1000 Views of kunanyi, 2021 is an ink-based meditation on place, repetition, and looking—again and again—at what we think we already know. Taking quiet conceptual cues from the tradition of serial landscape studies, the work positions Hobart’s mountain not as a fixed landmark, but as a living, shifting presence that resists any single, authoritative view.

kunanyi / Mount Wellington dominates Hobart both physically and psychologically. It is a constant—seen from windows, streets, ferry decks, and peripheral vision—yet it is never the same mountain twice. Weather, season, light, mood, and memory continuously redraw it. In this series, repetition becomes a method of attention rather than documentation. Each drawing is not an attempt to perfect the mountain’s likeness, but to register a moment of encounter: fleeting, partial, subjective.

Working in ink imposes discipline and risk. The medium does not allow for erasure, mirroring the irreversibility of time and the impossibility of returning to the same view. Line becomes both structure and gesture—sometimes precise, sometimes fractured—echoing the way kunanyi oscillates between solidity and ephemerality. Accumulated together, the drawings form a visual rhythm that speaks to endurance, ritual, and quiet obsession.

The title 1000 Views of kunanyi deliberately overstates the task. The number gestures toward the impossibility of completion: no matter how many times the mountain is drawn, it remains inexhaustible. This excess is intentional. It reflects the way place embeds itself into daily life—not through grand moments, but through repetition, familiarity, and gradual intimacy.

Ultimately, this series is less about landscape as spectacle and more about landscape as relationship. kunanyi is not rendered as an icon to be consumed, but as a presence to be returned to—again and again—each drawing marking a moment of looking, belonging, and being quietly changed by place.