The Tide (Edition 3 of 7): from The Impact Series (Limited Edition Art Prints)

This edition of The Tide pulls back to show the pool as a small green eye set in a tangle of root, fern and wet clay, the figure curled at its centre, almost lost in it. Here the body is no longer the subject so much as a detail of the terrain, one soft form among the many the forest holds. Dole lets the frame swallow her, and in doing so makes his quietest and hardest point.

The work argues that we are not the centre of the landscape but a passing part of it, held for a while in a hollow that will fill and empty long after we are gone. Its tenderness and its indifference are the same gesture. Each edition is hand-signed and numbered by the artist and made to bring that humility, and its call for climate action, into your home.

DETAILS

Artwork The Tide 2026
Artist Michael Dole
Medium Fine art print on archival stock
Editions (hand-signed and numbered)
297 x 210 mm (A4), limited to 25 (1 of 25 to 25 of 25)
420 x 297 mm (A3), limited to 25 (1 of 25 to 25 of 25)
594 x 420 mm (A2), limited to 5 (1 of 5 to 5 of 5)
1189 x 841 mm (A0), unique single work (1 of 1)
Framing Available framed or unframed
Source work Original artwork, The Impact Series (2026)

ABOUT THE ARTIST

Michael Dole belongs to that rare lineage of artists for whom the made image is less a record than a divining rod, a means of locating the fault lines beneath the visible world. Across three decades and four continents, moving between the film set and the studio, he has built a practice that refuses the easy separation of the beautiful and the urgent. His work does not depict crisis. It lets you feel the ground shift under it. Now working from the Byron Bay Hinterland, he treats landscape not as backdrop but as body, something that breathes, erodes, and remembers.

The Impact Series is the fullest expression of this sensibility. Whether drawing a ribbon of blue silk across scorched volcanic rock or lowering a figure into a pool held in the forest floor, Dole returns again and again to a single idea, that the environmental reckoning of our age is not loud. It is intimate, unglamorous, and largely unseen, a slow subtraction we register only once it is nearly complete. The figure is present but always turned away, her face withheld, a refusal that turns the viewer from spectator into witness.

Exhibiting locally and internationally and increasingly mentoring a new generation of artists, Dole makes work that meets you where you stand and then, gently, moves the floor. These are not pictures of a wounded earth so much as meditations on our relationship to it, on tenderness, complicity, and the fragile filaments that still bind us to a living world. They ask very little of you, and everything. Simply that you do not look away.