5TH BIENNIAL - InkMasters Cairns · 2021. 6. 9. · BURTON, Anne USA Surgery Quilt #2 Woodcut on Japanese paper 54 x 42, 2019 This work began before the pandemic as an exploration

5TH BIENNIAL

INKMASTERS PRINT EXHIBITION 2021

2 5 J U N - 2 5 J U L 2 0 2 1

TANKS ARTS CENTRE46 Collins Ave, Edge Hill, Cairns Qld

EXHIBITION LAUNCH6PM FRI 25 JUNE

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PRESIDENT’S MESSAGELAUREL MCKENZIE

150 works from regional, national and international artists have been selected as finalists for this InkMasters Print Exhibition, with 2D and 3D works and installations - prints that span an astonishing range of print media, from traditional to contemporary and with many innovative combinations of both. With no specified theme and few limitations other than parcel size, it is not surprising that artists responded with works that reflect their evolving material, aesthetic and conceptual interests. Some, however, have been compelled to speak to their current anxieties and aspirations in the environmental, political and other circumstances they find themselves in, extending the historical role of prints as means to articulate challenging ideas. These responses result in contrastive and inspiring print-based works that reflect a range of current practices and concerns.

The exhibition catalogue, presented online only for the first time, illustrates one work by each pre-selected artist, though many artists had two works selected for exhibition and eligibility for awards that total AU$24,000 in value.

The InkMasters Print Exhibition continues in its overarching aim to consolidate Cairns as a regional and global centre of printmaking excellence; it aspires to bring together some of the best artists working in print media in the world, and to present their works to regional and visiting audiences. While international travel is not possible, there is relative freedom of movement within Australia and between Australia and New Zealand at present, so we anticipate many visitors will have the opportunity to see the exhibition.

Preselecting finalist’s works for the exhibition and selection of works for the award was a demanding task undertaken by our panel of judges – Ashleigh Campbell, Director of NorthSite Contemporary Arts in Cairns, Henri Van Noordenburg, Curator at Queensland Art Gallery and Gallery of Modern Art in Brisbane and Brian Robinson, Cairns-based artist of the Maluyligal and Wuthathi peoples of the Torres Strait and Cape York Peninsula. I am especially grateful for their expertise and their thoughtful deliberation. Hearty congratulations to the artists awarded prizes!

InkMasters is delighted to deliver InkFest 2021, of which the InkMasters Print Exhibition is a major part, after its covid-19-enforced postponement in 2020. While many artists and the print groups they belong to in countries around the world endure various levels of restrictions and lock-downs, we are quite privileged to be able to welcome audiences into Tanks Arts Centre. Tanks’ unique ‘tropical industrial’ venue can accommodate a large number of people, even under current ‘gathering’ restrictions, to view the works presented in this exhibition for their enjoyment and illumination.

InkMasters Print Exhibition 2021

Also showing are works created recently by our InkFest 2021 artist-in-residence Justin Majid. 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 brings the InkMasters’ team great pleasure to see our lengthy planning and work culminate in the presentation of an outstanding collection of fine art prints.

A project such as InkFest, with its many components and events, is a huge undertaking for a small arts organisation. Particular thanks are due to the Exhibition Coordinator, Rachel Wolfe, to the InkMasters Committee and to our many invaluable volunteers.

InkMasters Cairns is very grateful for the support provided by the Queensland Government through Arts Queensland, Creative Partnerships Australia through Plus 1, Regional Arts Development Fund -

a partnership between the Queensland Government and Cairns Regional Council; TAFE Queensland and donors including Dr Raya Mayo, Mitomel Printmaking, TPG Architects, Lee Edwards and family, Crystalbrook Bailey and Auxiliary Design.

Special thanks are due to Henri Van Noordenburg from Queensland Art Gallery and Gallery of Modern Art for making the time to come to Cairns to present an informative talk on contemporary printmaking to an audience of artists, supporters of the arts and the general public prior to the exhibition launch on Friday 25 June.

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

InkMasters is proud of what we have achieved in this fifth iteration of InkFest, and I sincerely hope that the exhibition and this catalogue give you much pleasure.

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DERDA, AgataCanada

Hurting From the Lack of Love

Linocut and digital print 152.5 x 101, 2020

My art’s focus is on the exploration of interpersonal dynamics. As stand-ins for actual human images, I substitute modified vegetation or man-made forms that are staged in ambiguous, foreboding landscapes. Through the anthropomorphism of trees or these man-made structures I examine issues of gender, toxic masculinity and the tendency for either self-annihilation or the desire for dominance through violence.

PEMA, AlbertFrance

In the skin of trees no. 97

Etching and chine collé 60 x 50, 2020

My printmaking works are inspired by the organic environment and the living world. Also, they are built around the notion of abstraction. Based on observations of nature, the seabed or the plant world, the engraved surfaces are composed through several random encounters of lines and shapes of varying sizes. They particularly form a view around the proliferation of an organic universe. What most significantly characterizes my work is particular attention to the circular or cellular form. In the process of creation, the initial idea is transformed and develops a new surface for reflection, an abstract image.


PAGE, AmandaAustralia

Frozen Fragment

Photopolymer etching, 2 plates 70 x 100, 2020

The work captures the melting process, a frozen moment in time. Solid masses of ice break off from the land ice mass around the Antarctic Peninsula. In capturing changes of state in material, the works record the alchemical process of transformation. Solid material dissipates into absence, referencing erosion and loss. Ice speaks of the threshold we inhabit, the precipice, fragility, transience. Ice is a metaphor for change and speaks of climate, of environment, of our existence.

Phenomena and the coalescing and dissipation of natural systems are investigated. Change is explored as a universal condition that connects all matter.

BALLETTI, AlbertoItaly

Stunt Ration (a)

Etching and ink-jet 100 x 70, 2020

In my works, faces and objects appear in portraits that contaminate memory. The question that follows is linked to the progressive transformation of our bodies into commercial objects. Can globalisation overcome the distance between people only with e-commerce? Today, social distance - also called physical distance - seems to be a preview of a world without physical contact and without physical movement. Only information and commerce? In this paradoxical era of a single globalised society, of a single device, of a single social model, I respond with my storage of images with their sedimentation through time!

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JURSEVICS, AngelaAustralia

Fishing in Mugs (Red)

Linocut with monoprint elements 30 x 42, 2021

My work is personal and political. I present positive pieces, often whimsical, ironic and humorous. I encourage the mundane to be seen anew, everyday stories read more carefully. Fish in Mugs (Red) is a statement of absurdity. The combination of fish and mugs, seemingly cohesively whilst simultaneously non-sensically, highlights the folly we experience in our disordered lives.

NUM GLOVER, AndreaAustralia

Station Noon

Archival pigment print on Metallic Photo Rag paper 42 x 29.7, 2019

Station Noon began with my aerial photographs. The earth’s plasticity and textures are rendered visually, then overlaid with cosmic shapes and symbols. Texture is perceived as an illusion on the two-dimensional surface. Hence relief printing is achieved through deceiving the eye. O-bokashi, a Japanese term for ‘gradation in a wide area’, descends like a musical scale from the top to the bottom of these images, exploring ideas about light and sound, and physical, spatial energies - of the Earth.


RUSSELL, AnnaAustralia

Exposure

Collograph, woodblock, stencils 49 x 76, 2020

This work is about fragile and fascinating north Queensland. There are shallow seas dappled by clouds, creatures you’ve never seen before, hidden dangers all the locals know - stingers and claws, strings and jaws. Exposure references the ebb and flow of warming water, the heat of the sun on exposed rock. We were warned this heat was coming. We are all exposed as it burns through the air and the water. This work began as an intaglio collograph of paperbark, evolving with woodblock patterning and stencils.

CURTIS, AnnaAustralia

Mother Earth Reflecting

Linocut 77 x 109, 2021

This linocut is about acknowledging and honouring Mother Earth – her ancientness, her greatness, her grandness, and her hidden depths – the diamond treasure that she is. This image is also symbolic of the emergence and strengthening of feminine energy, the eroding of patriarchal dominance on planet Earth. Like the great pyramids, she is rising up. It’s time that human beings became fully conscious of Mother Earth as a living and breathing entity. We are not separate from her. We are part of her, as she is part of us. We are all one.

