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'the Last Drop' 23.10'23 Orig
  • 'the Last Drop' 23.10'23 Orig
  • 'the Last Drop' 122x80cm 23.10'23
  • 'the Last Drop' 23.10'23 Detail
  • 'the Last Drop' 23.10'23 Signature

Additional Information

‘The Last Drop’ (2023) by Tillian

‘This painting is a shrine to the ecologies that live within us, and a gentle but urgent call to remember that even in diminishment, beauty endures — not passively, but prophetically.’ Tillian

‘The Last Drop’ is a painting of haunting vitality and quiet spiritual gravitas. In it, I offer a landscape at once richly sensuous and existentially pared back — a terrain imagined at the edge of endings, where natural forms drift between figuration and abstraction, and where elemental archetypes re-emerge in freshly transfigured skins. A central teardrop or seed-form — luminescent, yolk-like, and tender — floats in a violet-hued pool, surrounded by forms that resemble both trees and flames. They seem to lean, dance, weep, and pray. The sky, shaped in lyrical ribbons of blue and grey, is active and sentient. The land below pulses with inner colouration and shifting thresholds, suggesting a world in which matter and spirit are no longer distinguishable.
The painting is not a literal scene but a ritual field: a dream of place in which the viewer is asked to feel, not decode. Its title, ‘The Last Drop’, carries eschatological charge — evoking the final tear, the last remnant of water, or a sacrificial offering. Yet it also suggests a seed, a beginning, a final gift. This ambiguity is central to my work, which continually de-stabilises binaries — death and rebirth, grief and grace, abstraction and figuration — in favour of a porous, visionary cosmology. The palette intensifies this duality. Warm, earthen reds and greens suggest a fecund interiority, while the cool, skybound hues conjure a metaphysical distance. We are held in the space between — between landscape and liturgy, dream and document. In this suspended state, the land itself becomes a vessel of memory, of desire, of mourning.

Reading ‘The Last Drop’ through the lens of traditional mythic tropes, one finds resonance with the ancient figure of the World Tree — the ‘axis mundi’ that links earth and heaven, death and regeneration — as well as with motifs of sacred groves, holy wells, and feminine archetypes of gestation and dissolution. The womb-like seed in the centre of the painting may be interpreted as a remnant grail or a future Eden, its glowing presence a quiet insistence on continuity beyond collapse. Ultimately, ‘The Last Drop’ is a work of lamentation, but not despair. It offers what sacred art across cultures has always offered: the image as threshold. This painting does not document environmental loss; it mourns it. Nor does it argue for preservation; it sanctifies it.

 

The Last Drop

Tillian

AUD$2,200
Size: 122w x 80h x 2d cms
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Flow Acrylic on cradled plywood panel. Satin varnished with isolation coat. Edges sealed with black lacquer. Ready to hang with D-rings and cable. Unframed. Signed/dated bottom right. Shipped with certificate of authenticity. Painted 23.10’23

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Additional Information

‘The Last Drop’ (2023) by Tillian

‘This painting is a shrine to the ecologies that live within us, and a gentle but urgent call to remember that even in diminishment, beauty endures — not passively, but prophetically.’ Tillian

‘The Last Drop’ is a painting of haunting vitality and quiet spiritual gravitas. In it, I offer a landscape at once richly sensuous and existentially pared back — a terrain imagined at the edge of endings, where natural forms drift between figuration and abstraction, and where elemental archetypes re-emerge in freshly transfigured skins. A central teardrop or seed-form — luminescent, yolk-like, and tender — floats in a violet-hued pool, surrounded by forms that resemble both trees and flames. They seem to lean, dance, weep, and pray. The sky, shaped in lyrical ribbons of blue and grey, is active and sentient. The land below pulses with inner colouration and shifting thresholds, suggesting a world in which matter and spirit are no longer distinguishable.
The painting is not a literal scene but a ritual field: a dream of place in which the viewer is asked to feel, not decode. Its title, ‘The Last Drop’, carries eschatological charge — evoking the final tear, the last remnant of water, or a sacrificial offering. Yet it also suggests a seed, a beginning, a final gift. This ambiguity is central to my work, which continually de-stabilises binaries — death and rebirth, grief and grace, abstraction and figuration — in favour of a porous, visionary cosmology. The palette intensifies this duality. Warm, earthen reds and greens suggest a fecund interiority, while the cool, skybound hues conjure a metaphysical distance. We are held in the space between — between landscape and liturgy, dream and document. In this suspended state, the land itself becomes a vessel of memory, of desire, of mourning.

Reading ‘The Last Drop’ through the lens of traditional mythic tropes, one finds resonance with the ancient figure of the World Tree — the ‘axis mundi’ that links earth and heaven, death and regeneration — as well as with motifs of sacred groves, holy wells, and feminine archetypes of gestation and dissolution. The womb-like seed in the centre of the painting may be interpreted as a remnant grail or a future Eden, its glowing presence a quiet insistence on continuity beyond collapse. Ultimately, ‘The Last Drop’ is a work of lamentation, but not despair. It offers what sacred art across cultures has always offered: the image as threshold. This painting does not document environmental loss; it mourns it. Nor does it argue for preservation; it sanctifies it.

 

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