These prints were done over several years.  They are made using an etching process of putting a ground on the zinc plate and making marks with a sharp tool into the ground and then putting the plate into an acid solution which eats away at the exposed areas that were made by scratching into the ground.

Some of the prints use a combination of etching and aquatint which is done by placing the plate in a special box that holds a finely ground powder of resin.  A wheel is moved to steer up the powder creating a fine mist which then settles on the plate.  The plate is then heated on a hot plate which melts the resin, then when bit in the acid creates a tonal effect.  For both straight etching and aquatint the longer the plate remains in the acid the darker both the marks and the tone will be.

These prints express a sense of containment or boundaries.  There is a fence-like structure that appears in some.  This fence is both a bearer but it is also the artist himself.  There are two UNTITLED prints at the end of the series,  1)  The print is a purple black, it looks like a bending form like wrapped wire with two stick-like poles holding it up.  2) The other print is printed in black ink, the image looks a bit like stone hedge.  The image has a circular appearance with light coming from the centre. In the middle there is a mark with what looks like a crease or fold in the middle.
The quality of darkness and light is an attempt to express the spirit inside.   A symbolic way of understanding the journey through life. 

These two prints where done with the assistance of Michael Kempson a major master print maker, who is both a well respect art teacher and printmaker in Australia.  These two works are now part of the permanent print collection of the National Print Collection in Canberra, Australia.
The other prints were editioned by the printmaker Brenda Tye.

Paul Miller, 2012