Sydney Printmakers

Exhibiting since 1961

  • About Us
  • Exhibitions
  • Artists
  • News
  • Contact Us

Review of Borderless by Sasha Grishin in the Canberra Times

October 3, 2019 by Anthea Boesenberg Leave a Comment

Sydney Printmakers: Borderless. Megalo Print Gallery, 21 Wentworth Avenue, Kingston. Until November 2. megalo.org.

Printmaking is probably the most collaborative of all of the major art mediums. Shared facilities and shared expertise have characterised printmaking since its earliest days and many printmakers see themselves as part of an extended network of professional artists.

Roslyn Kean, Weaving Ancestral Voices II in Sydney Printmakers at Megalo. Picture: Supplied

Roslyn Kean, Weaving Ancestral Voices II in Sydney Printmakers at Megalo. Picture: Supplied

In the almost 60 years of its existence, Sydney Printmakers has included most of the major printmakers of the time and the situation has not changed.

Today, there are about 60 members in Sydney Printmakers, 33 of whom are included in this exhibition. It is an exceptionally rich and diverse show with some brilliant work.

As a sweeping generalisation, Sydney printmaking, as epitomised here, is becoming far less new-media driven and more artists focus on analogue techniques. Woodcuts, linocuts, etchings plus the occasional screenprint hold sway, while digital and inkjet prints are the exception. It may be foolhardy to leap to conclusions on the basis of this exhibition, but it appears that digital technologies are being increasingly absorbed into the toolbox of Australian printmakers rather than being seen as an end product. Many may employ computers to formulate an image but employ traditional technologies to realise the final print.

The exhibition is dominated by some brilliant and ambitious woodcuts worked on a large scale by established masters, including Roslyn Kean, Susan Rushforth, Anthea Bosenberg, Angela Hayson and Helen Mueller. Rew Hanks is represented by one of his unbelievably detailed narrative linocuts, Josephine’s Ark (2019), while Graham Marchant’s linocut, The Cranford Rose Garden (2015-18), has an intriguing complexity produced through a deceptive simplicity of means.

Seraphina Martin, Finding solace in the land, 2019 in Sydney Printmakers at Megalo. Picture: Supplied

Seraphina Martin, Finding solace in the land, 2019 in Sydney Printmakers at Megalo. Picture: Supplied

It is exciting how some of the “elders” of the printmaking tribe are branching out in new directions. Seraphina Martin’s Finding solace in the land (2019) is a light and highly evocative etching with watercolour, while Susan Baran’s huge tour de force Allure (2019) is a complex piece where she has collaged etchings and relief prints into a rippling, intricate composition.

One beauty of printmaking is its sense of intimacy through which it can convey an artist’s personality. Examples include the refined lyrical sensibility of Tanya Crothers’ collagraph Black Springs re-visited (2019), Wendy Stokes’ delicate Blended geographies (2019) combining relief, monoprint and stencil, Salvatore Gerardi’s striking Pervading memories: shadow lines (2019) or Andrew Totman’s spatially ambiguous floating monoprint, Touch (2018).

There are also some of the classics of Sydney printmaking, such as Barbara Davidson’s etching collagraph Voters and parliamentarians (2019) with its humour and brilliance of observation, and Bernhardine Mueller’s All the rivers run? (2018) with its dry humour and a created personal narrative.

Nina Juniper, Self supporting #1, 2019, in Sydney Printmakers at Megalo. Picture: Supplied

Nina Juniper, Self supporting #1, 2019, in Sydney Printmakers at Megalo. Picture: Supplied

There is a strong, punchy inkjet print by Marta Romer, Borderless (2019) and a bold, inventive screenprint by Nina Juniper, Self supporting #1 (2019), that depicts a crumbling industrial site she has screenprinted on a block of concrete. Her print conveys a range of possible readings with effective humour.

This is an exciting, adventurous exhibition that demonstrates that printmaking in Sydney is in ascendancy.

