‘Please.’ ‘Oh no,’ I reply, breath tickling her ear with the softness of a feather, ‘I wouldn’t dream of it. Quite the last thing on my mind, really.’ A small whimper escapes her lips as I brush my lips over the outside of her ear, licking and nibbling at the lobe, my fingertips gliding over her shoulders to undo the buttons of her dress. One button…then two. The touch of my fingers brushing over the hollow of her pale throat and collarbone…third button, her cleavage exposed, along with the delicate lace edge of her bra. My lips travel down the side of her neck, down her throat, kissing the tops of her firm full breasts rising and falling…anticipation… Fourth button…fifth button, the white dress now open down to her waist, my hands slowly slide the material down her arms, baring her shoulders and pale pink bra. I can see the tips of her breasts already taut and erect under the sheer lace, almost as if it weren’t there at all. My fingers brush lightly against her nipples, sliding up. W. Turner; of Cole or Bierstadt in America; or of the Group of Seven in Canada are real? Landscape views in art may be entirely imaginary, or copied from reality with varying degrees of accuracy. This work is an attempt at formulating an Australian vision focussing on the works of Dupain and Williams. [Chinese landscapes? > Japanese?]A. IntroductionB. BiographiesMax DupainFred WilliamsWhat is a landscape? [Can one ‘do’ a landscape of terra nullius?What are media?Influences: technological [Grierson]; aboriginalDupain’s visionWilliams’ visionHow has Australia been constructed?BibliographyWould that do? Should she cite Grierson? Should she list the Group of Seven? Or just Lawren Harris?She began writing something else.A Landscape may be entirely imaginary or copied from reality. If it has been copied from reality, it will never be exact nor precise. The closest we can come to reality is through photographs. But the photographic image is not ‘true’ in a logician’s sense, as the angle,.
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