Since it appears that To the Edges will not reopen to the public, we will post these ‘conversations,’ together with the image under discussion, in a series. The curator, Katherine Roberts, has sent questions for each of the artists to answer.
How does your work address the theme ‘to the edges’?
My work emerged from a period of introspection at the beginning of the covid pandemic. Being isolated from family interstate was a catalyst for fluctuating moods. The boundaries between consciousness and dreams became blurred. It was analogous with the concept of ‘intimate immensity’ as alluded to by Gaston Bachelard. The figures are representative of the self – waiting and moving from the real to the dreamlike edges.
Can you describe the technical process you went through to achieve the finished work and what technical challenges you encountered along the way?
I made large plates using dry point and carborundum. The actual making of the plates which are each 120cm x 60cm was therapeutic.
I decided on chine colle for the wings to slightly shift the tonal quality of the image.
What do you see as the role of Sydney Printmakers for the next 60 years?
I hope Sydney Printmakers encourages new and younger members who bring enthusiasm and energy to the group.
How do you see the role of printmaking, in general, contributing to the conversation about contemporary art practice?
Printmaking as an artform is so diverse . It continues to inspire such creativity. I am certain it will always be so.
This is a really arresting work. My attention fixated on the expressions of the figures – cleverly open to all kinds of projections from the viewer. For me the expressions were blank, slightly irritated, thoroughly grounded, ignoring the option of fairyland. Women who were candid, direct, uninterested in disguise. Not hopeful.
The chine collee has a magic touch both in theme and execution.