The conflict between relentless development and the wild forces of nature has been a regular theme in Raymond Arnold’s work. In The ‘Unfinished’ Print, 100 copper etchings — developed over a six-year period — are displayed as a multi-sheet panorama in concert with 92 individual ‘fragments’. Shown together and apart, Arnold fore-grounds the rejuvenation of the mining-scarred terrain of Western Tasmania. Although 100 years of copper mining has irrevocably changed the landscape, The ‘Unfinished’ Print takes an optimistic view of nature’s return to the Queenstown hills. Foreboding skies, damaged rocky outcrops, and blackened tree-stumps remain, but are balanced by new grasses and foliage taking root. Sheet by sheet, vigorous etched lines entwine and ‘mend’ the harsh landscape: re-balancing degradation with natural renewal. Geological damage and re-growth exist together, and a new place, a new world ‘elsewhere’ is forming. As viewers, we share the encounter between these opposing forces. This is a work about possibilities.