Waverley Woollahra Printmaking Prize 2021

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Maximilian Gosling
Maximilion Gosling The Onion Farmers House Etching
37.5cm x 30cm

Max Gosling and Marta Romer were finalists in this award, and Max won the Traditional Printmaking Award with his image “The Onion Farmers House“. Congratulations to both Max and Marta.

The Onion Farmers House — Maximilian Gosling | Etching | 37.5cm x 30cm
“The etching “The onion farmers’ house” is set in a fictional world where anthropomorphic badgers take the centre stage. The fiction follows a narrative centered around a sentient onion taking control of a badger populated city called Madráyiss. This image captures a section of the story where the main protagonist arrives at the onion farmers’ house and forms a plan to reclaim Madráyiss and overthrow The Onion Monarchy.”

The judge, Rebecca Beardmore, said this about Max’s work:

“The Onion Farmers House is whimsical, otherworldly. The detail in the linework and the textural surfaces is exquisite, from starry skies to mountainous rocks that look like Banksia seed pods. I loved the way this artist plays with scale, the miniature to the gigantic. Beautifully rendered.”

Marta submitted a digital print, titled “Midcentury Modern“, which is part of an ongoing series.

Relaunch of our Artists Page

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Anna Russell has been hard at work setting out and reorganising our Artists portfolios on the Artists page, with bigger and better slide shows of your prints.

Please go and check it out. Your feedback is welcome, both positive and negative.

Anna will be contacting artists by email over the next little while for further information from you for the website and blog. Please wait until you are contacted.

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.  

Forest: Anna Russell @ The Old Post Office Gallery, Atherton.

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Old Post Office Gallery, 86 Atherton Herberton Rd, Atherton QLD 4883
Tuesday to Saturday 10am to 2pm until Saturday October 30.
  
A narrative of mystery and metaphor marks the forest: searching within this place, the forest reveals hidden treasures and monumental moments that celebrate movement, sound, energy and eventually change.This exhibition examines the challenges of scale, pattern and texture found within the rich ecosystem of the forest – the flickers, twists, sounds and webs, reminding us that we are not in control, that we are primal in nature and that we should be alert to the danger of losing our way, falling into the unknown.

 

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.

Print Council of Australia: Bookish

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An exhibition of contemporary Artists’ Books by Print Council of Australia Members.

Our members Helen Mueller, Helen Best, Barbara Davidson, Susan Baran, and Nathalie Hartog-Gautier have books in this show. You can see the show online here.

Invitation from The Black Hand Gang: A Post Covid Opportunity?

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Black Hand Gang is based in Bali, Indonesia, and was established back in the ‘heady care-free’ pre-covid days of early 2020.  It is the leading printmaking facility in Indonesia and has 1.5 years worth of collaborations with artists creating a great portfolio of printed works.

Black Hand Gang have managed to be the flag-bearer for ‘fine art print’ in Indonesia and helped to elevate the medium and have captured the interest and imagination of the art community in Indonesia.

We’ve found liaising with printmaking studios/communities around the world is a great way to connect and see what opportunities may arise.

We are seeking printmakers to come and be a part of our studio.  We have local Indonesian printmakers but would love to explore the opportunity for International printmakers too.  We are open minded and rather than impose a formal structure for how this might happen, are just leaving it as a casual enquiry for people to get in touch, share their resume/ portfolio and then discuss what they are looking for and see if there is some way to make a match.  Could be short term guests or longer term involvement, just exploring to find middle to senior printmakers who see the value and potential of the opportunity here in Bali.  There are more details for candidates if they apply.

We thought you may know anyone or would pass the word about the opportunity – your support to share the word is appreciated with great thanks.

Press Release, Catalogue, & Printmakers Opportunity Post

More information on the Black Hand Gang website: www.blackhandgang.id

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.

Join the Print Council of Australia

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Established in 1966, for over 50 years the Print Council of Australia has promoted and supported contemporary artists working in print media, and advocated for the appreciation of printmaking as a vital and vibrant field of creative endeavour in the Australian context. This advocacy extends to related practices such as artist books and zines, and the broader field of works on paper.

The Print Council of Australia (PCA) is a national not-for-profit member organisation. They publish Imprint, the quarterly art magazine dedicated to contemporary printmaking in Australia and beyond.

It has members from throughout Australia and overseas, including artists, students, arts institutions, galleries, universities, schools and collectors.

The PCA receives NO funding and absolutely relies on membership to raise the funds to pay their hard working staff, pay overheads and produce IMPRINT magazine. Without members the PCA cannot exist. 

As a national, not-for-profit organisation, the PCA has Committee Representatives in each state and territory, activating the Australian print community at a grass roots level. The Print Council of Australia has an open membership policy with no restrictions on joining.

From $77.00 a year (including GST), this is what you get from membership of PCA:

  • Subscription to IMPRINT, the quarterly art magazine dedicated to printmaking, artist books, zines and works on paper. (Four issues per year)
  • Free promotion for your exhibitions ‘Australia in Print’ in IMPRINT, in the
  • monthly e-newsletters and social media platforms. Visit the Member Exhibition Submission page for more info.
  • Opportunities for artists including the annual PCA Print Commission and the biennial PCA Print Exchange project.
  • Stay connected to what is happening in the world of print through information about awards and opportunities.
  • Opportunities to purchase prints at member rates in the annual PCA Print Commission program.
  • Exclusive discounts at various art suppliers, framers and workshops.
  • Exclusive events such as curator talks and collection tours.
  • Voting rights: the PCA is a membership organisation, as a member you have the right to vote at our Annual General Meeting as well as nominating for and electing national Committee Representatives.

MEMBERSHIP SUBSCRIPTION

From: $77.00 inc GST / year

Renew your membership of the Print Council or join up here.

For membership enquiries or other information, contact the PCA office on 03 9416 0150 or

 generalmanager@printcouncil.org.au.