4TH BIENNIAL - InkMasters Cairns Inc. · Many individual artists, from emerging to advanced, have also taken part in a series of specialised print media workshops and demonstrative

4TH BIENNIAL

INKMASTERS PRINT EXHIBITION 2018

2 7 J U L - 1 9 A U G 2 0 1 8

TANKS ARTS CENTRE46 Collins Ave, Edge Hill, Cairns Qld

EXHIBITION LAUNCH6PM FRI 27 JULY

ISBN: 978-0-646-98400-1

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PRESIDENT’S MESSAGELAUREL MCKENZIE

The 2018 InkMasters Print Exhibition is our fourth, and we are immensely proud to present 136 works, finalists selected from over 300 entries. Works by artists from Australia, Canada, Denmark, France, Germany, Hong Kong, India, Ireland, Italy, New Zealand, Poland, South Africa, Sweden, Thailand, United Kingdom and United States of America have been selected for this exhibition.

The quality of works submitted both surprises and delights. Print-based works selected as 2018 finalists demonstrate the vibrancy and inventiveness of contemporary printmaking practice, as well as the historical role of prints in articulating potent ideas. The success of this exhibition builds on that of the previous presentations, and it predicts a vibrant future for printmaking artists and their diverse practices.

Selecting works for the award of prizes was a demanding task undertaken by our panel of judges – Gary Shinfield and Ron McBurnie, both eminent Australian artists, and Jenuarrie Warrie, printmaker, arts industry consultant and President of Arts Nexus. I am especially grateful for their expertise and their thoughtful consideration. Congratulations to the artists awarded prizes!

Also showing are works by our InkFest 2018 artist-in-residence Gary Shinfield. And hanging in an adjacent space in the Tank 4 Gallery are prints produced in a series of InkFest workshops delivered by regional printmakers at InkMasters Print Workshop in the months leading up to the exhibition.

My thanks to all the participating artists. It is a great pleasure to see so many exceptional prints gathered together in the unique venue provided by Tanks Arts Centre. Particular thanks are due to the Exhibition Coordinator, Rose Rigley, and to the InkMasters Committee. A project such as InkFest is a huge undertaking for a volunteer organization, particularly when the task includes delivering all 22 events of InkFest 2018.

InkMasters Cairns is very grateful for the support provided by grants from Arts Queensland and Cairns Regional Council. We also thank our partner/patrons for their sponsorship of prizes – Corsair Management Services, Robert Clarke Builders, R&F Steel Buildings, CQUniversity, TPG Architects, Australian Cultural Fund and Dr Raya Mayo. A total of $15,000 has been made available through their generosity.

Thanks to Simon Wright, Assistant Director, Learning and Public Engagement at Queensland Art Gallery and Gallery of Modern Art, for making the time to come to Cairns to present an informed talk on contemporary printmaking to an audience of artists, supporters of the arts and the general public.

Finally, a huge thank you to the staff at Tanks Arts Centre for their wonderful support and professionalism.

InkMasters is proud of what we have achieved, and I hope that the exhibition gives you much enjoyment.

Welcome To InkFest 2018. InkMasters has aimed, since it formed in 2011, to consolidate Cairns as a regional and global centre of printmaking excellence. The InkMasters Print Exhibition, part of InkFest, our biennial festival of printmaking, aspires to bring works by some of the best artists in the world to Cairns. It presents regional and visiting audiences with traditional and contemporary fine art prints of exceptional quality.

InkMasters Print Exhibition 2018

InkMasters Cairns hosts InkFest 2018, the group’s fourth lively and ambitious biennial celebration of all things print. InkFest strives to present artists, print enthusiasts and the general public with multiple opportunities to be involved with printmaking.

FOREWORDMARGARET GENEVER

Numerous groups, ranging from students in primary and secondary schools to indigenous artists working in Arts Centres in the region have participated in artist-lead workshops to make very large prints for the Big Print morning on 29 July. This is a fun community event in Tank 5, where the artists and audience will energetically ‘dance’ a 16 metre long print into existence, all to the music of a steel pan band.

Many individual artists, from emerging to advanced, have also taken part in a series of specialised print media workshops and demonstrative presentations. They have had the opportunity to expand their range of skills, learn more about the potential of printmaking for their own practices and make new works for exhibition.

Printmaking artists astound with their dedication to continuing – and pushing the boundaries of – age-old print media. They also discover and augment new technologies, and often inventively meld traditional with newer means of creating images on paper and other surfaces. Most importantly, they use these materials and techniques to articulate conceptual interests that range from quiet, contemplative reflection to critical commentary and activism. The works on exhibition in the InkMasters Print Exhibition 2018 provide evidence of all of these qualities and more, expanding our perceptions of the world and assuring us of a vibrant future for printmaking.

Bound together by a common pursuit, the members of InkMasters Cairns have, since its inception in 2011, been motivated to extend access to facilities and learning options. We promote exhibition opportunities and enhance knowledge about prints and printmaking as an artform. Our aim is to take the work of artists from our region (from disparate backgrounds, including some who are connected to this country through Indigenous cultural heritage) to wider audiences. Our international juried exhibition also brings the work of some of the finest international artists to Far North Queensland. Recognised as a Regional Event, InkFest and the InkMasters Print Exhibition enrich the cultural life of Cairns, and bring delight to local audiences and visitors to the region alike.

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ANDERSON, GenAustralia

Untitled Purple

Pigment print on archival paper 59.5x42, 2018

From a Buddhist point of view Loving Kindness is one of the immeasurable qualities required for the improvement of self and then the world. I choose to try to depict this concept by concentrating on the amazing beauty and wonder that is present all around me if only I take the time to look.

ATKINSON, JeanieAustralia

From Cairns to The Burketown Pub

Collograph 76x54, 2018

With the heat and dust, travelling north and west from Cairns, I am constantly amazed at the fascinating images. They become the inspiration for my printmaking.


BALLETTI, AlbertoItaly

Over Confidence

Etching, digital print 70x100, 2017

My works represent the comparison of two naked, parallel bodies. The carnality of the projection makes redefinitions between materiality and identity possible.

AUST, JacquelineNew Zealand

Bentham’s Premise ix

Carborundum, drypoint etching, collage 120x80, 2016

During a residency in Arenys de Munt (Spain), I was taken by the number of apartment blocks making their presence felt in the small seaside village, overpowering and often replacing old churches, farm-houses and symbols of a different community life, close to the land. The juxtaposition of apartment buildings, ancient farmhouses and hilly-forested landscapes, seen every day from the studio, became my subject. The late eighteenth century philosopher Jeremy Bentham, often regarded as the founder of modern utilitarianism, believed that social and moral reform could be delivered through the design of institutional buildings. On returning to my studio In Auckland, where housing and urban planning is a subject of much debate, I continued exploring the relationship between built form and landscape and its affects on the way we live our lives.

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BANFIELD, ElizabethAustralia

Herewith (worry box)

Linocut, kozo tissue, phase box enclosure 43x65, 2018

Contained within the worry box is a linocut on tissue paper; a pattern made of lines of abstract text, and a quiet note to myself to remember my worry. The tissue paper is resilient despite its look of fragility, and when crumpled to fit in the box, takes on the cubic shape. The box is made of ghost prints from previous linocuts. The backing sheet, which is primarily designed to protect the press blanket, gives a second print each time it is used. Through repeated printings, an overlay of fine, calm lines appears. I worry over everything; nothing is wasted. And an outer look of calm is not always indicative of what is within. Here I have made a box for my worry; it will stay in its box, until I require its gentle unwrapping and re-examination.

BENTLEY, PhilippaNew Zealand

Hic Sunt Dracones-North Coast

Silkscreen, hand painting on sea chart 71x52, 2018

Maps and sea charts record the explored, known world reassuring us – we know where we are going. However, with climate change and warming oceans we are currently heading into the unknown, into uncharted waters. Hic sunt dracones! ‘Here be Dragons’ was marked on early sea charts to signify uncharted territory, the great vast scary Unknown.