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BURTON, AnneUSA

Surgery Quilt #2

Woodcut on Japanese paper 54 x 42, 2019

This work began before the pandemic as an exploration of my younger son’s illness and surgery after inhaling a rare form of bacteria while playing in the dirt. That experience made me intensely aware of the fragility of human health and how greatly it can be impacted by a single random event. Through researching domestic ecosystems, I became cognizant of just how much human health can be impacted by the destruction and manipulation of the natural world. On a larger scale, this work is an exploration of how we live in a delicate balance with the natural world.

TROJANOWSKA, AnnaPoland

Evaluation’s Event_10

lithograph from Carrara marble, four blocks 74 x 51, 2019

In my works, I focus on the light/object/dark relationship. In the world that we know, that we are prepared for in our experience, objects always exist in an extremely consistent connection - light/object/dark. In the presence of light and dark we are able to read shapes, distances, forms and their mutual relationships. It’s always absolutely precise and perfectly consistent. But what if we deliberately separate the elements of this system?

Therefore, in my prints I describe compositions and spaces using the gap in the code of presenting three dimensions in two dimensions. The range of creative possibilities is infinite.


GRARUP, AnneDenmark

Rhythm

Woodcut 100 x 120, 2018

Inspiration is found in nature. The starting point for the process has been photographs taken in the woods and by the width of the lake. The woodcut reflects a fascination with and study of natural processes, the forming or destruction of material. Through infinite repetitions and rhythm, materiality and structure occur. The work symbolises the volatile and the fragile, what occurs, changes and passes away.

PYLE, AnneAustralia

Pool Chair

Monoprint 37 x 46, 2021

I am probably an abstract expressionist. But because I love the discipline and challenge of drawing I find myself in still life, portraiture and other places. I prefer a minimal palette and primarily work in acrylics but often find my prints or paintings have other things like pastel or other media added. I want my response to be composed and complete and am interested in finding the essence - of the person, the place or the thing.

‘Less makes more’ matters.

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STARLING, AnneAustralia

Detritus

Linocut, monoprint, collage 72 x 102, 2019

My prints create narratives of specific socio/environmental events due to industrial activity from our recent past. Detritus is an examination of the barren landscapes created from the accumulation of man-made waste. It addresses the implications of ruined environments for succeeding generations where mountains of waste now form the new urban landscapes of excess.

BOESENBERG, AntheaAustralia

Night Vision

Woodcut, found plate, monotype 150 x 60, 2019

My work Night Vision contrasts a rampant natural world with an order imposed upon it by settlement and habitation.


CANAU, AntoniaPortugal

Bird Flower Woman!?

Digital Print 70 x 50, 2020

In the work Bird Flower Woman!? live colors play an important role by giving a sensation of joy and happiness. It’s an optimistic statement and a way of fighting the general fear and pessimism generated by the COVID-19 Pandemic.

Ariadna Abadal LloretSpain

52 Hz - Communication Skills

Mokulito (wood lithograph) with Chine collé 103 x 203, 2018

Since 2012 Ariadna has been collaborating at the Art Print Residence, a printmaking residency run by her family. She has been teaching courses in various techniques such as etching, aquatint, dry point, soft ground, collagraph and monoprints. She has experience teaching photoetching and mokulito. In 2019 she conducted a workshop in Quebec and a 2-week course in Miró’s Foundation in Mallorca Island. A keen researcher into new printmaking techniques, she works in the field of non-toxic printmaking, monotypes and innovative alternative printmaking processes.

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MADDEN, BernadetteIreland

Courtyard

Screenprint 45 x 38, 2020

I recently moved from the place I had lived in for over 35 years. Now I have new spaces to make my own. This print is inspired by those spaces. From my first-floor window, beyond the courtyard, I can see the roofs of the houses in the next avenue, rising up behind my garden shed. The wall of bamboo on the left makes a wonderful rustling sound on a quiet evening. In nearby Fairview Park, half way up one of the big old trees is a nesting box. I’ve yet to find out if it’s still in use.

HONEYMAN, BekAustralia

Feather1_Time Marked

Blind embossed linocut on plaster bandage 30 x 17 x 0.5cm, 2021

This work observes grief over time. A complex set of circumstance that resists fading, exists in binaries to remain a shifting contradiction; seemingly brittle and soft; exposed yet veiled. Embossed in plaster fragments, and hinting at time marked, this work is embedded with fragile moments and crumbling imagery.


FOSTER, BiancaAustralia

Golden Bream

Vinylcut print 45 x 81.5, 2021

My art pieces show different animals in their most natural form and what I envisioned of that moment. Golden Bream is an experience from the past year, with the story depicting a sad part of my life, but it also shows the joy and humour we found in a certain moment.

COCIANCIG, BernhardAustria

Walrus

Mokulito (wood lithograph) 57 x 63, 2020

For my technical background, the numerous techniques and alternatives of print graphics present a strong attraction leading me to experimental printmaking. Use of renewable materials (plywood for mokulito and woodcuts), inexpensive plate materials (aluminium) paired with non-toxic etching and printing processes open a wide field for technical and artistic experiments while having the least adverse impact on the environment. Adverse impacts of climate change, loss of habitat and other man-made influences on the global flora and fauna are the main topics of my artworks. Displays of endangered species remind viewers that these animals may disappear far too soon.

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COHEN, BrianUSA

Pumpkin Field, Concord

Drypoint 8 x 20, 2020

Brian embraces 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 humour and irony as well. The process of etching is physical and elemental, requiring force and pressure, inviting aggression and then delicacy, conjoining fire, water, earth, and air. There is something about setting an image into metal that implies permanence, duration, and enduring presence, and Brian’s images mirror the medium in that sense.

WILLIAMS, BrandonUSA

From the Ground Up

Multi-plate Etching 35.56 x 49.53, 2020

I am interested in time and how it visually affects locations. Creating an atmosphere that emphasizes the past while capturing the complexity and beauty of decay or growth is a major theme in my work. The tension between the built environment and the natural environment, and how the two compete over the years against each other is fascinating to me. The everyday constant power struggle of life in the natural world and society are expressed. Time only moves in one direction. This unidirectional path leaves behind both positive and negative aspects. What will remain?


FOSTER, BrookeAustralia

Kuranda, Barron River

Vinylcut 58 x 120, 2021

My print is what I envision as a memory. In movies or on our tv screens a dream or a memory is depicted as black and white or with faded edges. This print is a collection of memories of what I loved most about growing up in Kuranda.

HILLEBRAND, BridgetAustralia

I Inhale the Impalpable Sea (DETAIL)

Chiaroscuro linocut 25 x 152, 2020

My print draws inspiration from my encounters with the ocean and the words of Walt Whitman:

“As I inhale the impalpable breezes that set in upon me, As the ocean so mysterious rolls toward me closer and closer, I too but signify at the utmost a little wash’d-up drift, A few sands and dead leaves to gather, Gather, and merge myself as part of the sands and drift...”

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Capitana FAustria

Bounty CMYK neon

Certificate (offset print, screen print partial UV-varnish) and 4 thermo tumblers (becher) 15 x 50 x 15, 2021

My works on paper are always to be understood in the context of the performative: concept, reflective attitude, “poetry of action” (Henri Focillon). Bounty CMYK neon enables the option of action “beyond Becher-Schule” via “Mobile Art in Public Space”, to integrate art into life (Situationist International, Beuys), and to implement the motto “Refill instead of throwing away”.

DAPENA, CarmeSpain

Cairns Red Lacewing

Etching on hand-made paper 50 x 70, 2019

I do consider myself an environmental rights defender. We have a responsibility as artists to bring awareness to conserving the fragile habitats like oceans and land. My commitment calls for our awareness about the urgent necessity to protect our marine life and insect pollinators from the situation of overfishing or the overuse of pesticides. My works are the result of expressing all these feelings through etching materials using non-toxic materials, reusing some collected rubbish from the east Coast included in hand-made paper as support, using only one large plate with several primary colours.


CRAIG, CarolynAustralia

ERV

Etching on curved aluminium 65 x 38 x 12, 2021

ERV focuses on the breathe and the throat as sites of vulnerability over the female body. In particular the amount of excess air that we do not inhale and the reciprocal amount the body stores without discharging (called the ERV). I see this negative valued (potential air) as an accounting record of social presence, or erasure. The more privileged the subject – the more deeply they breathe. Bodies in fear take shallow breathes and fight to gain access to clean and open spaces. The breathe is also the primary trace residue of a living body.

