Artists in Conversation with the Exhibition Curator, Katherine Roberts, Manly Art Gallery and Museum: Joanne Gwatkin Williams

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Joanne Gwatkin Williams, Destruction, Linocut, 2021, 23 x 56cm

How does your work address the theme ‘To the Edges’?

For myself, this has been a very apposite theme for a number of reasons. The initial reason being direct experience of the bush fires in 2019/2020. I live on a hundred acres in remote NSW South Coast and watched the sky turn a livid brown and the sun turn an angry orange as the flames from the Currowan Fires crept closer, until we were surrounded and parts of our land a-flame. Myself, husband, dog, were literally ‘on edge’ for days and nights with fire hoses out, water pumps on and waking every couple of hours through the night to check that fallen and smoking trees had not re-ignited and started a fresh fire. So the first piece in the trio deals with this aspect of the theme.

The three parts of Joanne’s work, Destruction, Chaos and Adaptation.

The second piece ‘Chaos’ suggests that humanity’s greed, carelessness and poor behaviour has lead to chaos and disaster – a theme influenced by Mario Vargas Llosa’s book ‘The Storyteller’ – and here we see flood, fire, calamity inflicted on the world. Finally, man’s poor environmental record has brought man and planet to the edge of extinction – sea levels have risen and imagined, monstrous sea creatures dominate …

Joanne hand printing her work on Unryu Paper.

Can you describe the technical process you went through to achieve the finished work and what technical challenges you encountered along the way?

Technically, the pieces were reasonably straight-forward, any difficulties tended to be in cutting the detail and ensuring clarity. Perhaps my choice of fibrous Japanese Unryu paper – chosen because I felt the woody fibres would enhance the message of the pieces – did make it harder to get solid blacks where I really needed them and as a result I did end up printing them all by hand.

What do you see as the role of Sydney Printmakers for the next 60 years?

Like other successful printmaking groups, we can show the great expressive possibilities of our craft, the wonderful images that can be achieved using only print techniques; that printmaking skills are great tools for everyone to use either alone or in combination with other media.

How do you see the role of printmaking in general, contributing to the conversation about contemporary art practice.

Printmaking utilises numerous flexible and dynamic tools and can probably lead or assist art practice to move in a multitude of directions.

Chaos, linocut, 2021, 23 x 56cm

Getting to know our members: Carmen Ky

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Dawn – Glasshouse Mountains, 2016, watercolour and linocut, each panel 21 x 21cm

As a student at the National Art School in the 1960’s I was introduced to Taoist philosophy and discovered Indian tantric art. At that time, I didn’t realize the influence this would have on me.

After graduation I exhibited paintings and taught at TAFE for many years. Then I studied and professionally practiced Traditional Chinese Acupuncture for ten years alongside my art practice. Working with subtle energy systems of Five Element Acupuncture, naturally influenced my artwork.


Throughout the 1980’s and 1990’s I worked as a stills photographer on documentary film and book projects with Aboriginal elders and began to see expression of that elemental energy in their stories, song-lines and country, this changed the way I viewed landscape.


Some photographic projects that personally influenced me were the documentary “Flight of the Windhorse” about the first Australian Himalayan hot-air ballooning expedition in Nepal in 1985 (my introduction to Tibetan Buddhism). Photo research and photography for the book “Burnum Burnum’s Aboriginal Australia – A Traveller’s Guide” produced for the Bi-Centenary in 1988. The documentary “Kakadu Man” about Bill Neidjie, of the Bunitj clan Gagudju language group of northern Kakadu in 1990. (he invited me back to draw and paint his country).

In 1992, two favourite assignments as photographer were for the Sydney visit of the 14th Dalai Lama of Tibet and photographing the handover ceremony for the remains of Mungo Lady at Lake Mungo, both in 1992.


Lake Mungo, like Kakadu, became a place that draws me back and I have produced and exhibited paintings, drawings, etchings and photographs from these places over the years. I always took a sketch pad, pencils, inks and crayons with me to sketch during breaks from photographing. Back home in the studio, many paintings, works on paper, experiments with etching and chine-colle came about because of these projects and journeys. Initially I worked with painting, printmaking and photography as individual practices, now I equally enjoy mixed media.