BOSWORTH, MollyAustralia

Pteridomania

Cyanotype prints as artist book (36 pages) 19x14, 2016

Living surrounded by plants, both a tropical garden and natural rainforest, I’m provided with endless inspiration for my artwork. I become interested in the process of cyanotype which uses the sun to print images, as it has an innate connection with flora. My mother was an avid researcher and collector of plants, including ferns, and when I recently came across her pressed fern collection, I decided to honour her collection with a book of handmade prints. Each print, made either as a photogram or from a digital negative, has been individually processed. For the triptych, I gathered weeds from the side of the road and aimed to transform their perception by showing their beauty. Viewed from eye level, it provides an immersive experience, the viewer being right in the weeds.

BONG, PaulAustralia

Shopping baskets

Etching 100X80, 2018

It has been 119 years since the time of the W.E Roth collections of indigenous artifacts from North Queensland. My great grandmother always spoke of her traditional Rainforest Art Culture and it’s history. I was only little at the time and couldn’t quite understand her memories and what she spoke of. People from all walks of life want to know about those silent memories, of who could have lived here, who were the tribes and what are their totems. In 2018, those very same silent memories are now being unearthed through my art. My great grandmother’s silent love is now my expressed love and passion for my place, my land, my ancestral history. I hope you will love it too and enjoy the art and it’s history.

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BOURKE, JudyAustralia

Tax Time 23

Monotype 56x38, 2018

This print is a comment on my experience of preparing annual tax returns. I found them quite stressful, like I was drowning in numbers that were taking me down with them. Although I have not needed to submit returns in recent years the thought of the figures and the need to submit them to scrutiny makes me feel sick and overwhelmed.

BUNCHAREON, JutamasThailand

In My Place

Screenprint 70x100, 2017

My artwork is about the feeling within the subconscious. It is a negative feeling toward friends and family. I use the human body as a symbol of the feeling. Because human beings have diverse emotions and they can be concealed in the face, my art is expressionism. I sincerely express the emotion within my mind. The human body in my art refers to the people I love but l also feel regret, anger, jealousy to my people so I use art to heal mind it makes me feel good from evil. I work with screen printing techniques.


CALVERT, MylesCanada

W.W.McQ.D i

Sublimation image transfer, screenprint, puff additive 86x86, 2018

Current work explores the relationships that develop between everyday objects of comfort and popular culture interferences. Unique surfaces are explored through print - specifically CMYK rip software (screenprint, photopolymer etching, laser woodblock), halftone structures and manipulations of those patterns/angles to achieve controllable to distorted variants. The digital glitch present through Adobe software programs drives forward the question of the place of technologies and their developing role in traditional processes. In particular, my focus has been on melding traditional woodcut with laser woodcut variants, exploring diverse matrices. Different lasers offer different focal lenses that achieve a wide spectrum of refinement with unique surfaces. Environmentally friendly substitute materials and the ‘pushing’ of print possibilities through advancements in other media, are driving factors in my works for exhibition.

BURCHILL, SherylAustralia

Eye in the Sky

Linocut, chine colle 56x76, 2018

My affiliation with dragonflies continues. This print represents a dragonfly looking down to earth from above with mountains and the red circles represent water holes below. Mountains and water holes can define many different tribal boundaries and clan groups. My people are the Kuku Yalanji and Kuku Nyungkal. My traditional lands from my Mother’s parents stretches from Daintree through to Shipton’s Flat and China Camp where the Roaring Meg Falls is situated in North Queensland, Australia.

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CARTER, Lauren JayeAustralia

Almost (detail)

Linocut collage 43x104, 2018

Almost explores my ideas on the nature of replication – pertaining to memory – and questions whether or not it is possible to create truly accurate reconstructions of original events, or merely a subjective version. My studio practice is an ongoing exploration of the relationships between colour aesthetics, form and construction. Largely process driven, it is the repetitive act of printing combined with assemblage and collage, which allows me to reinterpret textures and forms in a similar yet unique way.

CASTELL, LauraAustralia

I would do anything for you

Woodcut, stencil 76x56, 2018

This work attempts to express the strength and determination a person can have to do anything possible to give their loved ones a better life. Many asylum seekers do not want to leave their homes and life unless they are truly desperate. I have tried to portray with respect the strength in these people to make such difficult decisions and jump into the unknown, hoping for a better future. In the figure of a mother and child, the statement in the title ‘I would do anything for you’ symbolizes the readiness to try anything necessary to give our children a future.


CLARKE, HelenAustralia

Burringurrah, Gascoyne

Reduction Linocut 50x70, 2017

I live in rural WA. The influence of country – flora, fauna and scenery – is immense. The layers in the landscape fascinate me. Some are natural and others are created with human intervention. Travelling to remote areas inland brings a wealth of amazing imagery.

CHO, SeongAustralia

Trail XXVII

Woodblock print 64x145, 2017

This print represents the transient nature of moments and memories, expressed in an abstract style through woodblock printing. I printed on handmade Korean mulberry paper to pay homage to my cultural background, and created my own brushes using sticks and leaves from the Australian environment. The handmade brushes create the feathered wispy effect that represents the impermanence of life and the tenuous nature of memories. I also used water based pigments and ink to demonstrate the importance of the natural world around us, which we must appreciate all the more while living in the urban landscape.

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COHEN, Brian DUSA

Candle

Etching 25x28, 2017

I start out my etchings broadly but with a clear geometric underpinning. The process of etching is physical and elemental, requiring force and pressure, inviting aggression and then delicacy, conjoining fire, water, earth, and air. I embrace themes of loss, futility, destruction, and unexpected, redemptive beauty, themes tied to the tradition of printmaking, whose imagery has always tended toward critical commentary and serious contemplation, and often toward humor and irony. This etching is from a series based on the form of the 17th century emblem book where intended associations and diverse meanings of key elements of the world are represented in schematic and formal spatial arrangements. The emblem book envisioned the universe as ‘like a book or mirror of our life and death’, and objects in the world as invested with immediate and enduring universal significance.

COX, CarltonAustralia

Mother Hen (Tasmanian Native Hen)

Multi-block reduction linocut and cork 38x29, 2017

Mother Hen (Tasmanian native hen) – shows a protective mother and an adventurous chick. Native hens are endemic to my home environment and give me the endless pleasure of observing their fascinating behaviour. The use of cork tile provides a mottled texture.


CURRY, BelindaAustralia

Sections (quintet of artist books)

Mixed media- strawboard, recycled packaging, paper, relief prints, thread 6x10, 2017

In 2017 I embarked on a three month residency, immersing myself in the natural and urban landscape of Townsville during the dry season. From this arose a series of works including 10 Landscape, a set of ten interlinked ‘aerial maps’. The colours used not only reflect the harshness of the climate but the changes across the landscape and the intrusion of urban development. Infrastructures such as roads and motorways cut through the landscape as vast lines of concrete, intersecting rivers and streams, both vital for transporting the necessities of life in Townsville. Sections takes a closer look at the repetitive geometrical designs incorporated into motorway sound barriers. The printing plates, produced from strawboard and food packaging, were sealed, inked and printed. Whilst still inked, the plates were baked and utilised as book covers. The books are interlaced with prints from these plates and form folios with various images of Townsville.

CREENAUNE, DanielleAustralia

The Source (Triptych)

Mokulito (wood lithography) 91.5x180, 2017

The Source is about a place I have been revisiting for the last 18 years in the Catalan Pyrenees in Spain. This is a nook in a small valley path, seemingly insignificant in real life. However for me its significance and beauty become magnified each time I walk, sit, draw and contemplate the changes in the landscape and in me. One thing is constant – the flow and sound of a stream. Here, high in the Pyrenees, water flows directly from the melting of glaciers and natural springs. This source of water, renewal, change and continuity turns my ordinary path into an extraordinary place.

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CURTIS, AnnaAustralia

The Flowering

Reduction linoprint 60x60, 2016

I love everything about eucalyptus buds, flowers, pods and leaves, the intricacy of all its parts and I enjoy sharing with the viewer the beauty of this ancient plant. The Flowering is a celebration of the ubiquitous eucalyptus, in a mandala like image, drawing the viewer in to focus on the detail of the stages of the plant, from the micro to the macro. Life cycles, patterns, the continuum of life are all held within the seed. The reduction linoprinting process used requires one linoblock to create many colours through the carving and printing process, applying layer upon layer of ink. I print by hand to create the subtle nuances.

