Each full moon Sandie craves a Bloody Mary

Background The original reduction linocut "Each full moon Sandie craves a Bloody Mary" straddles two research fields. As a physical artefact it sits within formal and technical explorations of the printmaking medium, specifically linocut, recognised in a prestigious national award, The Silk Cut Award for Linocut Prints; shortlisted works are exhibited in the Glen Eira City Gallery, while winning works and acquisitions are gifted to the Australia's National Gallery's collection in Canberra. Thematically, the work forms part of a growing field of research into representations of female lycanthropy, as evidenced by Manchester University Press' 2015 publication "She-Wolf: A cultural history of female werewolves", edited by Dr Hannah Priest. Contribution "Each full moon Sandie craves a Bloody Mary" extends possibilities for the reduction linocut process through offering new layers of complexity in terms of the evocation of a range of surfaces and graphic styles not usually associated with the medium. Thematically, the image offers a novel figuration of female lycanthropy, drawing on recent developments within werewolf lore that ground the werewolf's lunar cycle within female menstrual cycles. Botanical motifs, such as tomatoes (known as "wolf peaches" in 16th century Europe) and wolf-apple flowers expand the visual iconography of female lycanthropy while avoiding clichés of flora and femininity. Significance "Each full moon Sandie craves a Bloody Mary" was shortlisted for the 2014 Silk Cut Award for linocuts, and acquired for the Silk Cut collection. It was also shortlisted for the Burnie Print Prize at the Burnie Regional Gallery, a national print award that forms part of the Tasmanian International Arts Festival. Further, the artwork also featured on the cover of Australia's specialist printmaking journal, Imprint, Volume 49, Number 1, Autumn 2014, at the invitation of the editor.

研究背景： 原创减刻麻胶版画（reduction linocut）《每逢满月，桑迪皆渴求血腥玛丽》横跨两大研究领域。作为实体艺术作品，它隶属于版画媒介（尤其是麻胶版画（linocut））的形式与技术研究范畴，而该领域的创作可参评极具声望的国家级奖项——麻胶版画丝绸剪奖（The Silk Cut Award for Linocut Prints）。该奖项的入围作品将在格伦伊拉城市美术馆展出，获奖作品及馆藏藏品则被赠予位于堪培拉的澳大利亚国家美术馆永久收藏。主题维度而言，该作品属于女性变狼妄想症（female lycanthropy）视觉表征研究这一新兴领域的组成部分，该研究脉络可由曼彻斯特大学出版社2015年出版、汉娜·普里斯特博士主编的《母狼：女性狼人文化史》（She-Wolf: A cultural history of female werewolves）得以佐证。

研究贡献： 本作品通过引入多重复杂创作层次，唤起该媒介此前极少运用的多种材质肌理与平面艺术风格，从而拓展了减刻麻胶版画工艺的创作边界。主题维度而言，该作品对女性变狼妄想症进行了创新性视觉塑造，借鉴了狼人传说领域的最新研究成果——将狼人的月相周期与女性月经周期相绑定。植物意象方面，如番茄（16世纪欧洲称‘狼桃’（wolf peaches））与狼毒花（wolf-apple flowers），既丰富了女性变狼妄想症的视觉符号体系，又规避了植物与女性气质绑定的陈词滥调。

作品价值与影响： 《每逢满月，桑迪皆渴求血腥玛丽》入围2014年麻胶版画丝绸剪奖终选名单，并被纳入丝绸剪奖藏品体系。同时，作品入围塔斯马尼亚国际艺术节下设的国家级版画奖项——伯尼地区美术馆伯尼版画奖终选名单。此外，应期刊主编邀请，该作品登上澳大利亚专业版画期刊《Imprint》2014年秋季号第49卷第1期的封面。