MCCUE BOES, CatherineAustralia

Doyenne

Artist book, coptic stitched: 8 hand-coloured linocuts, digital borders, text, transparent titles, canvas cover 48 x 32 x 5, 2021

Include medieval love potion, strange creatures, poison plants, inspirational women, living or dead; add mysterious short stories and you have an artist book named Doyenne. As a printmaker I love medieval images, especially illuminated manuscripts. The original concept was to create a series of images using linocuts and digital design, but I decided to add another layer to the visual story by inviting a fellow artist/writer to respond to the images without further information. The result is a compelling mix of text, image and design which reflects multiple view points of the same subject.

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WALKER, CeliaNew Zealand

Overburdered/Undermined

Assemblage of cut and altered monotype prints 40 x 56, 2020

Overburdened/Undermined is part of an investigation into the environment and heritage of coal mining. The landscapes immediately impacted by mining range from the vast Whangamarino Wetland - a place of peat swamp, rare wetland ecosystems, and underlying coal deposits - to the wild landscapes of the West Coast of the South Island. I am interested in the detached language associated with mining – the term ‘overburden’ used to describe whole soil and plant communities, rich ecosystems discarded and later ‘rehabilitated’ to poorer, weaker states; and ‘fire resistant’ material having an uneasy relationship to processes of climate change.

My images are full of magical creatures. The geometric shapes of figures and landscapes create a feeling of a dreamy, almost abstract world. I use Mezzotint to express my fantasy world; these creatures give people a pleasant and worry-free feeling.


DIEDERICKS, ChristiaanSouth Africa

Let us Prey IV (Battlefield-Kingdom of the Monarch moths) (DETAIL)

Drypoint, monotype and laser engraving 15 x 70, 2020

Let us prey, the title for a suite of five graphic works, is an ironic take on the Christian practice of praying. Changing the word ‘pray’ to ‘prey’ in the title was a deliberate conceptual strategy employed by the artist. These works are socio-political comments on the lengthy, draconian lockdown in South Africa as a result of the Covid-19 pandemic. Large-scale corruption and looting of the Covid-19 solidarity fund in an already-bankrupt country completely overshadowed the severity of the pandemic. The South African government managed to steal billions during this time. It is despicable and mind-boggling.

LAWRY, ChrisAustralia

Forest at Mallacoota 12 Months after the Fire

Linocut 30 x 43, 2021

In 2020 I wanted to visit the Fire zones. I was planning to spend as much money as I could afford in fire effected communities while trying to respond artistically to what I saw. Thanks to Covid 19 I could not go until early 2021. This series I am working on is my response to what I was able to see - 12 months after the fires. The work shows the shape of regenerating eucalypt Forest.

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DRUITT-PRESTON, Christine Australia

Olley Land - Take a place at the table

Lino block print on Wenzhou paper 60 x 125, 2019

Informed by drawings of the Tweed Regional Gallery Margaret Olley home studio re-creation, my prints reinterpret motifs used by Olley in many of her paintings. The multi-layered and visually fascinating rooms of her Duxford Street, Paddington home are underpinned by the ghosts of patterns borrowed from my living room studio as if floating on a lace curtain. My work acknowledges the lineage of women artists whose artworks respond to the domestic interiors that also served as their studios.

YANTUMBA, ChristineAustralia

Stonefish in Red

Etching on paper 56 x 50, 2021

I have been painting, printmaking and making large sculptures out of ghost nets and found materials at our art centre for nearly 14 years. I love making art and helping my nephews, nieces and brother learn how to do it. Art is a new language for me - a way to share my culture and stories.


JACKSON, ClareAustralia

Letter ‘87

Lithograph, aquatint etching, screen print 38 x 38, 2020

My prints document an ongoing practice of collecting found images - postcards, newspaper clippings, postage stamps. I remain fascinated by these relics of specific moments in time and the sense of nostalgia they induce. They exist for me as physical embodiments of history, and reminders of the ways we select resonant images from the masses we are presented with daily. These works are drawn from old photographs of tropical storms, and interpreted through printmaking media such as etching and lithography. This process of replication is intended to reactivate images from the past and create an imagined narrative.

HUSBAND, ClaudiaAustralia

Mimisfol[d]ia I

Lithograph, jacaranda woodgrain relief and digital photographs on Magnani Pescia 16 x 16.5 x 5, 2020

Abundant throughout Australia and the southern hemisphere, the blanket of purple jacaranda blooms that cover Brisbane streets and line the riverbanks in springtime forms an integral part of our region’s identity. Despite being a non-native weed that is ubiquitous throughout the southern hemisphere, something about their presence each October feels uniquely ‘Brisbane’. This series explores the visual nuances of these small luminescent flowers as they fall and blanket the grounds below. Visitors are encouraged to interact with the installation, and to take a flower with them as a reminder of place and memory.

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KOWARSKY, DamonAustralia

Reflection 1

Etching and aquatint from two copper plates 30 x 42, 2020

Reflection I was made as part of Kate Gorringe-Smith’s Overwintering Project, a project that brings together printmakers from around the world to celebrate the remarkable migratory shorebirds that travel each year from the shores of Australia and New Zealand to their breeding grounds in the Arctic Circle of Siberia and Alaska.

WILKINSON, CleoAustralia

Then IV

Mezzotint 30 x 20, 2020

Nursing an image out of its black womb into light has a primordial spiritual magic. I try to emphasize the singularity, silence and loneliness of a form. What is missing in the shadows and is suggested provides the greatest potential. The Mezzotint print technique remains unchanged for the last 300 years; it achieves tonality by roughening the metal plate with a rocker to produce a rich black creating a high level of tonal richness.


FOGWELL, DianneAustralia

The Dead Tree Scroll – Silent Extinction

Artist’s book, linocut, burn drawings, chemical text transfer, found object, solander box 78 x 10 x 15, 2021

My mother died and I started dreaming about fire. Last summer, smoke rolling in quiet and dense over Canberra has brought these investigations into a new realm of contemplation.

My artist’s book illuminates a path through the fallen landscape after the ‘Black Summer’ fires. Absence of wildlife only intensifies the tragedy. There is sadness in losing the idea that the Australian bush is eternal and invincible but there is hope for regeneration of both place and spirit.

O’SHANE, DanielAustralia

Irukili (Engulfed by Magical Forces)

Vinylcut relief print, hand coloured 120 x 220, 2020

Keiyari, a young Meuram makrem from east Erub Island, spends a day of trading with his male companions. Sending them home, saying he will not return until he finds a wife and claiming he is too ill to travel home by himself, Keiyari convinces Tekei to allow her two beautiful daughters to assist him. He declares to his mother, Mair, that he is marrying the two sisters, who bolt towards home enraged, with Keiyari in close pursuit. A magical force interferes and transforms Keiyari into a crayfish, Tekei into a flowering cod while her daughters become black rocks.

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VAN DER VEEN, EdwinThe Netherlands

Wad een Plaat

Woodcut 27 x 36, 2020

The artwork is a landscape woodcut print of the Wadden at Ameland (small Island at the coast) in the Netherlands. I try to capture the beauty and the changing moods of the ocean floor. At the Wadden Sea the tide shifts every 6 to 12 hours changing the landscape continuously, which is a fascinating event.

BANFIELD, ElizabethAustralia

Lacuna (letter 18)

Linocut, kozo tissue, thread 56 x 100, 2019

Correspondence is a theme I often return to; the prints replace the letters I can no longer write. With this print I am investigating the idea of a lacuna, a gap in a manuscript, a missing portion of a story. I have built layers of finely carved abstract text to create background tone, and the spaces between become a shadow of the tree as it falls.

Making prints is a meditative process; carving lino, stitching pieces of tissue: an attempt to mend, remember and record.


KOONUTTA, ElliotAustralia

Pormpuraaw Thoonth Iwal

Etching on paper 31 x 51, 2020

Pormpuraaw Thoonth Iwal is my Wik Mungkan language word for community camp dogs. Every family here has many dogs. There are probably more dogs living here than people. We all have them. They are like family to us. We use them for hunting pigs. Our old people used them for hunting wallaby. They would sleep next to them, sharing body heat to stay warm. Our dogs are part of us.