  • FACEBOOKSHARE
  • TWITTERTWEET
  • EMAIL

Filed Under: Exhibitions Tagged With: analogue, Borderless, digital, Kingston, Linocut, Megalo Print Studio, Nina Juniper, printmaking, Roslyn Kean, Sasha Grishin, Seraphina Martin, woodcut

Indian Exchange Exhibition presented by Seraphina Martin

July 25, 2019 by Anthea Boesenberg Leave a Comment

This is a show Seraphina is part of and is hosting at the Indian Consulate in Sydney.
There are 40 prints 30x30cm as part of a International print exchange from India.

Filed Under: Exhibitions Tagged With: Indian Consulate, International art exchange, Portfolio of prints, Seraphina Martin

Seraphina Martin Workshop

April 2, 2018 by sydprint Leave a Comment

WARRINGAH PRINTMAKERS STUDIO 

sat. 7 & sun. 8 april

viscosity printing with seraphina martin

Guest artist, Seraphina Martin returns to our studio to demonstrate and teach the remarkable possibilities of viscosity colour printing. Using photopolymer plates we will explore the various ways these plates may be printed. Seraphina trained at Atelier 17 studio in Paris with Stanley William Hayter, the inventor of this technique.

Time: 10am to 4pm
Members: $300.00
Non members: $325.00 (includes Assoc.Membership)
Includes most materials
Bookings: Susan@printstudio.org.au.

Website: printstudio.org.au

Filed Under: Workshops Tagged With: Seraphina Martin, viscosity printmaking, Warringah Printmakers Studio, weekend workshop.

Hazelhurst Art on Paper Award

May 12, 2017 by sydprint Leave a Comment

Filed Under: Exhibitions, Print Prizes, Workshops Tagged With: Ben Rak, exhibitions, Gymea., Hazelhurst Art on Paper Award, Hazelhurst Regional Gallery, Laura Stark, Seraphina Martin, workshops

Printed in Australia at Spot 81

August 5, 2016 by sydprint Leave a Comment

 

You are invited to PRINTED IN AUSTRALIA at Spot81
PRINTED IN AUSTRALIA

Book launch & Exhibition

3 – 14 August

Drinks with the artists and book launch Saturday 6 August, 3 to 5pm

PRINTED IN AUSTRALIA is designed and published by 10 Group, with a foreword by Akky van Ogtrop, Curator & art historian and President of the Print Council of Australia

SPOT81
81 Abercrombie Street, Chippendale, NSW, 2008
T 61 2 9690 0655
E  info@spot81.com   W  spot81.comGallery Hours: Wednesday to Sunday, 11am – 5pmDirector: Michelle Perry
The book and exhibition feature works by
INDIVIDUAL ARTISTS
Suzanne Archer, Terry Barrett, Kate Briscoe, Ruth Burgess, Seong Cho, Neilton Clarke, Charles Cooper, Christina Cordero, Barbara A Davidson, David Fairbairn, Mirabel Fitzgerald, Helen Geier, Robyn Gordon, Craig Gough, Roslyn Kean, Wendy Kelly, Michael Kempson, Jasper Knight, Graham Kuo, Alun Leach-Jones, Sandra Leveson, Dianne Longley, Seraphina Martin, John Robinson, Luke Sciberras, Martin Sharp, Ben Soedradjit, Wendy Stavrianos, Madeleine Tuckfield-Carrano, Mark Ward, Madeleine Winch, Tim Winters
WORKSHOPS & SOCIETIES
Agave Print Studio, Basil Hall Editions, Cicada Press, Falls Gallery Editions, Grip Editions, Marnling Press, Open Bite Printmakers, Sydney Printmakers, Whaling Road Studio
Works shown above, clockwise from top left, are by Michael Kempson, Linda Galbraith, Anne Starling, Salvatore Gerardi, David Fairbairn and Kate BriscoeAs part of the 50th anniversary celebrations of the Print Council of Australia, 2016 is designated the ‘Year of Print’, a special year, commemorating the history of printmaking in Australia since the 1960s.  It is therefore a very opportune moment to celebrate this publication on innovative printmaking and printmakers.In the early twentieth century printmaking was rarely seen as an artist’s main focus. Instead it tended to be a peripheral activity, secondary to painting or sculpture. This changed in the 1960s and 70s.  Frequently referred to as the decade when the print came of age, the 1960s witnessed the emergence of printmaking as a mainstream art form in Australia, when printmaking in the art world moved to centre stage.  A large touring exhibition, the Australian Print Survey 1963, was the culmination of these explorative years. Organised by the then Senior Curator of Australian Art, Daniel Thomas AM, for the Art Gallery of New South Wales, the exhibition was seen by both artists and the public as the official acceptance of printmaking by the art and collecting world.This development encouraged artists to explore the potential of printmaking and use it to produce works which represented major breakthroughs as creative statements, placing print, arguably for the first time, as a primary means of expression. It meant that the boundaries that once defined printmaking began to blur. From the experiments of the 1960s,  printmaking developed in many new directions.Recognizing that prints are a natural extension of their existing practices, many of the artists featured in this publication have taken advantage of new ideas and technologies. The print medium  became a  central part of their activity, the equal of their output in other media, conceived as integral or complementary to it.