DADAA PRINT GROUPAustralia

Print Of Friendship

Woodcut 152X122, 2017

The DADAA Print Group meets weekly in Geraldton, WA, exploring different printmaking processes. The group caters to all abilities, encouraging fun and experimentation. They regularly hold exhibitions of their work, coinciding with interactive workshop sessions open to the public. ‘Print of Friendship’ was created collaboratively in response to Hard Pressed, a large-scale woodcut community arts project based in the midwest of WA. All of the participants of the group contributed their hands, filled with their own unique marks. It embodies the love, laughter and human connection central to our group.


DHIMAN, RahulIndia

Untitled

Woodcut 76x90, 2017

From the very beginning I have used my art to showcase the day to day movements of my life. I create compositions from my surroundings, drawing what I experience in my daily routine. The people I meet and their expressions, the trains, railway tracks and stations, my bicycle, the sign boards and everything else that takes my attention is assimilated into my art works. I try to portray the focus that a common man needs in order to achieve his goals. Signs give the message to keep moving straight forward without looking back.

DENYER, AlUSA

Stratigraphic i

Etching 38x28.5, 2017

I am invested in creating visual illusions that manifest as a confusion of space/subject as I work through different series of 2D works. What appears as a satellite view of mountain ranges could also be skin as seen through a microscope (macro/micro), or strata on a vertical rock face, or the rubble from a warzone. The works lead the viewer to question, step closer and out of a typical visual comfort zone. I am committed to the making of aesthetically ‘beautiful’ artworks, yet they are influenced by the ‘ugly’. The destruction of pristine landscapes, encroachment on protected lands from oil and gas exploration, the human desire to use, pollute, destroy and claim as our own are concerns that drive me as a visual artist to question and address through my work.

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DIGGLE, JustinUSA

Dino Stealth Drone

Etching and photoetching 76x111, 2016

My recent work has focused on surveillance and the myriad forms that this can take. In our increasingly technological society it is becoming common to be spied upon or to spy on others in some way. In many cities, just walking down the street can mean that you have been filmed many times. Surveillance also takes the form of tracking. This might be by GPS units in a phone, internet usage, vehicle license plate recognition or by the use of gait analysis in CCTV cameras. More recently the use of DNA as another identifying biometric is being researched. The use of bird imagery acts as a metaphor for surveillance: being seen from above, or watched, and this is often combined with other elements, such as a plane for aerial surveillance. The dinosaur head, a precursor to the bird, suggests a predatory use for the drone; it is not benign.

DRUITT-PRESTON, ChristineAustralia

My Place

Linocut print 70x126, 2018

I am concerned with making work in response to domestic spaces and gardens that people create as sanctuaries from their otherwise busy worlds. These environments are repositories of memory, affirmations of actions and past experiences. They are places of safety, where loved ones and families gather, where friendships are nurtured, resilience is built, and health is restored. These are places into which I have been welcomed. My Place responds to both my interior and exterior world. It is where I live and make art; it is where family and friends are welcomed; it is the space that supports my physical and emotional needs; it is the place that sustains and restores me. There are works by artists I enjoy, furniture and objects I have gathered, plants I have propagated, cushions and furnishings I have embroidered – it is my nest.


GARNICK, PeterAustralia

Elements

Photopolymer Etching with Chine Collé (unique state) 71.7x147, 2017

Elements pays homage to the fundamental role of women in ensuring the survival of our species. Faces of mature women are juxtaposed against the Periodic Table of Elements, which was developed over two centuries to identify, define and categorise the chemical compounds inextricably woven with the human condition. The fifteen wise and diverse women comprise a representative Table of Human Elements. The elements of this Human Table are crucial to the successful navigation of a truce between our species and the ominous consequences of its exploitation of the Chemical Elements. Lastly, there is a visual reference to colourful prayer flags, themselves a contemporary icon of diversity.

FAIRBAIRN, DavidAustralia

J.L.No.3

Etching, drypoint 121x106, 2018

With this etching, I drew directly from the sitter onto the plates with a variety of tools. The choice to work directly with a sitter is fundamental to my process. I am interested in the unexpected transformative qualities of the plate being immersed in the Ferric Chloride. The quality of the corrosive line is quite different to the drawn line of paper using charcoal or pastel. I am predominately working with black line, allowing me to reinforce the underlying formal and abstract structures in the depiction of the sitter, whilst still emphasising the emotional and psychological content of the work. I am seeking an experimental, personal approach rather than being constricted by the traditional processes.

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GENEVER, MargaretAustralia

Orion the Hunters

Digital print 110x90, 2018

In western culture up until the 20th century the names of some constellations and their subjects changed depending on current events or interests. Today they are fixed, and the constellation Orion derives from Greek mythology, in which Orion was a gigantic, supernaturally strong hunter of ancient times. This image updates the ancient representation to address current concerns in the Anthropocene.

GRAVER, MarkNew Zealand

Imagined & Remembered Places – Hobart

Archival pigment print 62x100, 2018

A series of ‘landscapes’ based around images of places and spaces visited, recorded, imagined and remembered began by re-visiting photographs and sketches made at a particular time in a particular place. They are layered, much in the way memories are, and manipulated - things come to the fore, emerge then disappear. Technically there is a relationship to working with moving image and layered video and some images could be regarded as ‘film stills’. The addition of scanned sketches and digital drawing aims to reference the time and place as recorded on paper and remembered on screen.


HANKS, RewAustralia

Sunrise over Vestrahorn

Linocut, hand coloured 70x120, 2018

While visiting Iceland for three months in early 2017 I was overwhelmed by its diverse range of uniquely beautiful black volcanic landscapes. At the end of winter its rugged mountain ranges were gently dusted with snow contrasting dramatically against the black volcanic rocks. These spectacular scenes of contrasting blacks and whites demanded to be transposed into linocuts. Depicting this dramatic landscape, devoid of human intervention, was an exciting new direction in my work. As the sun emerged over the Vestrahorn mountains the challenge was not only to capture the majestic beauty of Vestrahorn but also the amazing cloud formations in the morning light – and to survive the freezing conditions.

GREEN, KayeAustralia

Moon Phases ii

Collaged lithograph 70x80, 2017

The consistent themes in my work are elements from nature. I express how I view the world and the cosmos. I have personal encounters with elements in the landscape and sky and I use this information to create my images. The moon is a constant inspiration; everything about it intrigues me.

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HOLROYD, JeannieAustralia

A Minha Lo’orren

Etching and aquatint 55x70, 2018

I have lived my whole life near the sea on west Cape York. I am concerned about the turtles and how we used to find many turtle eggs as children. Now there are few because of the feral pigs that find them and the plastic bags that the turtles are eating, which kill them. The rangers are helping to keep the population of pigs down but we have to stop throwing the plastic bags in the sea.

HOLROYD, MyleneAustralia

Psychlone Nora

Etching 40x40, 2018

Recently Cyclone Nora visited Pormpuraaw and caught some by surprise, late at night. I wanted to show how my auntie looked when she was outside walking home. We stayed indoors with leaves and everything blowing around until the lights went out. There was lots of crashing and banging and nobody got any sleep. The wind stopped in the morning, when we saw huge trees ripped from the ground and junk everywhere. It was a real psycho night. But we recovered well. No one got killed or badly hurt. We know these things happen and we’re used to it. We’re alright now.


HORNE, LizzieAustralia

Look! A wombat!

Drypoint etching, embossing 54x39, 2016

‘Look! A wombat!’ cried Ben. ‘Where?’ asked Jack. ‘I can’t see a wombat. Where’s the wombat?’ This drypoint etching also has a nick-name of Wombat field outfit #1. It responds to a children’s story about a little boy (Jack) who never manages to see the things that everyone else does, including the wombat, and it set me to wondering why. Of course he didn’t spot the wombat – it was in disguise! In a dangerous world with its environment constantly under threat, it is little wonder that the wombat feels he needs a helmet and camouflage before stepping out.

HORN, IanAustralia

Pelicans Rising 2

Woodcut and EVA print 38x47, 2018

I struggle with the sharp contrast of block printing and I envy those who can make it work for them. I have experimented over the last few years using a basic litho-like process with EVA foam as a colour/texture underlay plate to my lino and woodblock plates. This works for me currently and has potential for further development. The tonal highlights achieved this way enhance the energy and rhythm of the lines and moderate the tonal jumps.