STEYN, ElmariAustralia

Tree House by the Sea I

Multi-plate etching, aquatint, chine-collé and hand-colouring 76 x 56, 2021

This work is part of a body of work, presenting fragments of memories and stories, beliefs and every-day happenings amongst a small band of people - told through depictions of the trees, boats, houses, lands and countries they lived in and travelled through. At the edge of the forest stands a hidden house, a safe place. Here lives a soul that says the wind whispers a rustling needle song, the surf thunders the words of many souls and the smell of damp and the taste of salt tells the truth of it all.

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NORMAN, EricAustralia

Bride’s Whale Story

Etching on paper 32.6 x 49.5, 2020

During September 2020 a large endangered Brydes whale washed up onto our beach. It was alive but suffering. It was an amazing, huge magnificent animal. People tried to save it or at least make it more comfortable as it was dying. I thought it was important to tell this story. The day the whale washed up on our beach I saw four large fishing boats of our beach.

DUNKLEY, EricaAustralia

Subjective Responses, 6th Iteration

Multi-layer copper plate etching with hard ground, spit bite and aquatint on 300gsm Somerset satin white 56 x 56, 2019

Subjective Responses, 6th Iteration is a multi-layered copper plate etchings that is concerned with depicting flora’s essence. It expresses emotionally charged and intuitively felt reactions, in response to nature. Sensations generated by flora are depicted through an exploration of colour, marks and form. Erica’s etchings shift the viewer from an objective reality to an emotional state driven by what is felt and sensed, as a response to flora’s essential characteristics. The viewer is invited to navigate a psychological terrain by delving deeper beneath surface appearances to what lies beyond.


NAITO, EtsukoJapan

Amuret Flower

Digital print 68.4 x 98.5, 2021

Eguzkilore, whichi in Basque means the Flower of Sun, is a protector from evil spirits, storms and any other danger. Eguzkilore, dried silver thistles (Carlina acaulis), is placed at the entrance door of the house.

Eguzkilore gave me an idea for my drawing. Black and white coloured portions of the drawing represent an ongoing pandemic of COVID-19.

The coloured dried floor in the image represents a bright future of human being.

PELACHAUD, GaëlleFrance

Hémérocalle rouge

Inkjet print 10 x 14 x 120, 2020

Birds and movement, diversity of natural environments. I make paintings , drawings, photos and artist’s books. My birds cross the landscape, putting the places in perspective, like a dialog with the region and the territory.

My drawings and photographs give rise to the publication of artist’s books, enriched with a poetic text or just images.

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PATERSON, GayeAustralia

Once Upon Another Time II

Woodblock, relief 112 x 76, 2020

Most of the time I work alone but alone is different to isolation. Alone is a choice; isolation was unexpected, imposed. I had plans.

Reflecting on where I was to be going, the Greek islands of Lesvos, Chios and Samos, the Aegean sea both stunningly beautiful and treacherous, was much on my mind. The sea had drowned thousands of refugees but thousands more had been embraced in its waves and delivered safely ashore. Like these woodblock shapes, a metaphor for the sea, I floated through the year 2020, drifting from one day to the next, reflected on another time.

SHINFIELD, GaryAustralia

After the Fires 1

Unique state relief print: woodcut and etched lino with staining on three pieces of tapa cloth 280 x 245 x 20, 2020

In 2020 fires raged through the Blue Mountains of NSW. This work is a response to surrounding landscapes damaged by these events.

Woodcuts have been used to create certain landforms typical of the area – plateau, escarpment and valley. Etched and cut lino blocks have been overprinted, alluding to fire, smoke and ash.

The various blocks have been printed randomly and intuitively onto distressed surfaces of tapa cloth. Misshapen fragments hang in space, recreating a burnt and chaotic landscape.


ORR, Glenda BOYLE, Kathy (collaboration)Australia and New Zealand

COVID Noughts and Crosses – Distancing Games

Artists’ Book - concertina, foldout board & counters: etching, letterpress and digital prints, tape measures, hazard tape, board 22 x 150 x 92, 2021

As physical and linguistic environments rapidly changed with the advent of COVID, we documented some changes in a visual diary, most notably social distancing markers (physical manifestations of the 1.5 metre rule) and COVID terms. Ironically, before 2020, O and X signified a hug and kiss, symbols of physical closeness. Now these connotations have been inverted to effect physical distancing.

Noughts and Crosses is a game of strategy where the players’ decision-making skills have a high significance in determining the outcome - the game frequently ending with no winners - an apt metaphor for the varying, often devastating, consequences of COVID.

LUHMAN, GerryAustralia

The ‘Marie’ Working Off Salamander Bay

Linocut ,relief 42 x 30, 2020

My practice is based on a love of printmaking as it encapsulates the successful communication of an idea through a belief in history and technology within an artistic discipline.

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LEE, GlynisAustralia

Emergence 1

Artist book with 3 deconstructed prints: screen-print, relief print, encaustic monoprint and cyanotype 23.5 x 26.5 x 6, 2021

The mind has many compartments where thoughts, ideas and memories are stored. Some remain hidden. Others emerge and grow, venturing in all directions. Pathways may be guided while some outcomes are serendipitous. At times, these notions are difficult to understand, perhaps like Chinese calligraphy to some. However, when associated with familiar environments, connections emerge.

This artist book with screen-printed folding boxes releases deconstructed prints, revealing that these seeds of the psyche may start small but can augment into enhanced forms. Multiple printed compartments unfurl to reveal further layers of an on-going narrative.

SCOTT, GwenAustralia

Callistemon Swathe

Reduction linocut 46 x 38, 2020

My reduction linocut print Callistemon Swathe is part of a new sub-series titled Cocooning which are in turn part of an overall body of work titled Being Human which I have been working on since 2018. The prints reference the human need to escape urbanisation and connect with the natural world to find peace, security and reflection. Each print is printed from one block of linoleum onto 100% cotton rag paper and approximately twelve layers of oil-based ink has been applied.


CAPRICE, HannahAustralia

The Warmest Welcome

Etching and aquatint 54 x 39, 2020

This work sprung from a series exploring themes of hybridity and identity: as someone of mixed heritage, I often oscillate between feeling fragmented and whole at the same time. However, as 2020 unfolded, feelings of isolation, fear and longing, but also hope, tenderness and compassion began to emerge too. We had to say goodbye to loved ones, protect ourselves and each other, and search for ways to connect from afar. Whilst 2020 was a year of feeling strange, there were moments where we were pushed into a slow and gentle space to rediscover and cherish what matters most

PARKER, HannahAustralia

Some Distance


Some Distance began as etched lines which immediately revealed distance and shape. As I developed etching plates with textures, and printed with layers of colour, an unexpected variety of images began to emerge; one colour palette would create notions of a desert landscape, another alluded to oceanic landscapes, maps, geological illustrations or possibly wood grain, for example. The work is part of a series of prints created during a print residency at InkMasters Print sWorkshop, with support from Arts Queensland and Jute Theatre Company.

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DUNN, HeatherAustralia

Chinese Whispers

Monotype collage 39 x 35, 2018

Golden Gully near Hill End in NSW is an eroded pock-marked remnant of the Gold Rush era. Tens of thousands of people, including over 5,000 Chinese, dug and panned gold here. The remains is a steep walled gully surrounded by bush that is gradually reclaiming an altered landscape. This work is a collage of a mono print on archival tissue, frottage on rusted paper, eco prints on silk and vintage Kozo paper, with free motion machine embroidery. The work is a recognition of the Chinese migrants that were a hard-working marginalised community in the colony.

SHIMMEN, HeatherAustralia

Sighted

Linocut and ink on paper 112 x 76, 2021

I am an unashamed collector of ‘flotsam and jetsam’ as I am with the ideas behind my work. Many elements are drawn from childhood memories, personal experience, environmental issues, folkloric stories and histories (intrinsically Australian) and from a myriad of other places. They become translated and morph into the images that I make. There is an evocation in the line that expresses my love of the engraved mark although here in my work it emerges as linocuts, not in steel or wood.


KOCIS EDWARDS, HelenAustralia

Hammer and Thongs

Drypoint on giclee print on Hahnemuhle Museum Etch paper. Double sided, circular format 10 x 41 x 41, 2019

Hammer and Thongs investigates the relationships between humans, animals and aquatic environments through a whimsical, abstract narrative. Individuals representing different species connect and interact with each other and bodies of water to consider the intersection between fairy-tales and contemporary politics, innocence and experience and the drivers of action on climate change.

