In Morning, Linda Marrinon turns her attention to the Australian landscape, rendering it raw and exposed. Part of a small series of works exploring the outback, the work resists romanticism, instead presenting the terrain as weathered and unsettled.

Modelled in tinted plaster with areas of exposed hessian, the sculpture draws attention to its own making. The hessian – traditionally used to reinforce plaster armatures – is not a sign of fragility, but of structural strength. Marrinon deliberately allows this material to surface, so that what might initially read as crumbling or eroded is in fact carefully engineered for stability.