Desert Dreaming, 1988, two colour plate etching, 39.5 x 50cm, edition 25


In 2000, the Museum and Art Gallery of the Northern Territory included me in their exhibition “Artists in the Field: A Retrospective’ and bought one of my drawings for their collection.

In 2001, the Manly Art Gallery and Museum presented a survey show of my work based on 13 years of desert journeys called “Alchemic Wilderness: a survey 1988 – 2001- Lake Mungo, Desert and Kakadu”. It included photographs, drawings, etchings and paintings. They acquired an etching for their collection.


I decided to investigate Tibetan Buddhist ideas of the Five Elements as a portal into concepts of landscape, (including Australian Indigenous) for the Master of Philosophy, Visual Arts Graduate Program at ANU. I completed five bodies of work from landscapes as diverse as Lake Mungo (earth) Mystery Bay (water) Central Western Desert (fire,) Glasshouse Mountains (air) and Space as the fundamental basis of all the elements … inner space, outer space, the bardo, pictorial space, mind space. Chinese, Indian and Tibetan cultures have variations in their philosophical and visual traditions of the Five Elements. This was an opportunity to examine the diverse knowledge systems and spiritual practices I have engaged in over many years and explore how my Buddhist practice interfaces with the methodology of my art practice. I actively reviewed my painting practice as a contemplative art practice and investigated traditional and contemporary Australian, European and Tibetan artists. This research became part of my exegesis titled “Contemplation and Immersion: Exploring the Five Elements and Australian Landscape” awarded in 2020. My work is suffused with Buddhist philosophy and overlaid with environmental concern.


Carmen Ky, 2019, Graduate exhibition SOAD Gallery, ANU Canberra.

To see more of Carmen’s work go HERE.


Getting to know our members: Denise Scholz-Wulfing

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Denise Scholz-Wulfing in her home studio.

Denise has lived and worked in Europe and has travelled extensively throughout Asia, but she has always returned to her home in Sydney. After completing a B.A. in Visual Art from COFA in 1983, she continued her art practice, moving from painting and drawing to printmaking, (specifically etching) over the last 15 years. 

Her work is figurative and narrative in style and draws inspiration from her travels and the art that she had seen during those travels. She has taken particular delight in, and has been inspired by, the work of artists such as Pieter Bruegel and William Hogarth. She finds further inspiration in the world around her and uses various narratives to explore ideas, feelings and emotions. 

Her most recent etchings are strongly influenced by the purchase of land in the country and, while still populated by people, the images explore the bush, its landscape, iconography and symbolism.

Please visit the Artist’s page to see the range of her work: https://sydneyprintmakers.com.au/portfolio/denise-scholz-wulfing/

Denise Scholz-Wulfing - Paddocks with Gum Trees. Taylors Flat
Denise Scholz-Wulfing, Paddocks with Gum Trees, Taylors Flat, 2017 etching, 29x42cm

Denise describes her Practice:

My printmaking practice has developed over the years as I have refined my etching technique. My approach to etching is traditional, working with copper and zinc plates, and acid or ferric chloride. After applying a hard ground to the plate I then scratch the image onto the plate, I do this many times to develop the line work and in doing so the tonal contrast of my images. I then refine the image by adding aquatint to increase the tonal value. Generally, I work in black and white or sepia on a cream paper for the drama, contrast and clarity that this brings to my prints.


For me etching is the ideal tool to develop my drawn ideas. I have long admired the work of figurative artists who are moral or social and commentators. These artist/printmakers such a Pieter Bruegel, William Hogarth, William Blake and Francisco Goya, use drawing as a central part of their practice creating ‘stages’ on which their characters play. Often inspired directly by these artists I reference Biblical or mythological stories and combine them with personal imagery to give my etched images an extra dimension. 

Over the past few years I have increasingly used the landscape and natural environment as a metaphor for issues which are foremost in society, such as climate change and environmental degradation.


I continue the search for the ideal combination of subject and form, experimenting lately with collaging and reworking old prints into mixed media constructions.

Denise Scholz-Wulfing, Bird &, mixed media, etching, collage, wood, 20 x 40cm.