WARREN, HilaryAustralia

Hoi An House-2

Photopolymer photogravure on with chine collé on inkjet printed Kozo paper 28 x 23, 2020

My art work translates my photographic art to printmaking through the etching technique of photopolymer photogravure (solar plate printing). This work is part of a series of prints generated from travel to Hoi An in 2017.

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Hopevale Cultural Arts Centre Women’s ProjectAustralia

Covid Ready and Community Safe


Eight indigenous women - Daisy Hamlot, Pearl Deemal, Grace Rosendale, Phyllis Gibson, Wanda Gibson, Gertie Deeral, Esmae Bowen and Madge Bowen - have produced mask designs with concepts relating to maintaining health in the Hopevale community. Themes include a strong sense spiritual wellbeing, living on the land, bush medicine and access to good nutrition and natural foods. The etchings were produced in collaboration with printmaker Theo Tremblay during a residency in Hopevale.

KWON, HyejeongKorea

Never Ending Story 2

Etching, aquatint, chine collé, embossing, relief printing, frottage, paper cutting 113 x 88, 2019

My work gives a spiritual, pleasant sensation by radiating the different kinds of feelings that occur during the process of living at present and desires spurted from the unconsciousness as images. Such ways of working can be a way of managing myself and a process of finding the true self by getting away from the distracting thoughts and fixed ideas that appear from social action effects. They express the oppressed emotions extemporarily.


HORN, IanAustralia

Muggsy

Vinylcut 42 x 50, 2021

Being both a musician and visual artist, I sometimes feel trapped within a static image. I miss the developing thematic transitions of music and the emotive power of chord progressions within the rhythm. Earlier, both professionally and as a teacher, I found animated film-making to be a satisfying compromise, but trying to make similar things happen within the extreme tonal restrictions within a solitary relief print image is a real challenge.

KINGSFORD SMITH, IanAustralia

The world passed by as they talked earnestly together about their Facebook posts

Wood engraving 12.5 x 7.5, 2019

The wood engraving illustrates the relationship between the living and the dead and the diverse dimensions of human experience. Kingsford-Smith has referenced practices within ancient Egyptian and Roman culture that were used to combat feelings of existential anguish and doubt. In keeping with his larger body of work, Kingsford-Smith looks for connections between the psychological impulses underpinning ancient practices and our own within the contemporary world.

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KLEITERP, IdaThe Netherlands

As Above So Down Under

Monoprint 39 x 30, 2020

The inspiration for my work is nature and the cosmos.

GORRING, JackieAustralia

Lonehand Shyness

Relief stamps from Styrofoam 80 x 120, 2020

Lonehand Shyness is Kev who lives nearby in the small rural village where my home is. He is shy and mistrusts people but we have formed a bond. Kev loves fixing old machines and mowing and shovelling dirt. He is a collector of stuff and I see his big bulky figure at work when I walk daily. I am interested in the human condition and the human form in landscape.


PASAKOS, JamesAustralia

Low Tide

Monotype 20 x 20, 2019

Pasakos’s core theme is ‘sense of place and identity’, one that has been largely influenced by the Melbourne Docklands, Australia. The artist spent his childhood exploring the industrial docklands of Melbourne - that polluted, artificial landscape reflected in his artwork to this day.

Of migrant background, he has often considered the valuable migrant stories of travel. They act as reminders of the fragility of our sense of self in the world. His works can be seen as surreal and nostalgic.

REID JACKSON, JayneUSA

Convergence

Mezzotint 30.48 x 45.72, 2021

My mezzotints are an examination of light and dark, focusing on the still life image to study how glass and simple objects can create mystery and visual poetry by manipulating the shadows and reflections of the objects and their surroundings.

Like memory and time, my images deal with repetition, reflection and fleeting moments. They convey what is real, what is reflection, what comes into the light and what is hidden in the depths.

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ATKINSON, JeanieAustralia

Woven Together

Eco Print on BFK Rives paper 76 x 56, 2021

The Joy of my home bushland in the Cowan Creek Catchment, with leaves representing the highs and lows of drought and flood; with my soul woven into the ecology and the plants with my life.

HUEBERT, JenniferNew Zealand

The Grotto

Linocut 45.3 x 44.8, 2021

The ocean is a vast and vibrant place. Aquatic creatures of every size and sort move about in an intricate dance. As light moves through water it bends and twirls, casting underwater scenes into sharp relief. My works capture a split second in the experience of freediving, expressing the wonder of life beneath the surface.


LONG, JenniferAustralia

I Found a Green Shoot

2 plate, 4 colour intaglio: spit bite, drypoint, open bite etching with watercolour 35 x 45, 2021

My work often draws on memory and place. I source imagery from family stories, history, global events, landscape, found objects. Often imagery is figurative, obscure, emotionally charged. With a range of media (etching, painting, paper, wax) I assemble layered narratives. Sometimes an image that is fragmented, obscure or in ruins becomes a symbol, used repeatedly, which can suggest it is part of an unfolding story. I use recurring motifs to evoke imagination in the viewer and links to a bigger picture.

KITCHENER, JennyAustralia

The Great Unravelling ii

Linocut/collage 53 x 33, 2019

The print makes reference to the perilous situation we are facing as we carry on regardless – not acknowledging or taking enough action to address the imminent threat to the biodiversity of the natural world. The fabric of our ecosystems is slowly unravelling and becoming dangerously ‘out of kilter’ as we continue to consume and not replenish.

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MULLARVEY, JoanAustralia

Our River Our Country

Monoprint diptych: collagraph, relief print, organic print with chine collé 50 x 43, 2020

Our River, our Country is from a large body of work showcasing connection to country and the biodiversity that exists within our rural landscape. Using both relief and intaglio methods allows Mullarvey to capture, within the layers of her work, the beauty, harshness and fragility of our country. Collecting foliage from the roadside and transferring the image to paper is an integral part of her process; it enables her to play with themes of transience and impermanence, capturing a moment in time before the beauty fades and disappears into the undergrowth.

WOLTER, JoelAustralia

The wave of change ii (blue)

Etching 90 x 69.5, 2019

I predominately work in etching and explore the environment and our varied relationships with it. The wave of change ii (blue) is part of an ongoing series of etchings of the same theme, title and dimensions. This series depicts encounters between humanity and the sea; mankind and nature – actions and consequence.


MARTIN, JohnAustralia

Patio Shadows

Reduction linocut 24 x 16, 2020

This work is based on a small patio attached to my house. It is a quiet place I often sit in to relax and often meditate. I am fascinated by the visual imagery of the shadows that are created on sunny days by the patio structure and frangipani tree that grows there. It is this imagery and the sense of peace and quiet I have explored in this print.

ESCUDERO, JuanSpain

Changes Blue

Etching relief on iron plate 97 x 66, 2019

I try to express ‘a consciousness of moment’ drawing - an accumulation of precise lines that need attention and presence.

My idea with the drawing is to simulate processes of growth and natural construction with “... lines that show the gradual process of realization of the piece...” (Joan Bofill). These, a posteriori, connect with patterns and natural forms. I don’t want to represent something but to process something.

A wave of time and space configures the present that is travelled by a creative wave as an expression of emptiness.

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BOURKE, JudyAustralia

Flat Packs 19


I’m interested in making images from discarded plastic objects. Increasingly, commercial packaging fills our rubbish dumps. What was once forgotten and discarded has been transformed into an arrangement of shapes and colours.

In this series I am saving commercial packaging that comes into my life. I have collected, selected, flattened, arranged, inked and printed these containers.

Discarded plastic is viewed in a different way with the Flat Pack series

BUNCHAROEN, JutamasThailand

The Dark Side Mind

Linocut on fabric 60 x 70, 2021

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


MUENHONG, KanakkornThailand

Time

Woodcut 60 x 60, 2021

My artwork is about reflection of human life.

CLARE, KathrynAustralia

Bottles lined up as ‘horses for courses’ (DETAIL)

Multi plate lino and woodblock 29.5 x 78.2, 2019

I am a keen observer of places and things. A printmaker who’s come to appreciate the plates more than the prints. Having lost interest in editioning some time ago, I find ways to enjoy printmaking processes for one off images. Recent prints capture the visual enchantment of bottles, which started as a homage to Morandi, but went on to reflect things used in changing times. I’ve been working on this idea for several years and finally have this one ready to show.