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HUDSON, KateAustralia

Barking Owl & Hakea

Reduction linocut 33x28, 2018

Barking Owl & Hakea is from a series of four prints I am making of Australian night birds. The Hokusai exhibition at the NGV last year prompted me to look more closely at Japanese woodblocks, particularly the ones with owls in them. I liked the stripped-back nature of the images, a simple tree branch, a bird and the moon. I have interpreted that idea by combining some of my favourite native flowers with the owls. The prints are round to echo the shape of the full moon.

HUDSON, PennyAustralia

A Stitch In Time

Artist book of etchings, stitching, ashwood, acrylic 20x40cm, 2017-18

I make work about the stories, layers and history ‘woven’ into old and antique clothing. I attempt to preserve the memories between garment and wearer, stitched literally and emotionally through the threads of many different lives. It’s all about the stitching, altering and repairing of old clothing - the lengthening of a sleeve, pintucks to a waistline, the delicate repair to a tear. Each alteration has an associated story and memory embedded in the garment. I lament the decline of these hand skills. I work with the layering processes of soft ground etching and collograph, using actual fabric as the printing plate and add hand stitching and repairs to both the print and garments for added dimension and meaning. The specimen samples suspended in my artist book reflect my fascination with X-rays of alterations and repairs to 18th & 19th century garments and the importance of preserving history.


JACKSON, ClareAustralia

I saw it different, I must admit

Two plate etching, aquatint 49x38.5, 2017

This work depicts parachutes and the clouds of dust that erupt as they connect with the earth, signalling the return of a space capsule, and the end of a journey for the individuals inside. The work is from a series that allows me to connect with the sense of void that follows a significant event, and how time seems to move differently after something momentous occurs. Like returning home after a long period of absence; when we engage with spaces associated with the past, there is a sensation that we have changed while our surroundings remain fixed. Though the clouds of dust depicted are held in the surface of the paper, in reality, there remains almost no sign that they were there.

HUNTER, Elizabeth and SAM, JoelAustralia

Ancestral Tapestry

Etching 100x75, 2017

Ancestral Tapestry is a collaborative etching, fusing symbols of two cultures prominent in Tropical Far North Queensland. Sam has woven totems of his clans in a tapestry through the memento mori, Latin for ‘remember you must die’ symbol which contemplates a verse on the Mac Air lap top ‘Vivtur ingenio, caetera mortis erunt (Genius lives on, all else is mortal).

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JAMES, MicheleFrance

Human writing iv

Etching, polymer 40x30, 2017

After years of painting and drawing, I have dedicated myself almost exclusively to printmaking, in particular etching and wood engraving. I enjoy techniques that capture the marks of the present but also superimpose those of the past. Etching gives me the ability to show the passage of time and the memory of things gone by. The path is often long from the beginning (creation of the plate) to the end (printing). Intentions are sometimes contradicted by materials (acids or other chemicals, the resistance of the wood), but this tension allows me to express myself more deeply. I am also interested in the relationship between drawing and writing and in Inuit art. I often develop my works in series (as folds, landscapes, characters, alphabets) and artistic books (Racines du silence, Légendes inuit, Spirale, Lumière de l’ombre).

KALITA, Ananda RamIndia

Hope

Woodcut 130x90, 2017

My works are mostly around the immediate world that I occupy, but recently my interests have expanded to the stories and experiences of other people and the society at large.


KAY, DeborahAustralia

The Three Faces of Eve

Linocut and pigment inks on Chiyogami paper 23x19.5, 2018

When I was young I saw the Hollywood movie ‘The Three Faces of Eve’, a psychological mystery drama, that won Joanne Woodward the Best Actress Oscar for her portrayal of a seriously disturbed young woman with multiple personality disorder. The issues raised sparked an early and ongoing interest in the workings of the subconscious. The faces that we show to the world are like masks. They can hide our most secret thoughts and desires, our anxieties and fears – the real landscapes of our mind.

KASTALJE, SorenDenmark

Umbilicus 2

3D print on belly skin 10x10, 2018

Deep inside the navel is the physical memory of our origin and the short period of time we lived in symbiosis with our mothership through the umbilical cord. But the navel is at the same time a scourge and a testimony of the exclusion that should subsequently take place in order for us to become free and independent human beings.

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KEAN, RoslynAustralia

Defining Shapes-Creating

Edges Series, Venice

Multi-block woodblock hand printed (35 blocks) 95x101, 2018

In this work I have created a colour scheme directly influenced by the 1842 print titled Moon above the Sea at Daimotsu Bay-Benkai. My prints respond to my studio environment where surrounding carved blocks for earlier works have inspired a new composition. At the same time I am making a link with works I admire from 19th century Japan. Capturing a moment in time, stillness and quietness of a space as the light slowly changes casting shadows and reinforcing time spent with a traditional practice.

KEMPSON, MichaelAustralia

Child’s Play (detail)

Etching, aquatint 170x368, 2016-17

My recent prints extend ideas explored following a residency at Sydney’s Taronga Zoo, where the soft toys sold in the gift shop inspired arrangements that became satirical metaphors for international power-play and cold conflict. Child’s Play is a 27-panel installation of etchings that depict invented animals that represent nation states, identified by their three letter ISO country code. The formal arrangement of this uneasy menagerie is contained by the book-ends of China’s panda and the bald eagle of the USA, hinting at the universal and regional dynamics confronting the old order, precipitated by shifts in the world economy from west to east. In mapping our current geopolitical conjunction and pondering a change in my worldview since becoming a grandfather, Child’s Play reflects upon the legacy of our not-so-cute strategic dialogue. More importantly, it alludes to how the future must be faced together despite all of our multiple differences.


KITCHENER, JennyAustralia

Family Portraits

Folio of four linocuts, collage 24x14.5, 2018

The print is a pictorial celebration of the major pollinating bird families in Australia, the parrots and the honeyeaters. Bird pollinators, along with insects, play an essential role in the life-cycle of the many plant species which green our planet.

KINGSFORD-SMITH, IanAustralia

Songs of the Sea Heard When the Boat Returned

Etching aquatint 15x10, 2017

This etching, from a series titled ‘Scenes from Daily Life’, alludes to the ancient Egyptian practice of painting scenes from the life of the deceased onto the walls of their tombs. My artistic practice identifies the trans-historical cultural assumptions underpinning seemingly unrelated artistic traditions. The belief that at the end of our earthly existence there will be an afterlife was common to the religious and or spiritual beliefs of most cultures. The work signals both Egyptian tombs and medieval European art that represented the relationship between the sacred and the profane. These cultural references are combined to demonstrate the extent to which existential concerns transverse both disparate paradigms of thought and religious doctrine.

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KLIENDANZE, NadiaAustralia

Stoned Too

Reduction linocut 14x34, 2018

The print came from my observations of the light reflecting from the stones in my garden after the rain. The three-colour reduction linoprint was created using a Dremel tool. It was printed on Xcut Xpress Diecut press with extended bed, using Ternes Burton registration method.

KOCIS EDWARDS, HelenAustralia

Sheep Leap

Dypoint etching on giclee print 48x32.5, 2017

Sheep Leap uses anthropomorphisation to consider play, power relationships and humour in interactions between individuals.


KOWARSKY, DamonAustralia

Cite de Dinan (detail)

Etching, aquatint, silkscreen 60x160, 2017

In 2016, with the support of the Alfred and Trafford Klots International Program for Artists, I spent two months living and working in Léhon, France. At the centre of town is a ruined Roman fort, and just across the river the hills rise from the valley in a sheer wall of vegetation. Travel has long been an essential part of my practice. In Léhon I drew every day, producing a body of watercolour and pencil works. This combination of media allowed me to capture the endless varieties of green as they changed week by week. Since returning to Australia I have concentrated on producing a suite of etchings inspired by my time in France. ‘Cite de Dinan’ is part of the series.