Getting to know our Members: Sharon Zwi

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Sharon Zwi at her photography exhibition, Time Exposures: 60 Life Portraits, 2013.

Sharon was born in Apartheid South Africa, studied at Reading University and The Slade, University of London, and immigrated to Australia in 1982.

She is primarily a Printmaker, although she also paints and does black and white photography. Her work is representational and it is about issues, some private and some public. She tries to depict universal issues by showing them from her personal viewpoint. Her prints are influenced by her black and white photography and by old photographs. Her photographs are influenced by printmaking and painting concerns.

She has been a member of the Sydney Printmakers since 1994, exhibiting with them at least annually. She has had a few one person photography exhibitions, the last being Time Exposures: 60 Life Portraits in 2013.

You can see Sharon’s work on the Artists page at https://sydneyprintmakers.com.au/portfolio/sharon-zwi/

Here, Sharon talks about her practice :

I work in both photography and printmaking and the two feed on, and influence, each other. In more recent times I have been using a tablet and drawing onto a screen with a stylus. I have the images printed by a master printer with whom I discuss the best way to print my work, and which archival paper to use. Sometimes I work in purely in printmaking; other times purely with photography; and sometimes I combine both streams of my work.

Mostly, my work is about people, but visiting Oratunga Station, in the Flinders Ranges, in 2019 when I participated in the JMCCCP (JM Coetzee Centre for Creative Practice Winter School), gave me an opportunity to work on landscape images. The landscape of the Flinders Ranges was very different from the coastal and city landscapes I’m more familiar with, and this inspired me to try a very different kind of work, which I am still experimenting with.

Sharon Zwi - Oratunga Station Flinders Ranges
Oratunga Station Flinders Ranges, 2019, archival ink print, 65 x 46cm.

Photoshop allows me to work in a very similar way to that of screen printing, especially when I use layers. I can get a huge range of effects, textures, and colours with Photoshop, and use a range of drawing or painting ‘tools’ which give a vast range of mark making effects. It is not a mechanistic way of working, and I do not use the ‘special effects’, which can give a uniform feel. It is no more mechanistic or ‘tricksy’ than any other method of printmaking, despite some peoples’ argument that it is. It is a modern printmaking method that I employ and experiment with, and I find it suits the work I am trying to make.

Sharon Zwi, three stages of a work in progress.

Artists in Conversation with the exhibition curator, Katherine Roberts, Manly Art Gallery and Museum: Angus Fisher

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Angus Fisher, Fish Trap, etching, edition of 10, 56 x 76cm Courtesy of Australian Galleries

How does your work address the theme ‘to the edges’?

The work is representational but is made reductively, focusing on the shapes, spaces and atmosphere connecting the subjects. The edges are only created through a removal of what’s between. Broadly, the print explores how we interconnect with our surroundings and the veil that exists between what we perceive as ‘natural’ and ‘unnatural’. At a time where the world is on the edge of a precipice, an awareness of this divide, leading to a more holistic vision of ‘nature’ is perhaps our only salvation.

Can you describe the technical process you went through to achieve the finished work and what technical challenges you encountered along the way?

Recently I’ve made a few works burnishing aquatints and working reductively. I heavily darken the entirety of my plates with an aquatint then work back into them with scrapers and burnishers smoothing the surface texture of the plate like a traditional mezzotint. Previously I’ve taken care with the technique and aimed to achieve a softness a finesse but for this image I worked quickly using only large scraping tools hoping to achieve a sense of physicality and movement in the final marks and a sense of tactility in the removed areas of the plate. 

Tools and plate in the process of burnishing the aquatint.

What do you see as the role of Sydney Printmakers for the next 60 years?

Sydney printmakers has an important role bringing together printmakers and continuing to provide opportunity for connection and discussion amongst members and the printmaking community. The organisation provides a distinguished platform for printmakers to present themselves as a united front and grants access to unique and exciting exhibiting possibilities. The role of the Sydney Printmakers in disseminating printmaking into the public sphere continues to be of vital importance.  

How do you see the role of printmaking, in general, contributing to the conversation about contemporary art practice?