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WATANABE, KayAustralia

Forest Dreaming

Relief print: vinyl, wood, rubber 63 x 42.5, 2021

Brisbane-based Kay Watanabe’s prints are about the interconnectedness between humans and the natural world.

Kay has always been attracted by a divine beauty of nature. She has also been increasingly aware of environmental destruction in recent years caused by global warming, natural disasters and human activities.

Kay spent most of her time in 2020 in her birthplace of Japan because of the difficult international travel situation in the face of the COVID-19 global pandemic. She created prints in Tokyo while exploring the landscapes of her childhood and thinking what the post- COVID world should look like.

TARPEY, KimAustralia

Nature Girl

Intaglio: soft ground, aquatint and foul-biting with watercolour 56 x 65, 2019

For the last decade I have attempted to communicate my concerns regarding the environment. It is regrettable that the majority who inhabit this country misunderstand the intricacies and connectedness of our natural environment -how moving one log, for example, can disturb not only the existing invertebrates but the orchids underneath the ground and the fungi about to sprout. I have become fascinated with what’s out there.

I became a Citizen Scientist in 2016 and started to document indigenous flora and fauna. This obsession has of course influenced my work including this intaglio print.


DE JAGER, LanaAustralia

Trust

Etching 80 x 86, 2020

I investigate loss and grief, mental health, our impact on the earth, cultural pressures and issues that come up through our interaction with the media. The Covid-19 epidemic is having an isolating effect on the planet. Even though we have taken effortlessly to online socialising and we’ve never been more ‘connected’ to our friends and family all over the globe, isolation is wreaking havoc on mental health for many people and even very small intimacies are treasured. This work deals with connection and isolation. Trust specifically came from a story a friend told me about a recurring dream.

CASTELL, LauraAustralia

Reflections with a Cup of Tea

Reduction woodcut 76 x 56, 2020

My artwork allows me to express my thoughts about the world, using the figure as a central element. I attempt to highlight serious issues, environmental and social, in a somewhat gentle way, using beauty as a tool to connect to the viewer, focusing on imagery but also maximising the use of texture to add depth.

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OSBOURNE, LauraAustralia

Unravel


This monotype print reflects my current passion for using everyday found objects. Living in our consumer society that has a ‘disposable’ mindset and a lack of respect for the environment, I am always on the lookout for objects to use in my images. From packing tape, string, woven mats, textured plastics, cardboard labels and the disposable masks we have been required to wear during the pandemic. My concern for the state of our planet is growing stronger as the effects of climate change begin to disrupt our complacent way of living.

MCKENZIE, LaurelAustralia

Industrial Strength Sheilas

Archival pigment print 59.5 x 83, 2021

Collaged archetypal female forms in this diptych are composed of fragments of the industrial landscape out of which they emerge (or into which they are subsumed); notions of ‘femininity’ and its separation from agency and construction are referred to with ironic humour.


CARTER, Lauren JayeAustralia

Long Awaited

Relief Print Collage 42 x 42, 2021

This work explores the aesthetic relationship between colour, form and construction. Evocative and atmospheric, the imagined landscape is created through a reconstructive process involving drawing, relief printing, dissecting and collage. Unique state artworks explore my ideas on the self-constructive nature of perception and the presence of phantasmagoria amongst the everyday.

HORNE, LizzieAustralia

Return to Gondwana

Sugar lift and open bite etching 59 x 41, 2020

The moment I first set foot on the Eagle’s Nest rainforest walk in the New England National Park I was transfixed. There, in my own backyard, a slice of another, ancient, world. Filled with Arctic beech, giant ferns and dripping mosses in magical light filtered through the tree tops, this path leads me back to a time beyond civilization. I used many layers of sugar lift etching to try to capture the sense of depth and floating in time.

Printer: Bill Young.

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DAVITTI, LorenzoUK

Sun

Reductive linocut 40 x 30, 2021

Lorenzo Davitti’s practice explores the relationship between control and chance; his process is indeed one where accidental gestures are counterbalanced by controlled application of the technique. Often working without extensive planning, his approach leads to accepting mistakes and failure and learning to adapt. He uses printmaking to explore the contrast of certain and ambiguous, perfection and imperfection.

These dichotomies echo the process of knowledge building and are reflected through a series of trials and errors, provisional states and in-between shapes. The resulting imagery is abstract, colourful and organic, constructed by using traditional plates, found material, scraps and paper offcuts.

STEIN, MaggieAustralia

Keys Cut

Linocut 45 x 45, 2021

This piece is an example of my current larger scale lino prints. Keys Cut is part of my Disappearing Traders series, begun in 2020. Through this series I pay homage to the long haul and closed traders of the inner city, celebrating and remembering the local and familiar.


GENEVER, MargaretAustralia

Canis Major

Relief embossing from ACM plate 112 x 75, 2020

Constellation names and images have changed over the millennia to suit the current circumstances of the cultures who observed them, and to tell important stories. Canis Major reflects one of today’s contentious issues; represented as a female figure glorying in the constellation containing the brightest star in the night sky, the Dog Star Sirius whose name derives from the Greek, meaning ‘glowing’ or ‘scorching’, is relevant to womens’ intense desire to implement change in their societies.

BRAY, Maria Australia

Lost Echidna

Collograph, hand coloured 40 x 50, 2021

Umpteen years ago an echidna self-annihilated its self under my car. The trauma I experienced was profound and in remembrance of that event I find myself eulogising its existence in my work.

I like to add extra elements to the work and include mixed media into the print.

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FARR, MarieAustralia

Traces – Presence in Absence

Artist’s book - etching and mixed media 29 x 39.5 x 1.5, 2021

Memory: a fractured history. From 1881 to the present day, the Western Australia wheatbelt has been cleared of approximately 90% of the native flora and fauna that existed prior to European settlement. Post-WWii, modified army tanks flattened the bush. The introduction of sheep destroyed small native plants. Wild animals were poisoned with 1080 baits. Today, most the flora and the fauna has gone; the rich diversity has been eradicated. Fifty-two wheatbelt species are thought to be extinct, in an area that has one of the highest concentrations of rare and threatened native plants.

WISNIOWSKI, Marie-ThereseAustralia

Hurricane Katrina – The Disruptor

Silkscreen, stencil, stamps and monoprint with glazes and metallic pigments. 38 x 38, 2019

As the world’s population is spiralling out of control the number of sources for greenhouse gas emissions, such as power usage, will increase and the number of sinks for greenhouse gas capture, through land clearance, will decrease. Scientific studies suggest that the strongest hurricanes have increased in intensity due to anthropogenic climate change.

Hurricane Katrina (category 5) hit New Orleans in August 2005 and killed an estimated 1,833 people. Millions of people were left homeless and it’s estimated cost was US$161 billion. It took 14 years to rebuild New Orleans, although work is still in progress.


GRAVER, MarkNew Zealand

15 Houses (DETAIL)

Archival pigment print 50 x 90, 2019

15 Houses maps a personal journey from 1964 to the present: from England to Australia, back to England, to Scotland, back to England and then to New Zealand.

St. Albans, Sydney, St. Albans, Leeds, Edinburgh, London, Nottingham, Kerikeri.

The journey is recorded through images gathered from personal photographs and Google maps of each of the 15 houses lived in along the way.

They are layered, much in the way memories are, and manipulated - things come to the fore, emerge, float, then disappear.

SISSON, MarkUSA

Portrait of Pouya Jahanshahi: Yearning to Breathe Free

Linocut, woodcut, lithograph 57.1 x 45, 2019

Why would anyone draw or paint or create portraits or use the onerous and often unforgiving traditional printmaking processes to make portraits in the digital millennium, when portraits of every kind are ubiquitous, thoughtlessly derivative, disposable and made by any pea-brain with a cellphone who then makes them instantaneously available to all? The answer is because in their own heyday, relief prints, intaglios and lithographs were seen as disruptive to the comfortable standard and they are now ensconced in the warm embrace of acceptable (historical) media.

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PULFORD, MaryAustralia

There and Back Again. A Counting Book of Migratory Shorebirds.

