. It begins at the back of the shoulder, crosses under the collarbone, curves out around the breast, pulls in hard at the waist, releases across the belly and ends at the hip. One continuous gouge, carved in a single pass, and from it a body appears — weight, softness, the particular way a torso turns. Everything a figure drawing usually needs is absent. There is no contour shading, no volume, no second line anywhere doing supporting work. One cut did it.
Which means, again, that the body here is made of absence. The green is the block; the white is where the artist took material away. She exists in the gap.
Now look at what the green is made of. The grain of the plank has printed straight through her — long vertical striations running the full height of the figure, lighter where the wood was harder, darker where the ink caught. This is not a texture that was applied. It is the block declaring what it is. A woodcut can suppress grain if you choose the right block and ink it heavily; this one didn’t. She is visibly made of wood, which in a series called Earth Daughter is not a small thing.
The proportions are not fashion proportions. She is elongated and columnar, narrow and tall, standing without contrapposto or attitude. The format forces it — the sheet is far taller than it is wide, and she fills it the way a post fills a doorway. The reference point is closer to a caryatid, or a trunk, than to a figure study.
There is no face to speak of. A profile edge, a nose, hair pulled into a bun, nothing more. She is not a portrait of anyone and makes no effort to become one.
And the colour. Across the three Earth Daughter works the palette runs through the states of earth — sepia soil in Edition 01, fired terracotta in Edition 03, and here, between them, the deep green of the thing that grows out of both. Hung together, the three read as a sequence. Hung alone, this is the only one that is alive.
Sixty-five impressions of Earth Daughter, Edition 02 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 impression was cut by hand into a woodblock, inked and pressed, 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. That is the point.
Is this a print of a drawing, or a print of a print?
Both, in a sense. The original is a hand-cut relief block, printed by hand. This is an archival pigment reproduction of that original impression, so the texture of the block and the paper it was first pressed into comes with it.
What is the paper?
Ilford Galerie Rag Mat 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 A4, A3, A2 or A0 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.
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 order it with a tee?
Yes — they will ship separately, the tee first.
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