Printmaking is an art practice inherently linked to technologies. From the most primitive forms of mark making to the utilisation of cutting edge technology, under its skin printmaking is a rolling commentary on the progression of how we communicate and how we make marks on each other. The role of printmaking in contemporary art practice is strong and I believe it really can only get stronger as it’s horizons widen and it’s playing field naturally becomes larger.  

Artists in Conversation with the Exhibition Curator, Katherine Roberts, Manly Art Gallery and Museum: Rafael Butron

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Continuing with our series of interviews with artists exhibiting in Sydney Printmakers ‘To the Edges’ at Manly Art Gallery and Museum, we now talk to Rafael Butron.

Rafael Butron, Phases of Isolation, copper plate engraving and woodcut, unique state, 54 x 147cm

How does your work address the theme ‘To the Edges’?

Recent unparalleled events Have caused many to live on the edge. The pandemic virus, caused by transmission from one person to another forced many of us into isolation quite rapidly, and for most people came fear and loneliness. Humans caused these events to unfold. The world’s temperature rises and our environment has been thrown. ‘Phases of Isolation‘ is a self portrait that explores three stages of separation, frustration, anxiety and depression. As we value our lives so should we also value the world we live in, by having compassion for one another and a duty of care for our world.

Can you describe the technical process you went through to achieve the finished work and what technical challenges you encountered along the way?

I usually engrave from a drawing on the plate itself using copperplate with a marker pen, then slowly engrave using an engraving tool called a Burin. The technical challenge is to remove all your training, which tends to make the print perfectly executed and use the innate artistic energy to achieve an image, much like action painting. My intention is to incorporate traditional printmaking techniques to create a unique work that has its own spirit.

Using the burin to engrave the copper plate.

What do you see as the role of Sydney Printmakers for the next 60 years?

Sydney Printmakers have and always will push printmaking to its limits and with every new member there is an opportunity to develop new engaging works that add to the diversity of the group and ensure its longevity for years to come.

How do you see the role of printmaking, in general, contributing to the conversation about contemporary art practice?

Printmaking has a role to play in contemporary art making as every printmaker has a unique approach to the creation of an image and the variety of mediums allows for an individual interpretation of the subject.

Artists in Conversation with the Exhibition Curator, Katherine Roberts, Manly Art Gallery and Museum: Carmen Ky.

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Rainforest Meets the Sea, Collagraph, etching, watercolour, encaustic wax on Hahnemuhle paper, 74.5 x 59cm each panel.

How does your work address the theme ‘to the edges’?

Consisting of six connecting panels, each one complete also in its own right, this work is thematically concerned with edges. Titled Rainforest Meets the Sea connects my current environment: a narrow coastal strip at the edge of the Royal National Park, nestled under the Illawarra Escarpment to the South Coast of NSW. My home and studio adjoin remains of subtropical rainforest with a short walk to the ocean. Here the edges of the land meet the sea, feeding into the concept of To the Edges.          

Always living next to large bodies of water and in bushland, I inhabit and respond to natural elemental environments. The ambience of the natural elements reaffirms my research into the philosophy of the Five Elements as interpreted in Tibetan Buddhism and takes my work to the edges of Eastern philosophy and Western art. This was further explored in my Master of Philosophy degree completed at ANU in 2020.

Can you describe the technical process you went through to achieve the finished work and what technical challenges you encountered along the way?

For this project I pushed my printmaking to the edges of becoming a painting by including a few of the mediums that I employ when painting: watercolour, collage and encaustic wax. Starting with washes of watercolour, I then printed collograph shapes reminiscent of sea weeds or tree trunks, next I tore my etchings into evocative shapes suggestive of deep-sea creatures or rainforest forms and collaged them into the work. This was followed by painting a series of white spheres and ovals to add connecting sparks of light in each panel. 

I love using encaustic wax when painting, however a challenge in applying it to paper is that it becomes partly absorbed while using a heat gun to spread the wax and thus changes the tone of the paper. Firstly, I stabilized the paper by gluing it to well-sealed boards and defined the shapes that I wanted to remain white by applying white paint to those areas. eg: the white spheres. This incurs another small challenge: painting white on white paper, makes it hard to evaluate the spatial depth of the work … until the wax is burned in. The whole process is labour intensive and the encaustic wax is toxic, so it involves wearing a protective mask. However, the resulting smooth protective coating produces a beautiful luminous quality to the work.