Artists Book, accordian structure. Linocut, photopolymer, rusted paper drypoint, chine collé, hand colouring, digital print and marbling 20 x 60 x 5, 2019

Birdlife is a continuing theme in my artworks, changing from birds in general to our migratory shorebirds.

Immersing myself in their environment in South Australia, I explored the isolated stretches of The Coorong and Lower Lakes. Patiently observing, mapping and recording, listening for the ‘peep’ calls of the birds, I watched as tides rose and fell, examined the flora of each location, and kept looking for those brown birds in an ancient landscape.

SUGITA, MasaakiJapan

The Angel with the key of the bottomless

copper engraving (burin), chine collé 55 x 36, 2018

Technically, this is a burin work. I like burin because I love especially Schongauer and Dürer’s works. They left many graphic works on the subjects of the Bible. I love those subjects too, but I don’t have a spiritual base as a Christian to express Christian theme as my own images, so my theme is completely different from them. It has naturally been erotic. As I move my hands by the free association, my own images, being in my heart, are what I want to see.


BENJAMIN, MavisAustralia

Rurr Pupath

Etching 33 x 49, 2021

Rurr Pupath is our Thaayorre word for dragon fly. When we see lots of them in the middle of the wet season, this means that it is a good time to go fishing for salmon. The tide is right and the fish will be there. I work at Pormpuraaw Art and Culture Centre.

BOSWORTH, MollieAustralia

Glimmers of Light #46

Wet cyanotype 30 x 42, 2019

This cyanotype print is from a series developed for a site specific environmental art project. The work’s content and technique directly responds to themes of natural beauty and toxicity. Integral to the theme is the wet cyanotype process, a contemporary version of the historic process used for recording biological specimens. I’ve utilized photos and actual leaves from the site and developed the prints with sunlight. This technique adds moisture and contaminates during the long print exposures, developing unique results.

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MULDER, NanThe Netherlands

Towards Strangeness


I have always been aware of a kernel inside me, which is completely private. Something I cannot name: a place of strangeness. In 2019 I stayed in a cottage of the Wharapuke Subtropical Gardens in New Zealand. I walked for hours through the thick foliage and felt as if I was slinking towards a metaphorical interior. Maybe that kernel? Thus a series of mezzotints began: not referring to the core, but exploring a way towards it. When Covid-19 and lockdown came the journey continued, but now towards a light.

RUTH, NicholasUSA

Pinnacle Hill

Etching, aquatint, spit-bite, drypoint 122 x 82, 2020

Cell towers rise out of the landscape, subsuming us in an immersive web of communication and surveillance. This technological magic exists in a traditional conception of space, time, and culture but the work it does radically alters our experience of each. This large etching depicts cell towers I see daily. They look lonely, and I feel lonely when I look at them. The towers are a record of human ingenuity, the promise of technology to bring us together, and of the way that the drive for progress always outpaces an ethic and ethos with which to direct it.


HOOPER, NicolaAustralia

Love Potion &

Toxoplasmosis

Hand coloured lithograph 64 x 43, 2019

Inspired by Lady Francesca Wilde’s Concerning Cats from her book Ancient Legends, Mystic Charms and Superstitions of Ireland, 1887, with a toxoplasmosis twist.

PELLOW, NicoleAustralia

Palm 2


I think what I like most about printmaking is that I can design what I want my image to look like, but have to relinquish control at certain points throughout my practice. Nothing ever turns out how I planned. I have found that my best work comes from experimenting with different mediums and techniques, and working through multiple ideas at once. Both images are completely different and reflect multiple styles that I have experimented with.

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HUTCHISON, OwenAustralia

Turbulent Times, Pablo

Woodcut from three plywood blocks 42 x 70, 2019

I am an advocate for world peace and this is reflected (hopefully) in my prints. Turbulent Times Pablo is based on Picasso’s creation of Peace Doves which was commissioned by the International Peace Movement in 1947.

INURRIETA, NiurkaFrance

Butterfly Wings

Artist Book, accordion shape; etching, aquatint and chine collé 49 x 98 x 15, 2021

Butterfly Wings narrates a life cycle - the birth is the silhouette of the future butterfly, with multiple larvae with a background-figure, remindig us of how delicate, the birth is. The second image is the splendor of life, with more colour and rhythm in the lines of the body. Death, the eyes under the cross about to close, to embark on a new path; the rhythm of the lines simulate movements, ready to leave for the eternity of a new universe.


HUDSON, PennyAustralia

There once was a dress worn by many

Collagraph on Italian paper, collagraph on silk, hand stitching, ashwood, perspex, vintage dress, thread 67 x 105 x 60, 2021

I make work about the stories, layers and history ‘woven’ into vintage clothing. I attempt to preserve the memories between garment and wearer, stitched literally and emotionally through the threads of many different lives. I work with the layering processes of etching and collagraphy combined with hand-stitching and timber construction.

ZUBER, PatriciaAustralia

Ash on Sand II

Collograph 50 x 50, 2020

Ash lay on beaches and millions of shore birds were incinerated in the 2020 Australian wild fires. This paper cut plate print image is of beach ash patterns and an image taken from a photograph of a carbonised bird laying in ash on sand.

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GARNICK, PeterAustralia

London Tube IV

Hand coloured etching 20 x 30, 2019

London Tube iv is an extraction from urban mapmaking, with hand colouring extending the abstraction.

WARD, PeterAustralia

Fruitcake Finn At World’s End Falls (DETAIL)

Artists’ book: linocut 26 x 184 x 2, 2021

Fruitcake Finn At World’s End Falls is about the rejection of science and how, in this time of existential crisis, many have resorted to time old superstitions, prejudices and magical thinking to make sense of it all.


MACDOUGALL, PrueNew Zealand

Queen Neptune

hand printed photopolymer intaglio etching 56 x 46, 2020

Globe-trotting Kiwi printmaker Prue MacDougall is a visual storyteller, creating works that explore the European heritage that is part of the genealogical makeup of most New Zealanders. Prue explores themes of journeying, both physically across the world and chronologically through time, and the effect such journeying has on one’s sense of identity.

Prue MacDougall studied printmaking at the Elam School of Fine Art in the University of Auckland NZ. Her work is exhibited regularly in international print conferences, biennials, and collections such as the Victoria and Albert Museum.

LEE, RachaelAustralia

Synergy

Hand coloured linocut on Magnani Acquerello 29.7 x 41.5, 2020

Everything is connected, creating rhythms.

As a printmaker I explore these rhythms in a response to feelings of connection with nature-based environments and the unseen forces that create this attraction.

Shapes of leaves, seed pods and the spaces between these objects are presented to create conscious shifts in what is seen and unseen.

Perhaps by altering our view of what is seen and feeling what is unseen, we may start to really connect with and mend our relationship with nature.

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DUN, RachelAustralia

Tidelines

Etching and aquatint on chine collé 53 x 39, 2020

Finding solace in the environment, while kayaking and snorkelling within my local creek gives me the inspiration to communicate with the viewer the fragility of the natural world.

WOLFE, RachelAustralia

Pressing On Through Hell’s Gate

Reductive linocut 57.4 x 37.3, 2020

‘Pressing on Through Hell’s Gate’ was created after a visit to Hell’s Gate, Strahan on the wild west coast of Tasmania. Hell’s Gate signals the entrance to one of Australia’s most dangerous harbours. At the time I as going though a challenging time and my Post Traumatic Stress Disorder was greatly impacted. In this artwork I sought to portray through the Entrance Island Lighthouse that there is always hope, even in the most challenging of times.


NAYAK, RajashreeIndia

Equal

Woodcut 76.2 x 121.92, 2020

My artworks depict many elements of nature in their compositions. Inner reflections and observation of our thoughts and emotions open new vistas to venture into. The work manifests the challenges of our everyday life that shape and reconstruct what eventually empowers oneself. Within the paradigms of the hurdles, one grows as a person. I realize the deep connection of humans with nature. The energy that flows in nature is same energy that simultaneously flows within us. The elements of nature bring out the issues of women explicitly but give a subtle way out.

NELSON, RhondaAustralia

Goyder’s Shifting Line

Monoprint, acrylic inks 59 x 76, 2021

Goyder’s shifting line is a diptych reflecting on the changing margins of habitable land and on how extreme weather events transform a landscape.

I drew through layers of ink with bark and litter, allowing the patterns of their debris to become part of the texture of the artwork.