KOOWOOTHA, Heather (Wunjarra)Australia

Yarrabah Battle

Drypoint 110x80, 2017

During the colonization of Cairns, cattlemen and sugar farmers took the land, forcing Yirrkanydji, Kuku Yalanji, Djabugai and Yidinji Gamoi peoples to migrate and intrude onto neighbouring lands, causing horrific inter-tribal battles. This ‘scratch print’ shows an uncle telling the story of a famous Yarrabah battle to shocked family members.

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KOZLOWSKI, AndrewUSA

Dark Days (March)

Linocut, screenprint 48.25x38, 2018

Throughout 2017 I collected images from news stories that populated my social media feeds, and wove them into a series of prints collectively titled ‘Dark Days’, a record of a particularly tumultuous year. The compositions reflect a fractured modern space, where world-altering events are not afforded more than a few moments before the feed is refreshed and another story begins to trend. This project reminds me that time pushes forward with incredible force, leaving us to learn how best to keep pace with it.

LANKESTER, JoAustralia

Cortex-Yarra Park Melbourne

Monoprint 74.5x104, 2017

Cortex-Yarra Park, Melbourne is part of a series titled Memory Studies, printed in the studio after the act of drawing in situ. Creating compositions from memory separates the mark making from the literal to become an intuitive process to printmaking. This work was printed with the assistance of Australian Print Workshop printer, Simon White and resulted from an Artist-in-Residency project supported by APW in 2017.


LAWLOR, StephenIreland

Active Shooter

Etching 50x46, 2018

The etching is part of a wider series of images based on iconic characters from the past. In our collective memory perceptions and values of a huge variety of individuals can erode or be substantially enhanced from the time of their inception. Their demeanor and the residue of their status can linger over decades, centuries or millennia. I am interested in how Hollywood, royalty and the church (for instance) created and enhanced their icons to elevate or deify them. The return could be substantial and ongoing as the shrines to saints and movie stars or characters from fiction testify. I suspect cinematography and classical portraiture have much in common in the business of ‘raising up’. I like the idea of a somewhat faded grandeur that echoes and stays with us.

LARWILL, KirAustralia

Poppet Heads iii

Monotype collagraph from aluminium etching, lino 42x89, 2018

The landscape around where I live, urban-country and bush, is scarred and pock-marked from the gold mining that started in the 1850s. The devastation of the landscape, so absolutely turned over, so unsparingly wounded, was incredibly thorough. Mine shafts, mullock heaps, re-routed waterways, sluiced cliffs, water races, scarred and misshapen trees, and the rusty remains of sluicing machinery and poppet heads remain. It is the poppet heads, the largest of them, that seem to symbolise the proprietorial march of miners and mining companies across the land. They’re still very visible landmarks.

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LAWRY, ChristineAustralia

Garden in Kyoto

Linocut on Awagami Bunkoshi paper 35x40, 2018

The Garden in Kyoto is both a reminder of a beautiful trip to Japan, and an exercise in fine-line design. I ruled parallel lines across the block and tried to use lines of various widths to describe the subject as far as I could. I was inspired by some of the contemporary Mokuhanga works I saw when I was traveling. My work is printed in Western style relief method by hand with a wooden spoon.

LEHTONEN, SolveigSweden

Portrait i

Drypoint 70x53, 2017

My work is part of a series of 10 prints in which I portray a person who is looking straight forward, to the left and to the right. It is about now, then, before and after. It is also the reconstruction of a story about feeling hopeful, fearful, courageous, maybe all at the same time. Fragments of memories and experiences are puzzled together. I often combine an etching on copperplate with ImageOn film on a plastic plate. My work is a process in which unpredicted incidents are accepted and utilized.


MACFARLANE, LarissaAustralia

Marking the Anniversary with Vitruvius

Etching 21x26, 2016

The etching is part of my ongoing investigation into my daily practice of performing handstands. Over the past 13 years, I have done at least one handstand every day, inside and outside, in streets and stairwells, against walls and trees, often in unexpected and inconspicuous places. These are not public performances but private moments that bring me grounding, pain relief and joy. Handstands are in fact, an integral part of my daily self-management of my chronic illness and disability. This artwork illustrates that my handstands happen not just at many different times throughout the day, but also in many different mental states. Indeed the greater my pain or distress, the more likely I am to do a handstand and the longer I will be there. My handstands contribute to finding a sense of wellbeing in my life whilst still living with the distress of disability.

LOWDOWN, RosieAustralia

Kaplan wini Kaputpeh; Hiding (from trackers), Being Bitten by Ants

Sugarlift, etching 76x56, 2018

My story is about my great grandfather Kamplan, who managed to evade being forcibly removed from his traditional land to Cooktown with the rest of his tribe, by climbing a tree and keeping perfectly still, though green ants were biting him all over. He was so traumatized and stricken by ants, he fell from the tree, but managed to survive the ordeal.

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MACKIE, Glen (Kei Kalak)Australia

Kebisu

Vinylcut 130x110, 2017

I’m one of the last Iyama (Yam) Island storytellers. My relief prints are made in collaboration with master printmaker Theo Tremblay. The warrior chief Kebisu is a legendary hero from Tudu Island whose heroic acts of bravery are retold to young men to instill courage and obedience. The story involves an English ship bombarding innocent people on Prince of Wales Island, killing some, as a demonstration of power. Kebisu and a canoe of warriors stealthily attacked the ship before dawn. Creeping aboard, they came upon roosting chickens and a cockerel. The warriors were intimidated by the loud crowing and screeching and they jumped overboard and made haste for their canoes. Kebisu did stand up to the English; a single arrow was shot at the ship, embedding itself into the timbers. Kebisu summoned up a storm which frightened away the English, restoring his reputation as a great warrior.

MAK, Yuen KwanHong Kong

Yokohama Flowers

Photography and digital print 23x23, 2017

I am interested in the possibilities of the interactions of nature, craft, and technology. The flowers I meet in journeys are the starting point for a series of prints. They act as metaphors to recall a place - the distance of the now and then, time and space. I am fascinated with 2D maps, and in being in the 3D place. I take photographs of flowers on travels and the pictures then emerge through digital manipulation. The bunches of flowers are presented in the shape of the place as shown in a Google map. I am curious about the reproduction of an experience and wonder what do memory and imagination add to it. Enjoying the pictorial space, I think about echoes, layers of time, and connections.


MAYO, RobynAustralia

A Basket from Peppimenarti Holding Plants from Ruby Gap, Northern Territory

Hand coloured etching 68x110, 2017

The print is the result of observations I made on many camping trips to Central Australia and Arnhem Land. I became very aware of the importance plants play in this harsh environment - they are a necessity for survival and Aboriginal peoples’ knowledge of their properties is remarkable. The Basket from Peppimenarti shows plants were not only used for sustenance but also for utilitarian objects. The drawing for the print was made in the field and then transferred to the plate.

MARTIN, SeraphinaAustralia

Snow Leopard Dreaming

Solar-plate etching 55x76, 2017

I aim to combine a textural intensity of surface in my imagery, where animals, birds and the sleeping figure are found dwelling in an untouched natural world. In my Snow Leopard Dreaming the snow leopard is united with the figure as a manifestation of the dreaming figure. They are in harmony to reveal a quiet but dramatic moment within an imaginary landscape. I have chosen the snow leopard because it is a threatened species. It lives high up in the Himalayan mountains where there are very rare sightings due to its elusive nature - hence the significance of the dream.

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MCCUE, CatherineAustralia

Out of the Box, WHY

Artist book with drawing, solar plate etching, embossed linocut, collage, transparent slides 33x27x9, 2016-17

My interest is in images that amuse and entertain. These early forms of projected images - ‘magic slides’ - were produced to entertain a young audience at home or for public viewing, and are a forerunner to personal phones and ipads for children. Portrayed on glass slides and viewed through a light lantern, these images also have a sinister side. On one level these images camouflage the real question: WHY do we go to war? My current work questions how we perceive some of these earlier types of imagery in today’s society; has our attitude to life issues changed?

MCKENNA, TerryAustralia

Beyond Raging Waves

Mokuhanga 65x45.5, 2018

I began making this mokuhanga inspired by the music of DJ Krush (Beyond Raging Waves). After creating some energetic ink brush drawings, I set about turning one into mokuhanga, refining the drawings and design. I think it’s about passing beyond turbulence in your life or a situation and finding peace and tranquility. The imagery is based very much on the South West Coast of Victoria, with wind swept limestone and often raging waves. The completed work uses 14 colours and the same number of impressions.


