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  Memory orbs (H2O/oxygen/flora)  2014-2015  1 of 9 (edition 1/3), screen print on black Somerset paper, 18cm x 29cm  Completed on residency in Scotland UK,  WASPS Artist Studios   in association with  DCA, Dundee Contemporary Arts Print Studio , Dundee, Scotland, UK   Memory orbs , 2014-2015 is a body of work which evolved over a period of six months whilst the artist was overseas. Raffan had commenced the work with a series of photographic collages, constructed from alchemical groupings. Broken down into images of ice, icebergs, snow, water, rocks, sand, crystals, moss, lichen, seagrass and spinifex, Raffan grouped the works into three series; H2O, Minerals and H2O/oxygen/flora.  Whilst toying with traditions of four colour separation screen prints, Raffan has shifted the colour scheme, and the registration; leaving the prints slightly misalligned, yet affording them a glow, vibrating like quality enhancing what their titles suggest.  Memory orbs , collections of small incredible moments in time, gathered together to make something other, uncategorised and magical.  The  Memory orbs (minerals)  series was a selected finalist for the  Fremantle Arts Centre  Print Award 2015.
       
     
  Working life tensions  2014  Social practice: pigment, jute and audience participation  Completed on residency in Scotland UK,  WASPS Artist Studios  at the McManus Art Gallery  In association with performanceNOW,  Generator Projects  and  Verdant Works , Dundee, Scotland, UK
       
     
  rock face (west)  2014  series of 8 drawings (1 of 8), drawing with black ink on cartridge paper, approx. 15cm x 14 cm   Rock face , 2014 subtly works on notions of deciding which road to take next. Using a white rock found in a remote location, Raffan draws and moves the rock in the eight compass rose cardinal and intermediate directions in an attempts for one to stand out more than the other. Ultimately the artist becomes transfixed by finishing a series of eight drawings, which only vary in movement, and in no other way, creating an endless real time, stop film animation of a never ending spinning paper rock. One more step away from realising her fortune.
       
     
  Hood (part one)  2013  Brown packaging paper, french cotton and silk, 70 x 50 cm   Hood (part one) , 2013 follows on from Raffan's work exploring adornment and inanimacy. Having ritualistically searched the pages of home decorating magazines, mimicking and unpicking production line techniques with works from her   Grand comforter  , 2010;   untitled (papoose)  , 2010 series; and reworking interior design spreads from IKEA catalogues, and Vogue Living by bridging silhouettes of fast food with quasi designer furniture and art from the   made in Australia from local and imported ideas  , 2010 series;  Hood  converts the space-maker and orchestrator back into the object itself.   Hood  portrays a strong sense of guardianship and protection from the world. Raffan over compensates this fear by creating an envelope like container for her head. Rather than taking solace indoors, or within a controlled environment, the artist arms herself with the first part in a new outfit, designed to equip her for city life in amongst a world filled with possessions. 
       
     
  Northern Cape Diamonds , 2012  Necklace from site specific performance: french cotton and found Australian native leaves. Dimensions variable.   Northern  and  Southern Cape Diamonds , 2012 came about after Raffan had spent some time hiking on Bruny Island, Tasmania. A popular destination for avid nature lovers, twitchers and hikers alike, Raffan set out on a series of hikes alone to navigate the north and south sides of the island.  Whilst navigating both terrains, two particular hikes stood out, having collected amongst the rocks, shrubs, rain, hail and shine, Raffan started seeking out particular leaves from each trip.  Using her own gauge of disconnect to place, she sorted out making adornments of beauty to familiarise herself with her surrounding terrain. Revisiting each hike on numerous occasions, she labelled them the  Northern  and  Southern  Capes. It was from this new found philosophy Raffan draws connections between land, home, dis/comfort, instinct, reason, un/discovery, non/invasive, local and foreign.  Throughout this journey her work evolves into two hand woven necklaces made from leaves and cotton, which are affiliated; one to the north and the second to the south. After completing the necklaces, Raffan revisits each hike on separate days to perform a releasing ceremony. Sleep, wake, eat, walk, 3 hours in, she leaves a necklace under some rocks in the north, 3 hours out; eat, sleep, wake, eat, walk, 3 hours in, she leaves a necklace draped over some sticks in the south, 3 hours out, eat, sleep. After passing only two avid hikers in the off-season, and a few black snakes on her journey's, her treasures have now been offered back to the land and place.  What was once common, decaying and overlooked has now become adorned and solidified in the mind, now, just like diamonds.  It is from this performance Raffan has also produced a series of relief prints and 20 hand stitched brown paper leaves, 10 from the north, 10 from the south.  In association with the  Bruny Island Residency , Tasmania, Australia
       
     
  Grand comforter (black)  2011  2 of 3 (edition 1/3)  Recycled brown cardboard and cotton thread, approx. 20cm x 20cm each
       
     
  made in Australia from local and imported ideas (solo dining in/Kngwarreye)  2010  wall projection, approx. 185cm x 220cm  1 of 10 enamal prints (edition of 5), 42cm x 59cm
       
     
  pieces of sheet  2009  1 of 120 artist proofs, screen printed acrylic paint on Hahnemühle paper and recycled cotton napkin, approximately 60cm x 45cm each
       
     
  untitled (imprints/unfilled)  2007  series of 24 (12 unfilled), Plaster moulds, resin, pva glue, copper wire, shellac and found objects, approximately 35cm x 45cm each
       
     
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  unfilled  2009  Installation: collected and dried tea leaves and stencilled floor work, approx. 300cm x 300cm  Installation photographs from the exhibition  unfilled  at The John Paynter Gallery, 2010, © Ruth Feeney