What do you see as the role of Sydney Printmakers for the next 60 years?

I see the Sydney Printmakers continuing as a platform for members to exhibit and embracing new members and methods of print and supporting change. 

How do you see the role of printmaking, in general, contributing to the conversation about contemporary art practice?

Printmaking will always be a part of contemporary art practice as an embedded tradition constantly changing to accommodate new approaches and media.

Artists in Conversation with the Exhibition Curator, Katherine Roberts, Manly Art Gallery and Museum: Roslyn Kean.

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Roslyn Kean, Defining the Edge, 2021, wrapped multi block woodcuts, diptych, U/S, 58 x 163cm (framed)

How does your work address the theme “To the Edges“?

2020-21 has been a time full of challenges and during periods of isolation there is time to reflect and consider what is of importance. The varying dynamics of dealing with a new “ Covid 19 “ society has inspired this image. Shifting values, tough decisions and being on edge of so many changes. To be so mindful of what was once just everyday living.

Which way to turn, when to touch, not being allowed to touch & show affection all create a vision of shifting planes and turning points.

Aristotle created a triangle of rhetoric, a way to discuss Ethos – ethical issues, Pathos – compassion and emotion, and Logos, the value of logic. My work “Defining the Edge” also reflects on the dynamics of Aristotle’s triangle. 

Can you describe the technical progress you went through to achieve the finished work and what technical challenges you encountered along the way?

My work is a diptych multi block woodblock print created using the traditional techniques of ancient Japanese printing traditions. Registration is of prime importance as there are over 30 blocks carved to create the illusion of transparent overlaps. There are no overlaps in this work as colours are mixed to create the illusion of transparency.

Working an image across 2 individual prints always creates challenges in paper stretch from so much baren work. All the blocks are hand carved in Russian Birch and hand printed on quality Japanese Kozo.

What do you see as the role of Sydney Printmakers for the next 60 years?

I would hope Sydney Printmakers remains a committed group of artists celebrating the dynamics of both traditional print media and new technologies who create a platform for sharing their individual creative talents and also to be challenged as a group to remain effective in the coming years.

How do you see the role of printmaking, in general, contributing to the conversation about contemporary art practice?

I have no doubt that printmaking will continue to be the medium of choice for many contemporary artists. With the success of many international conferences focused on printmaking it is no doubt a popular medium universally.

The greater challenge is to preserve the teaching of traditional practise in our art institutions and for those with the knowledge to be willing to share. We collectively have to continue to preserve what we now have for future generations in our shared knowledge of the print medium.

Artists in Conversation with the Exhibition Curator, Katherine Roberts: Susan Baran.

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Susan Baran, Ubud Bali, 2020, photopolymer intaglio, hand coloured, cyanotype, main image 57 x 123cm, series of 'postcards'

Susan Baran, Ubud Bali, 2020, photopolymer intaglio, hand coloured, edition of 6, 57 x 123cm and ‘Snapshots‘.

How does your work address the theme ‘to the edges’?
At first glance my large triptych Ubud Bali and the smaller series of works Snapshots seem to be about the beauty of a place I love dearly. Bali often referred to as the island of the gods is considered a paradise by many, but beyond the lush tropical landscapes and incredible natural beauty of Bali is a troubling reality. Tourism over the past decades has grown so rapidly that many overwhelming problems prevail.  Pollution chokes the ocean with rubbish and raw sewage washing up on the beaches. Bad traffic jams are an everyday problem where there are simply to many cars on the existing roadways often resulting in gridlock and sometimes fatal accidents. Many of the tourists are oblivious to the island’s rich culture and history and think of Bali purely as a party destination. High rise buildings and urban sprawl dominate areas that were once humble fishing villages stretching the limits of existing infrastructure. As the world struggles with the Covid 19 pandemic and travel is limited tourists have abandoned Bali almost completely leaving the local community without a way to make a living resulting in great hardship experienced by all. Also Indonesia and Bali are suffering some of the highest Covid 19 infections rates worldwide with inadequate hospitals to treat the sick. As beautiful as Bali still is it is definitely a place pushed to the edges. 