MEEKS, AroneAustralia

Gender Spirit

Lithograph 121x85, 2017

From Laura, and raised in Yarrabah, Meeks is a saltwater man from the KuKu midiji clan. From his present home in Cairns, he creates works that speak to us of cross cultural interaction, relationships, gender, traditional and modern spirituality and his environment. A proud aboriginal man, Meeks presently works both in Indigenous Sexual Health and delivering TAFE courses in Aboriginal and Torres Strait ‘Art Identity and Culture’ to remote communities through the Cape and Torres Straits. ‘It’s about sharing and connection. I have learnt many new ways of seeing and depicting these interactions into my work, while being able to engage and explore new concepts. This work from a new series explores Country, racism and politics.’

MCKENZIE, LaurelAustralia

Accoutrements ii

Archival pigment printed polyester satin, card 55x45x45, 2017

Persistent gendered imaging traditions are critiqued in this work, where fragments of representations of women’s naked skin from Western art history are reconfigured into a fleshy mosaic, printed onto fabric. The fabric is fashioned into accessories that signify conventional notions of ‘femininity’ – shoes and bags – that are arranged as commodities in a shop-like display.

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NEAL, KarenAustralia

Snowgums

Linocut 38x56, 2017

I love to spend time travelling and my preferred subject matter is drawn from the natural environment. This image originated from a photograph that I found to be graphically strong. I wished to capture image as a moment in time to remember. Snowgums is an image from Mt Buller where I visit my favourite spot each year to view the trees, looking for changes that have taken place as they continue their regeneration following severe bushfire.

NELSON, RhondaAustralia

Timelines xv

Monotype with drypoint, etching,embossing, rust on handmade paper 46x34, 2017

Disintegration is fascinating. Fundamental patterns emerge, regardless of the timeframe or whether the object is natural or man-made. Cracks appear, they are irregular and angular at first, reflecting stress and tension. Over time they soften and become more complex, providing proof of the visual delight to be found in unexpected places.


NUM GLOVER, AndreaAustralia

Infinite Sphere i

Archival pigment print 32.9x48.3, 2018

I have always loved travelling over the Diamantina area between Winton and a radius of connecting places - Boulia, Bedourie, Birdsville, Innamincka, Windorah and Thargomindah. This is Channel Country because the rivers Hamilton, Diamantina, Cooper, Thomson and Barcoo span out from the north eastern region of South Australia, encompassing a vast arc across central Queensland. Both the Warburton and Cooper Creeks running from Birdsville and Innamincka respectively, flow south-west into Lake Eyre North. Here Infinite Sphere i reflects aerial movements and memories. The work is part of a series about Sable’s requiem - an act or token of remembrance, to our flying dog. The sphere symbol is reminiscent of an Indian toy that I used in images back in the eighties. This journey between Winton and Innamincka appeared to transcend time and the elements.

NORMAN, KimAustralia

Barramundi String Men’s Ceremony

Etching, aquatint 40x57, 2018

The barramundi string ceremony is performed by men in my clan group each year at the end of the wet season to thank the spirit of barramundi fish and to make the barramundi catch a successful one.

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ORR, GlendaAustralia

Offsetting

Etching, aquatint, spit-bite 118x132, 2017

The axe is a hybrid of the natural and man-made, with its forest-born wooden handle and hardened cast steel head. This duality connotes nature as commodity, the artificial in the natural, and duplicity in the worlds we inherit and construct. The print plays on inversion of this tool of destruction into one of creation. The old axe wears its history on its head - the scratches, fractures and chips of use and, ultimately, rust from neglect in obsolescence. Stacked in multiples and at slightly distorted angles, their abstracted form creates a strange, constructed landscape. ‘Offsetting’ in natural resource policies circles refers to ‘compensating’ for the destruction of ecologically valuable habitat with protection/enhancement of other similar habitat elsewhere. The ad hoc management of these policies leads to ‘death by small cuts’ of significant habitats and biodiversity. It seems that trends are ‘stacked against’ Australia’s biodiversity.

O’SHANE, DanielAustralia

ii ra mer ene Gawei (the sound of tears and Gawei)

Vinylcut 220x120, 2016

My print tells the story of a Saisarem tribe man, Saui ,who lived at Gau on the south western point of Erub (Darnley Island). Saui had a pet pelican that became his only true friend. Saui named the bird Gauei after his place Gau; Gauei is plural in Erubam language, meaning now there are two with such a name. In the evenings Saui sang and beat his traditional drum called boroboro to make Gauei tuck her head under her wings to sleep. When Gauei flew away with some wild pelicans, Saui took his traditional boroboro drum and tirelessly beat it as he cried and lamented for the bird. The sound end of his drum changed and became like the open mouth of a pelican. Saui turned into stone soon after and stands at Gau Paikai, still looking south westward, until this day.


PARR, VirginieCanada

Taxonomie

Screenprint 54x54, 2017

Virginie Parr’s work relies on the representation of human figures, elements drawn from nature and geometric motifs to illustrate the universality, the complementarity, the universe of a whole world.

PARKER, HannahAustralia

Through Squid Eyes (detail)

Screenprint on fabric 800x115, 2018

The fabric is light and translucent, and it is printed with layers of imagery referring to sea and air. It hangs away from the wall, which allows the printed fabric to move, and light to pass through, to support the concept of ‘flow’ of elements, and the elusive passing of time.

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PAU, RobertAustralia

Torres Strait Conflict Map

Linocut 70x100, 2017

Torres strait conflict Map documents the contact foreign vessels had with Torres Strait Islanders from the 1600s to the early 1900s.

PAWLUS, NataliaPoland

Zero


Black as a colour has hundreds of properties. Light-shadows and anything that is deprived of colour does not necessarily not have colour in its structure. White is very important for me, and that is why I would like to emphasise its possibilities to create a calming mood.


PULFORD, MaryAustralia

Bird.Watching.

Artists book with photopolymer, stencils and hand colouring 21 x variable, 2017-18

Birdlife is a recurring theme throughout my artworks. Varying feathered forms inhabit the multifaceted drypoint and photopolymer prints. Bird.Watching. reflects narratives of scientific research into climate change, habitat loss and the fragile and the survivors of the bird world; just who is watching whom?

PECKHAM, PennyAustralia

For Leonard: Another Mile of Silence

Gelatin print, linocut, cotton thread 42x42, 2018

This work is from a series begun in 2017, working with what I had (small pieces of leftover paper), experimenting with colour and layers, combining natural forms with the mechanical. I enjoy working with a square format and the many small square prints I produced were finally brought together as a number of 9x9 grids, referencing the craft of quilting, underscored by the inclusion of some sewn lines and seams. I have a strong interest in women’s traditional handcrafts and my work frequently reflects this interest. I am also drawn to writing and literature and my prints include text. Here I pay homage to Leonard Cohen with the inclusion of fragments of his lyrics/poetry.

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REES, BronwynAustralia

Werribee Gorge

Drypoint, mixed media 72x56, 2017

I immerse myself in the landscape and try hard to imagine where I end and the world begins. To this end, I take my plates to the field and draw the outlines of what I see through the clear plastic. I take them back to the studio, and, remembering the smell, discomfort and texture, try to describe that experience. What is it like to live in that environment? What is the life of those ancient rocks that for millennia witnessed Aboriginal people marking the course of their lives, and now, seeing a vast weekend parade of tourists tramping up and down the valley (marvelling at their age and beauty) and throwing food wrappers everywhere? From the trivial to the grandiose, I try to stretch my eyes and my brain to encompass the scale of the rocks’ epic history, the dirt that will encompass us all one day.

REES-PAGH, YvonneAustralia

The Strange Dragon Blood Tree of Socotra Island

Etching 160x230, 2017

Socotra lies off the coast of Yemen, a strangely beautiful place. The island has not escaped the impact of climate change. The animals and plants that remain represent a degraded fraction of what once existed. Where, until a few centuries ago, rivers and wetlands existed, now only sand gullies remain in a hot and wind-swept environment. Many native plants only survive where there is protection from goats, which are starting to eat rare plants. The most striking of Socotra’s plants is the dragon’s blood tree (Dracaena cinnabari), an umbrella-shaped tree. Lack of adequate rainfall and soil erosion threatens the survival of this tree. Its shape serves as a protective canopy for other plants and animals, so if the tree disappears the ecosystem it protects is also lost. Along with climate change and goats, war and the demands of eager travellers threaten conservation of this unique island.


