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The Blank in the Page is a metaphor to describe that which is excluded or unrepresentable within language. While exploring alterity through text, this notion also incorporates a sense of the materiality of language as it is embodied in a page. Taking The Blank in the Page as a theme, this series of artists' pages commissioned for Eyeline explores issues related to visual and cultural fragments. The Blank in the Page not only suggests the medium, but also issues arising out of the six artists' work. Moreover this selection, from around Australia, is intended to present a series of images representative of each artist's individual practice. Emil Goh's and lrene Chou's works, for instance, are configurations of the landscape. Emil Goh's panoramic view of an open mine is complemented by the pioneering couple seated on a motorbike on the edge of the photograph. Taken from Goh's own photo album, this image embodies a 1960's idea of progress and freedom in both subject and presentation. lrene Chou's continuous and repeating lines emulate the undulations of land forms. With an inherent sensuality, this drawing also evokes the principles of Chinese painting in its interest in the 'essence' of a scene. Social interaction is a common theme in Trinh Vu and Hou Leong's photographs. Trinh Vu's work titled Déjà Vu is a street scene invested with narrative. The headline of a tabloid reads "I'm no sex monster", and is accompanied by people in the street looking towards something occurring outside the field of the photograph. This exclusion conjures a sinister overtone, which is reinforced by the fragmentation of the image into a surface grid. Hou Leong's work also involves pictorial manipulation. Leong utilised... The rest of this article is available to subscribers of Eyeline