Can you describe the technical process you went through to achieve the finished work and what technical challenges you encountered along the way?
The large triptych is done utilising my photographs on  photopolymer plates (solarplates) and inking those plates up meticulously with different colours employing  the  à la poupée  technique. I use small paintbrushes to apply the inks and very carefully wipe back the plates to achieve the required effect. Then I hand colour the prints using watercolour pencils and paints. 
The smaller works are a series of images attempting to tell a story of what Bali means to me. You will see rice paddy fields, palm trees, a temple, daily offerings left out on the street, a Barong statue, a Ganesh the elephant god statue, a Bali dog lying in the sun, a warung, fishing boats, motorbikes and some local children.  I have again used photopolymer plates to create  the prints, but also I started experimenting with cyanotypes which is an alternative photographic process first discovered in the early 1800s. I added a little bit of hand colouring in some of the smaller works, but generally these are less laboured compared to my usual prints. 

Susan hand colouring her print, Ubud Bali with watercolour pencils.

 What do you see as the role of Sydney Printmakers for the next 60 years?
It is an incredible feat for Sydney Printmakers to have been active for 60 years. We are a diverse group of artists  constantly busy organising exhibitions with an aim to promote printmaking nationally and internationally. We have achieved a great deal in that time and I hope Sydney Printmakers continues to be strong into the future involving a younger generation to carry on for another 60 years and more.  

How do you see the role of printmaking, in general, contributing to the conversation about contemporary art practice?
Sydney Printmakers formed in 1961 to address the concerns of artists that printmaking at the time was being neglected and overlooked. The group’s aim was to strongly promote printmaking in general as did the Print Council of Australia that was established in Melbourne around the same time. Today printmaking is strong and continues to play a vital role in the art and culture of our age. 

Artists in Conversation with the Exhibition Curator, Katherine Roberts, Manly Art Gallery and Museum: Anthea Boesenberg

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How does your work address the theme ‘to the edges’?
The work is experimental. I had been spending some time with Ruth Burgess, and was impressed and intrigued by her use of colour. I wanted to explore how, by printing just the primaries over one another, I could create a range of secondary and tertiary colours. My process would be revealed at the edges of each of the panels which comprised the work. The decision to print by hand rather than the press literally expresses the theme, since the printer must move the baren right to the edges of the paper to make each print.

Detail: Anthea Boesenberg To the 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 decided to avoid imagery as much as possible, so as to concentrate on the most important factors: colour and luminosity. To achieve luminosity within each print, I glued fabric over plywood and chose to print the plates in relief. This meant that the white of the paper showed through the weave of the fabric to enliven the colour on each print. The decision to print the work by hand was made to allow for incidental marks and imperfections to contribute to the work.

It was only part way through the printing process that I discovered that the way the plywood base of the plates was constructed had produced two bands on each print as a variation in the surface. The hand printing was challenging physically and technically since I am a quite recent convert to printing with a baren,but I realised the flaws in the printing gave the work a liveliness that wouldn’t be present had I opted for another process. 

To begin with, I envisioned that the work would have 15 elements, but realised as I progressed through the making of the piece that I could have expanded it much further, although the size of the finished piece would have been even more unwieldy.

I had to confine it within arbitrary parameters, so I created a formula to work to. The constraints I set myself were 

 to use two plates only

 to use yellow red and blue ink only, ie no colour mixing

to use four layers of ink on each print

 to print by hand with a baren

Working at that scale was a challenge. The first time I was able to see the work as a whole was after it was installed on the gallery wall and appropriately lit. It is too large to fit on my studio wall.

What do you see as the role of Sydney Printmakers for the next 60 years?

I expect Sydney Printmakers to continue to attract members dedicated to excellence in the medium of print. ‘To the Edges’ demonstrates that the organisation welcomes experimentation, exploration and creativity within the medium of printmaking, and I think that is its strength.   

How do you see the role of printmaking, in general, contributing to the conversation about contemporary art practice?

Printmakers have always been interested in new technologies, in new ways of responding to the world. I feel that printmaking will always have a place in contemporary art practice because it continues to evolve. Witness some of the prints in ‘To the Edges’ which explore the edges of contemporary practice.