Surface impressions 2022, Call for Entries.

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The LUX Center for the Arts, Nebraska,  in cooperation with Constellation Studios, will present ‘Surface Impressions,’ an ambitious exhibition focusing on hand-produced relief prints from woodblock, linoleum cut, wood engraving, and mixed media relief prints.

Now – Open for Submissions 
March 18, 2022 – Deadline for submissions
June 3th – August 26th, 2022 Exhibition dates
April 1, 2022 – Artists Notified
June 1-4, 2022 – Juror events, opening, award selection
Summer 2022 – Events, workshops, steamroller printing

Eligible works: Original fine art prints from woodblocks, wood engravings, linoleum, and alternative relief surfaces; prints are to be printed on paper; created in 2019 to 2022. Only unframed works, please.

All national and international artists (18 years and older) are eligible to enter 5 works

This biennial of relief prints here in the center of America will showcase artists from around the country and abroad, all selected from an open call for entries. The works on exhibition focus on the role of the relief print as a means of cultural critique and exploration of this ancient but newly invigorated discipline as practiced and defined by today’s artists.Full details and enter HERE

Hazelhurst Art on Paper Award 2021

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The exhibition, having been delayed due to COVID, will finally be open from 22 Jan 2022 – 27 Mar 2022. There will be no Opening function.

Sydney Printmakers members represented in the show are Danielle Creenaune, Roslyn Kean, Laura Stark and Anne Starling.

To the Edges @ Manly Art Gallery and Museum

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Anne Starling - Nuclear Family
Anne Starling, Nuclear Family, 2020, linocut, woodblock, intaglio, relief, collage, 62 x 157cm.

Only six days to go to see this impressive exhibition!

Splash page image: Nathalie Hartog-Gautier, Looking for Paradise, Handmade raw cotton paper in collaboration with Darren Simpson from Creative Paper Tasmania and Penelope Lee, 12 books, unique state.

The Exhibitions Page is Now Ready to View.

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Susan Rushforth - PassingClouds VI
Susan Rushforth, Passing Clouds VI (Sunrise), U/S, 2019, woodblock print using water based pigments on handmade Kozo paper, 35 x 70cm.

The exhibitions page has links to a short Film of the installed work, the online catalogue, and Sasha Grishin’s Opening Address.

Go Here.

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