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MAY SPACE and BLACK BOX PROJECTS are proud to present a series of photo-etchings and moving-image works by Sydney-based interdisciplinary artist, Carolyn Craig. This will be Craig’s first solo exhibition at MAY SPACE following her inclusion in Sydney Printmakers 2020 in April this year.
Proximal Noise (bacterial nervosa) brings together components from two series of work, examining conceptions of deviancy and social infection, how particular bodies become viewed as sites of contamination, and the value or non- value attributed to bodies in our society.
I 
I hope you can pop in to see my work inspired by the life of my almost 97 year old most cherished mother, Anne.
Please note that only 40 people are permitted between 5.30-6.30 and 20 from 6.30-7 so you must book if you want to come to the opening. As well, the artist’s talk also limited numbers on Saturday December 9 .
Otherwise, come in between Monday-Friday from 10 – 4.30 and 10-2.30 on Saturdays from 9-19 December and 4-16 January. Let me know if you’re coming so I can arrange to be there – 0402 913 697.
Looking forward to welcoming you to this beautiful gallery – Gallery Lane Cove, upper level, 164 Longueville Road, Lane Cove.
Members Carolyn Craig and Lea Kannar-Lichtenberger are finalists in this award
What’s about to unfold at Queensland College of Art in Brisbane.
Griffith University is planning to “withdraw” all printmaking courses from its offerings from Jan 2021 as a part of its response to the Coronavirus pandemic. This is despite the viability of the print program even in the midst of the coronavirus pandemic. By withdrawing these courses Griffith is able to declare all resources (staff and equipment) associated with the delivery of them “surplus to requirements”. Printmaking is one of four studios on the chopping block. Jewellery & Small Objects, Documentary Photo Practice and Commercial Photography are the other three. While the university is reducing its staff numbers by 8.3%, the losses in Fine Art and Photography will equate to a minimum loss of 45% of the teaching and technical staff. QCA staff were ambushed by the proposal and the rational for choosing Print, Jewellery & Small Objects studios remains obscured. Having been advised of these plans on Monday the 2nd of November we now have three weeks to respond.
As the last dedicated Printmaking program in QLD the detrimental impact on the printmaking and artists book communities here will be irretrievable, especially in the current tertiary education environment. The opportunity for emerging and established artists from these communities to develop the conceptual strength of their print practice together with the technical proficiency they need will be lost to Brisbane and Qld.
This is a repeat of what unfolded at James Cook University as Anneke Silver has shared in a post on the community facebook page established to build a response to Griffiths planned cuts. QCA print studios offer, Relief, Letterpress, Intaglio, Lithography, Silkscreening, Papermaking, artists books and many associated digital processes such as laser engraving.
QCA staff are planning our response. The Printmaking and broader art communities (student and public) have mobilised and are planning their response, see below.
An invitation – a call to action to prevent what Shasha Grishin has described as
1 damage to the whole structure of arts education in Australia,
2 an enormous blow to printmaking and artists books practice in Australia,
3 the irretrievable loss of the historical and successful Print(making) studios at QCA, the most important institutional printmaking workshop north of Sydney.
If you will – please;
sign the petition addressed to Griffith University council requesting this proposal be abandonded. – http://chng.it/L4NhmZnynR
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Laura Stark writes about the recent passing of Robyn Waghorn.
I have known Robyn for many years, living close by and belonging to a number of printmaking groups, we often shared rides to go to meetings. I admired her sense of purpose, the certainty and consistency with which she approached her work. She was a very private person but also generous and empathetic. Her artist’s statements were brief, bared back to essentials, unwavering in the certainty of her vision. She was always restrained and not given to self promotion.
In 2016 we had a joint exhibition at the Hazelhurst Arts Centre. Ruth Burgess opened the exhibition and in her beautifully expressed opening speech she referred to a comment on Robyn’s work made by Sasha Grishin, that it ‘was noted for a tragic dimension and a sense of loss and absence’.
She then went on to say ‘Using the subject of the Australian bushfires as the origins of her work, Robyn found that while flame is necessary for some species for regrowth, hope is expressed by the white lines and spaces symbolising regeneration and healing, (so much in keeping with Robyn’s own life as a nursing sister).’
Robyn qualified for an Honours degree in printmaking at the SCA. Her studies led her to the use of rich black relief prints. The sense of space these produced found its way into diverse books and images to become the central fugue in her work, tearing apart the conventional view of landscape.
We worked together on a print for the Sydney Printmakers exhibition ‘Collaboration’ in 2005, which, when I last saw it, was hanging in her home. I’m proud to have had the opportunity to have had that close contact with her and that, in that work, our mark making will always be linked.
Laura Stark Oct. 2020
Robyn Waghorn