RITTER, SandraU.K.

Thru Thailand – Street Crossing

Linocut 40x30, 2018

Street Crossing and is part of an ongoing series named Thru Thailand. The works are inspired by a journey through a different culture and landscape. My works are mainly in black and white influenced by traditional printing and the early stages of photography. The Linocuts are mostly reduced to a strong black and white contrast, or consist only of lines which form the subject. They focus on just a few elements of the original scenery, so that the observer has to look more closely to add the missing parts. Street Crossings shows a secluded group of people crossing an empty street. In reality, the image is a stand-alone section of a major intersection lined with skyscrapers within Bangkok.

RIGLEY, RoseAustralia

My Mother’s Things i

Archival pigment print, object 38x56 , 2018

Memory, in all its nuanced and complex states, is indelibly linked to self-identity and is a foundational construct of grief and loss. The loss of someone – through death or circumstances – is a universal occurrence and part of the human condition. This absence of a loved one may be countered by the presence of tangible objects which, acting as memory cues or as mnemonic devises, provide access to reminiscences equally real as the original experiences. Through the recent loss of my mother, I have begun to examine the evolution that time brings to recollection and how everyday articles link us back to our lost relationships.

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ROBINSON, BrianAustralia

Proteus, the Oceanic Alchemist


In Greek mythology the deity Proteus is a god of rivers and oceans, usually referred to as the Old man of the Sea. He was the herder of sea creatures, and a prophetic shape-shifter who could assume elemental or animal form as well as foretell future events, answering only to those capable of capturing him. As an alchemist he possessed anima mundi, the world’s soul, which gave him an intrinsic connection to all living things on the planet; in much the same way, our souls are connected to our bodies. In this print Proteus has transformed himself into an eight-legged octopus who grips three vials of potion in order to concoct the elixir of life, which was thought to have cured all diseases and replenished youth. From this blending of substances – philosophies, religion, magic and astrology - came a new study which people now call chemistry.

ROBLES HURTADO, GervasioSouth Africa

El Volar

Etching, hand painted 25x20, 2016

My artwork is not the final product but a process which starts with curiosity about the wild and nature. It goes on searching for its precious matter - the human reflection on the wildness. How far we can go or survive without looking at nature as our mirror? That searching is the engine that generates enjoyment and leads me to crystallise my art work.


RUBEN, BobbieAustralia

Betty’s Diner

Digital print on linen 40x150, 2017

Loneliness and isolation are suggested in this twilight depiction of long-haul transport underscored by the fast-food strip. The interpretative rendering of this contemporary image captured from the steps of a 1950s diner sets up tension and disconnect between the past and the present, tradition and progress.

ROWELL, NatashaAustralia

What Remains

A la poupèe mulit-plate etching and intaglio woodblock 90x120, 2017

This repetitively patterned, bleed printed silhouette references colonial era wallpaper as a boundary marker of the domestic sphere. The floral patterns mimic the wildness of the external landscape, while the silhouette of the girl at play highlights the dichotomy between the freedom of the untamed environment and the constraints of the parlour. The texture of the silhouette shows the grain of the woodblock used to print it, corkscrewed and flattened as the solid trunk of the tree was transformed into cheap board. The softground with a la poupée backing has a gentle floral motif reminiscent of wallpaper from the era when the modern concept of childhood first evolved, intertwined with imagery of child beauty pageants. Conflating their kitsch costumes with the beautiful plumage of the birds of paradise (traditionally seen as a commodity) throws into question the objectification of girls and reflects societal pressure to prioritise physical beauty.

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RUSSELL, AnnaAustralia

Coordinates

Etching, linocut, encaustic and linen thread stained with natural materials 59x83, 2017

This long view of the land is built on earth stains and bees wax. It suggests divisions created by use/misuse, passages of fertility and aridity due to practices like broadscale land clearing and unsustainable agriculture. Intricate detail and beauty - and the chance to change - remains. The work is based on several field trips to Fowlers Gap, a university research station near Broken Hill. The wax was from the hives of a bee-keeper in Sydney. I grew up on the Darling Downs, on some of the most fertile soils in the world. While it might be a ‘shrinking world’, we are custodians of a large country.

SCOTT, GwenAustralia

Pomona and her Watchful Friend

Reduction Linocut 42x39, 2017

Pomona, the Roman mythological goddess, is depicted in classical works as hardworking and a guardian of fruit trees and orchards. The narrative has been altered and in this ten-colour linocut Pomona is depicted sleeping on the job. Sleep for many people is viewed as an unwanted interference to our constant drive to be busy and successful. The role of guardian is handed over to the bird, who is free of human toil but can whistle to Pomona if interlopers come near - but will the bird do this?


SHIMMYO, YuriAustralia

Aqua ii

Etching 23.5x19, 2017

I enjoy the process of printmaking and the element of excitement and surprise when the work reveals itself after going through the press. This print is part of a ‘water’ series. I use hard ground and aquatint to show subtle variation in tone. I wanted to show the sense of light on the surface of water.

SELTZER, AnitaUSA

Edith Wharton Tablescape

Photopolymer etching 38x28.5, 2018

We are surrounded and bombarded by color, but the tonality and texture of a hand-inked monochromatic print has the power to stop us in our tracks. Unsaturated images command our attention because shape, form, context and the play of light and shadow are simplified. They allow us to concentrate on the subject. They are ‘easy’ on the eye. With this sensibility as my focal point, I’ve been using an iPhone as my primary acquisition device. The ease of ‘capture’ enables me to bricolage my memorialized images. I then transform them into ‘one at a time’ photopolymer intaglio inked etchings that don’t utilize altered-reality manipulations. And they can’t be mechanically mass-produced with the stroke of a computer key. The use of photopolymer plates brings the ancient intaglio tradition into the 21st century.

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SHORTJOE, Sid BruceAustralia

Caampani (sawfish)


I was born in 1964 at Aurum mission and now live in Pormpuraaw on the western side of Cape York. We are Kugu-Wik people and I speak nine languages, including English. I am proud to be involved in the art center and I have been working with interesting artists and printmakers such as Theo Tremblay, who helped me print this sawfish totem design. I also have other totems including blue-tongue lizard.

SMITH, MelissaAustralia

Worlds within Worlds ii

Linocut (diptych) 76x113, 2017

This print is from a series inspired by several visits I made to Melaleuca in South West Tasmania during the past eighteen months. Visiting such isolated landscapes with the resonance of their history can have a powerful impact. There is solitude, a desire and a longing associated with such places. This region is the traditional homeland of the Needwonnee people and their stories and those of the pioneer tin miners that worked these moorlands continue to be told. There is a sense of needing to hold on tightly to this landscape; it remains precious and warrants protecting. There is a unique sense of self-awareness realised in such environments that is difficult to describe, but it emanates a sense of life and hope.


STARK, LauraAustralia

Landscape Reconfigured ii

Multiplate photopolymer 38x27, 2016

The work is about the pleasure of discovery - of the excitement of recombining images made possible in printmaking by overlaying the different plates. Photopolymer plates were made from transfer monotype and ink drawings. These were overprinted on collograph prints. The imagery relates to a reinterpretation of landscape forms.

STANTON, RuthAustralia

Handmade Landscape (Dream)

Intaglio 28x25, 2017

Drawing on texts about ceramics and the anthropomorphism that gives a vase a ‘neck’ and a ‘mouth’ and makes the raw material a ‘clay body’, my work uses the language and imagery of ceramics to explore personal exchange and the acts of making and sharing a voice. Inspired by descriptions in The White Road by Edmund de Waal, Handmade Landscape (Dream) considers how ceramics have shaped our landscapes.