I hope that this publication will raise awareness in the culture of printmaking as a more visible art form  than ever before.

Akky van Ogtrop
Art Historian / Curator

Also, join us in the gallery for a glass of wine and final viewing of Emanuel Raft’s beautifully evocative exhibition, The Noise of Silence, this Sunday 31 August from 4pm

Shown above: ‘Untitled No 5’, Acrylic on canvas, 106 x 106cm

Copyright © 2016 Spot81, All rights reserved.

 

Filed Under: Exhibitions, Publication Tagged With: Barbara A. Davidson, Chippendale, Christina Cordero, Exhibition and book launch, Madeleine Tuckfield-Carrano, Michael Kempson, Neilton Clarke, Roslyn Kean, Ruth Burgess, Seraphina Martin, Spot 81, Sydney Printmakers

Silence in the Woods, Seraphina Martin

June 6, 2016 by sydprint Leave a Comment

Nolan Gallery
Space 109,
Level 1, Salamanca Arts Centre,
77 Salamanca Place, Hobart 7000
Opening hours 10 – 5 mon- sat
Exhibition Opening
10 th June 6 -8 pm

image

Filed Under: Exhibitions Tagged With: Hobart., Nolan Gallery, Salamanca Arts Centre, Seraphina Martin, Silence in the Woods

Viscosity Printing Workshop with Seraphina Martin

February 17, 2016 by sydprint Leave a Comment

viscosity.jpg

At Warringah Printmakers Studio, cnr Lovett and Condamine Streets, Manly Vale on Saturday 27th and Sunday 28th February, 2016.

Create photopolymer plates suitable for viscosity printing and then experiment with the many viscosity printing techniques. Seraphina Martin trained in Paris with Stanley William Hayter who pioneered colour viscosity printing in the 1960’s. She has a wealth of knowledge of viscosity printing to share..

Time: 10am to 4pm.
Members: $245     Non members/Associate members: $270
To book, contact Susan Baran.

Filed Under: Workshops Tagged With: photopolymer, Seraphina Martin, viscosity printing, Warringah Printmakers

Exhibition

October 6, 2012 by Anthea Boesenberg Leave a Comment

20121006-125810.jpg

20121006-125839.jpg

Filed Under: Exhibitions Tagged With: Danks Street, Intersections, Seraphina Martin, Solar Plate prints

Subscribe to Blog via Email

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 554 other subscribers

Recent Posts

  • Call for Papers: 2020 Nara Mokuhanga Conference
  • Water: Call for Artists
  • Acquisition by Maitland Gallery
  • On Paper 2020
  • Splendacious at Neospace

Recent Comments

  • Anthea Boesenberg on Blue Mountains Print Prize 2019
  • Anthea Boesenberg on Residency Opportunity at Megalo Print Studio
  • Stephen McMillan on Residency Opportunity at Megalo Print Studio
  • Chandan Bez baruah on Blue Mountains Print Prize 2019
  • Nathalie Hartog-Gautier on New Members 2018: Maximilian Gosling

Archives

Categories

Copyright © 2019 Sydney Printmakers :: Exhibiting since 1961