Arnolfini II
Between the Two Immensities
Digital print on metallic coated paper
3 sizes, editions of 9
Adam (1998)
Digital print on metallic coated paper
Editions of 9
300 x 200 mm (image) &
400 x 300 mm (image)
Untitled No. 6 (1990)
Digital print on metallic coated paper
Edition of 9
300 x 205 mm (image)
495 x 385 mm (matted)
Untitled No. 2 (1990)
Digital print on metallic coated paper
Edition of 9
210 x 145 mm (image)
308 x 373 mm (matted)
Untitled No. 5 (1990)
Digital print on metallic coated paper
Edition of 9
154 x 240 mm (image)
320 x 402 mm (matted)
Untitled No. 1 (1990)
Digital print on metallic coated paper
Edition of 9
154 x 240 mm (image)
320 x 402 mm (matted)
Untitled No. 4 (1990)
Digital print on metallic coated paper
Edition of 9
206 x 158 mm (image)
378 x 320 mm (matted)
Untitled No. 7 (1990)
Digital print on metallic coated paper
Edition of 9
135 x 205 mm (image)
290 x 355 mm (matted)
The Eye that Feasted (1990)
Digital print on metallic coated paper
No. 1 of 1
313 x 210 mm (image)
507 x 392 mm (matted)
(smaller size available, edition of 9)
Untitled No. 3 (1990)
Digital print on metallic coated paper
Edition of 9
190 x 295 mm (image)
365 x 465 mm (matted)
Untitled No. 8 (1990)
Digital print on metallic coated paper
No. 1 of 9
190 x 290 mm (image)
365 x 465 mm (matted)
Untitled No. 9 (1990)
Digital print on metallic coated paper
Edition of 9
165 x 245 mm (image)
330 x 408 mm (matted)
Untitled Julia Morison Suites - colour (1990)
Digital print on metallic coated paper
Edition of 9
200 x 300 mm (image)
SOLD
Gingko III (1990)
Digital print on metallic coated paper
Edition of 9
315 x 205 mm (image)
SOLD
Gingko II (1990)
Digital print on metallic coated paper
Edition of 9
315 x 205 mm (image)
SOLD
Gingko I (1990)
Digital print on metallic coated paper
Edition of 9
315 x 205 mm
SOLD
The Annunciation
Digital print on metallic coated paper
Edition of 6
300 x 200 mm (image)
Edition closed
Arnolfini III
Digital print on metallic coated paper
SOLD
DI FFRENCH (1946 - 1999)
Limited Edition Prints
The above editions of digital prints on metallic coated paper were created by the family in 2017.
“For more than 20 years she had developed a diverse arts practice encompassing sculptural installation, performance, photography, film and teaching. My own memories of her are also infused with experiences of her warmth and generosity, her tenacious passion and commitment, and her unwavering ability to grab hold of difficult issues and demand that others think, and respond as passionately as herself. For one looking for models of the artist as a citizen – the artist committed to communication and dialogue about matters of public importance – Di ffrench was a mentor. She also made stunningly beautiful and often damned difficult work” – Rob Garrett (Art Consultant/Curator)
Di ffrench – Theatre of the Non-Body – these works date from 1990 (towards the end of her Trustbank residency in the Christchurch Art Centre).
“I believe these works were conceived following completion of her seriously intense feminist studies which culminated in works such as ‘The Idea Becomes Extinct’. Her feeling of release is captured in the sheer beauty of the parkland in Spring, with masses of blooms expressed in a painterly manner. Some of the works include architectural detailing, perhaps partly influenced by the proximity of Hagley Park to the Art Centre opposite. Christchurch is very much a Eurocentric city and, as she states in her writings on the “Illustrations of Government” series, Di often included aspects of European culture as a polar opposite to NZ’s natural system. However, perhaps in this case, the inclusion of the arcades from the Art Centre is to emphasise the English style of the gardens.” Peter Nicholls (Sculptor & ffrench’s husband of 34 yrs
