Each full moon Sandie craves a Bloody Mary

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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.