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STARLING, AnneAustralia

Atomic Playground

Linocut, woodblock, intaglio 108x80.5, 2016

The notion of suburbia and identity is explored in Atomic Playground. The pictorial image of the post-war house with its menagerie of kitsch creates a narrative of a vanishing urban environment. In Atomic Playground, the rocket ship lies redundant in suburbia. The viewer is invited to revisit their childhood, where imaginative play was encouraged, and the possibilities of the future were endless. There is a sense of authentic human attachment to the constructed environment as the houses and playground represent a vanishing suburbia and an homage to the quarter-acre block.

STEIN, MaggieAustralia

Going Places - Central Station Sydney

Linoprint 41x44, 2018

I respond to where I live in inner Sydney through my work. Cycling and walking give me time to observe and absorb. I often pass a particular landmark many times before I decide to translate it into a linoprint. Going Places was created after several waits at Central Station Sydney; with sun pouring in through the archway each figure becomes a silhouette against a backdrop of elegant buildings, a bustle of people and traffic, framed within an elegant arch. I enjoy adding layers to my work, keeping the way open for surprising results.


STEYN, ElmariAustralia

Eyrie: S28˚37.595’/E116˚25.327’


Elmari’s current printmaking project explores the interaction that we allow ourselves with nature, through trees - especially unusual, expressive and characterful trees, even misshapen trees. Each of these trees expresses their individual narrative, character, size, shape and function. Whether in wild untouched places, such as the outback location of the ‘Eyrie’ tree or in urban settings, trees retain their individuality, their true form and nature; their distinct connection and relationship to an area with its climate, wind and setting.

STEVENS, RhondaAustralia

Interconnected Precious Moments Dreaming

Unique monotype, mixed media 84x63, 2018

My arts practice is inspired by the speculative intersections and connections of humanity, together with the paradoxes of difference between each other and being alone, and how it manifests through language, culture and music. I aim to create poetic relationships between heaviness and lightness, between the language of the materials and forms. Lately I have become intrigued with the rhizomatic model of Giles Deleuze‘s philosophy - a philosophy that opens new ways of ‘seeing’ the landscape and life, suggesting there are multiple and shifting points of connection across time and space. Contemplating these modes of inquiry, I seek to express fleeting moments captured in the continuous flow of changes.

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STROBEL, GenaroGermany

Perspektive 1

Woodcut 130x190, 2018

The view pictured is what you see when you leave the national library in Frankfurt, Germany. The Entrance is straight behind you. You look onto a public art work from Per Kirkeby (the brick construction with all the gates that you go through to get into the library) and on top a McDonalds logo, then a Total Gasoline station logo. A little further in the distance you see crosses and angels from the central main graveyard of Frankfurt. Perspektive 1 is meant as an understanding of a life perspective, and also just a view (perspective)

TESTER, StephenAustralia

Owl with Scowl

Mezzotint 14.5x13.5, 2018

The work is from an open-ended series of mezzotints, Australian Raptors. My aim is not to produce ornithological studies but concentrate on typical physical characteristics which convey a sense of the power or strength of these magnificent creatures in a way that engages directly with the viewer.


TUFFERY, SheyneNew Zealand

Future Fale ii

Woodblock 100x85, 2016

Future Fale ii depicts high density pacific-inspired cityscape resonating with my place in the world but also the problems we face in Aotearoa in the housing of our communities. These include the rise of sea levels in the greater Pacific where tiny island nations are being forced to evacuate as their homes disappear as a result of the effects of climate change.

THIRKELL, PaulU.K.

Wood From the Trees

Photoetching, chine colle 42x45, 2018

My work revolves around, and is inspired by, the medium of print itself and its role in the dissemination of knowledge from the time of the Enlightenment to the present. I am fascinated by the myriad of visual languages that have emerged through the need to illustrate and illuminate printed text en masse. My images seek to weave visual narratives that often subvert, question and transcend the original meaning and purpose of such illustrations to communicate ideas based around contemporary environmental and political issues. The inspiration and impetus of my work is linked with a long engagement with the historical printed visual communication and a fascination with the poetics of visual language.

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VICTOIRE, SasiAustralia

Go on Underestimate Me

Etching 60x50, 2017

Alice in the Antipathies is an inter-medial, inter-cultural, postcolonial performance text, loosely based on Alice in Wonderland. Victoire has developed this narrative to uncover the struggle encountered by the Asian diaspora to reconcile identity. By plundering the imagery and text of Alice in Wonderland, Victoire covertly raises human rights issues like migration, settlement, difference, discrimination, women’s rights, and challenges the power of language to create awareness. The work questions, transcends, crosses and interweaves between cultural boundaries and embraces multi- and inter-disciplinary experimentation.

WATANABE, KayAustralia

Pines

Collagraph, drypoint, chine-colle 76x56, 2018

The main theme of Pines is nature’s strength and resilience, its beauty and solemnity. Attracted by their impressive shapes (created by the weather and possibly pruning) and the rough textures of trunks and needle-like leaves, I chose pine trees as a motif. These days, I have become increasingly aware of topics such as environmental destruction, global warming and natural disasters. I hope to encourage the audience to reflect upon beautiful nature and the consequences of losing it now, and nature’s strength to survive despite adversity. I created organic textures and rich shades with the collagraph technique, using cracks and torn surfaces on the plate to appeal directly to the viewers’ senses. Limited colours express the strong and mysterious beauty of the trees.


WOLTER, JoelAustralia

The Silent Theatre

Etching 21x29.5, 2016

I predominately work in etching, and explore the environment and our varied relationships with it. The Silent Theatre presents a once popular, now deserted nightclub. In reality this nightclub was on the verge of being developed into apartments and stood alone and empty for months, waiting in the shadows of its former past. Metaphorically, it stands as a symbol of transience and change.

WILKINSON, CleoAustralia

Vestiges

Mezzotint 40x60, 2018

I try to emphasize the singularity and silence of a form - what is missing in the shadows provides the greatest potential for me. I love nursing the life of an image out of its pitch black womb into hope, in the form of light. The process has a primordial spiritual magic. Mezzotint technique and tools have remained largely unchanged for the last 300 years. The process achieves tonality by roughening the metal plate with a metal tool, a rocker. The small teeth of the rocker create tiny burrs that hold ink during the printing process. The rocked areas that are left will produce a rich black print, while areas that have been burnished will hold less ink, producing lighter values. This process produces an image with a high level of tonal richness.

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YATUMBA, ChristineAustralia

Maiya Thethi Wakin (gathering food in freshwater lagoon)


I live in Pormpuraaw on the western Cape York Peninsula and have been making prints and painting for over 10 years. I like to show how things were done in the old days, how women used to gather food and raise children in the traditional ways.

ZALESKI, KamilPoland

Cwiczenia 7

digital print 140x100, 2018

In the Cwiczenia series I am interested in physical activity from the level of the digital world. In this case, you do not need to consume energy to play. Computer games deprive the body of the experience of fatigue, pain or sport-related injuries. When printing my graphics using the digital method, I do not put any physical effort into it, unlike previous works that I created with silkscreen. Computer games give us the illusion of movement.


Shinfield, GaryAustralia

Border Lines

Woodcut with photopolymer etching on 8 sheets of Thai hand-made paper 152 x 224, 2017

My work is based on the idea of journeys. I place myself in a new environment and respond to inner and outer experience. In 2016 I travelled to Thailand to make paintings on paper. In 2017 I made relief prints in the Blue Mountains. In 2018 I will travel to Spain to begin new work. Images map journeys and trace stages of passage on multiple sheets of hand made paper, using print and autographic processes. They are shown unframed, in series format. Hanging works on paper as three-dimensional objects, and their relationship to surrounding space is also explored.

ARTIST-IN-RESIDENCEOur Inkfest 2018 Artist-in-Residence, Gary Shinfield has a selection of

work presented in his own section of the Inkmasters Print Exhibition.

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ACKNOWLEDGEMENTS

Inkmasters Cairns gratefully acknowledges the generous support of the following granting authorities and sponsors:

This project is supported by the Queensland Government through Arts Queensland

InkFest 2018 is also supported by Creative Partnerships Australia through the Australian Cultural Fund

DR RAYA MAYO

Documents

4TH BIENNIAL - InkMasters Cairns Inc. · Many individual artists, from emerging to advanced, have also taken part in a series of specialised print media workshops and demonstrative