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MORTIMER, RosemaryNew Zealand

Nest, Otaki

Intaglio from found object 46 x 46, 2020

Making prints from the detritus of nature and industry, allows me to embrace the discarded without being outed as a hoarder.

The abandoned nests I print in my Te Horo studio incorporate diverse materials - building waste, horsehair, baling twine, hay, feathers … the birds use whatever they can find in their local environment.

In this process there is no drawing, no plate; the nests are printed unaltered. Oily ink manipulated directly into the fragile construction records its gradual disintegration through the printmaking process.

STEVENS, RhondaAustralia

Just Another Little Note


“Nothing exists but amalgams of matter and space” Titus Lucretius Carus, On the Nature of Things


CHO, RuthAustralia

Shearing the Tigers

Multi-coloured linocut 21 x 30, 2020

The work reinterprets iconic images in Australian art and culture by combining imagery from East-Asia within the familiar composition. The animals are substituted with the Asian tiger and its subservience symbolises Western dominance over East-Asian people in Australia and the displacement of people from their homelands, including immigrants. It questions the exclusivity of Australian identity and highlights the need for the iconic images to be reassessed due to racial tensions between China and Australia. My prints attempt to de-Westernise these Australian images to remind Australia of its rich history of Asian immigration.

KEAN, RoslynAustralia

Defining the Edge

Multi-block woodcut 84 x 172, 2021

2020 is a year full of challenges and during periods of isolation there is time to reflect and consider what is of importance. The varying dynamics of dealing with a new ‘Covid 19’ society has inspired this image. Shifting values, tough decisions and being on the edge of so many changes cause me to be so mindful of what was once just everyday living. Which way to turn, when to touch, and not showing affection all create a vision of shifting planes and turning points.

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CHO, SeongAustralia

Australian Rhapsody IV (DETAIL)

Woodblock 110 x 274, 2020

Over the last two years, a number of significant events affected me and influenced my work: natural disasters in Australia - drought, floods, fires, mass fish deaths in the Murray Darling Basin and the COVID-19 pandemic. ‘Australian Rhapsody IV’ captures the chaos and terror, juxtaposed against an unfamiliar quiet of a world in lockdown. The work is a woodblock print in an abstract expressionist style, hand-printed on Korean handmade mulberry paper. The image is produced using brushes I made from sticks, leaves and fibres collected from the environment, which reinforces our relationship with the natural world.

MARTIN, SeraphinaAustralia

Seeking Habitat

Drypoint 60 x 45, 2020

I aim to depict an imaginary natural world where flora and fauna dwell in harmony. In this work the animals seek a new habitat after the bushfires and floods. Animals are united in their search for an undisturbed pathway. The landscape represents a personal vision which invites the viewer to enter my world, to allow an intimate connection between the various creatures depicted - creatures who are disrupted from their habitat.


BURCHILL, SherylAustralia

Wurarr-wurarr 1

Screenprint on cotton Rag Paper 80 x 120, 2021

Through my Kuku Yalanji cultural knowledge I share my traditional stories and I use contemporary techniques of mixed media to express my ideas.

Wurarr-wurarr (oo-ard oo-ard) is the Kuku Yalanji name for Dragonfly. Like the Dragonfly, Kuku Yalanji people feel a deep connection to their Traditional Lands. We find harmony and a place of belonging when out on our Bubu. This is our way of healing. It is our Lore.

Kuku Yalanji name Walbul-walbul (butterfly); language group Kuku Yalanji and Kuku Nyungkul; traditional land Daintree, Shipton’s Flat and China Camp, Queensland, Australia.

WHITE, Shui-lynSouth Africa

Two Coins for the Ferryman


Shui-Lyn White explores how we are in the world and how we come to inhabit the space called ‘the self’. Her work reflects her Sino-European-African heritage, and is shaped by family histories of migration, exile, war and a curiosity about the self and belonging.

Her images emerge from a fusion of Taoism, Ubuntu and Individualism. In this, she strives for an authenticity of gesture and a visual lexicon to record a lived moment. Her meditative images journey between the figurative and the abstract, between profound minimalism and buoyant expressionism.

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GLATTAUER, SilviAustralia

Campo Piedra Pomez

6 Plate Photopolymer Photogravure 40 x 100, 2019

My Altiplanic landscapes are topographical storyboards exploring a personal narrative of identity that pendulates between Australia and Argentina.

Eternal and elusive, silent yet present, landscapes that offers extensive spaces and provides an opportunity to disconnect from the tangible and obvious visual elements one would associate with traditional landscape photography.

The Atacama plateau, and ‘La Puna’ extends through the Andes of north west Argentina, northern Chile and southern Bolivia.

TESTER, StephenAustralia

Dragon II

Mezzotint 17.5 x 20.5, 2021

I have always been attracted to monochrome image making. My print making practise has evolved over the last 12 years to the mezzotint technique I specialise in today. An important aspect of my work is the use of methods that are essentially unchanged since their inception. Making mezzotints today uses the same materials and tools as the first mezzotints in the 1640’s.

A key attribute of my imagery is that each one tells its own story about the subject as opposed to replicating it. I live and works in central Victoria.


PROVHOROVA, SvetlanaAustralia

Office on Hold


My screen-printed work reflects on unexpected changes that crucially corrected peoples’ lives last year. Thousands of clerks left their offices due to Covid-19 quarantine and occupied home spaces for their remote work. Empty windows look lonely now in the city skyline. However, I wanted to keep it positive and optimistic. There is always a hope. ‘See you soon’ is the message.

MCKENNA, TerryJapan

Linden Falls

Mokuhanga (water-based woodblock) 90 x 50, 2021

My recent mokuhanga is inspired by the natural environment around me here in Karuizawa, Japan. Mountains, forests, autumn leaves and flowing rivers. Summer is humid and wet, winter is cold and dry. Mountains surround the area and the forest is quiet, away from the busy inhabited areas. The images of waterfalls attempt to capture the quiet energy of water flowing. I’m loving the four seasons here in Japan.

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CAPONY, ValentinFrance

Rift (02)

Dry point on zinc 225 x 78, 2021

I make imprints of the body, its gestures, its movements. By this repetition, by the symbolism of the tool and actions like crawling or falling, I try to question our corporealities. The body is confronted with metal.

It’s a dance, long and passionate dance, an uneven dialogue. Time flows over the gesture, breath and memory.

My drypoints are the result of long performances. The body repeats the same gesture for hours, the tool tirelessly digs into the metal. This fight turns into a union when the paper comes to grab the imprint.

BILOGAN, VictoriaAustralia

EVEolution i,Iii dyptich


I try to capture the intense moments of existence via emotions and explore politics of empathy in my work. Through a constant exploration of the human condition, I seek transforming emotional experiences that can lead to remarkable personal and social changes. Isolation, displacement, chance emotions and resilience are the main themes of my work. I seek traces of Humanity in an increasingly mechanised and digitised environment. Inspired by the idea of the collective subconscious, I see Humankind as a meta-organism where the dynamics unite us rather than divide us.


SINGLETON, WayneAustralia

Rainforest at Ilkley

Relief linocut 66 x 90.5, 2020

At the end of the fire track on a friend’s property in south-east Queensland is a rainforest campsite. He called it Bourke Street to protect it; it would become ruined if he called it paradise – a smart man my friend.

Our viewpoint determines much of what we make of the world.

Looking into the complex interweaving of life in the rainforest there is both competition and inter-reliance. Each life-form adapts to its place in the environment, seeking out opportunities for optimal growth.

Those that best adapt survive, taking on unique forms. A bit like us.

FOEKEN, WilleminaAustralia

Swaying Hakea Laurina

Linocut 42 x 30, 2020

Recently, influenced by the flatness and aesthetics of Art Nouveau, I have turned more and more to the clean lines and edges of relief printmaking. Every day, I look out of my study window and watch my hakea swaying in the breeze with decorative, pendulous branches seemingly decorated with Christmas ornaments. The smooth lines of the red stems and the swaying rhythms just cried out to be drawn and printed.

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SHIMMYO, YuriAustralia

Six

Zinc etching 26 x 23, 2019

I draw inspiration for my art from everyday objects, people and occurrences. It could be something ordinary - a child at play, objects, or weeds growing on the side of the road. If there is a strong contrast of lights and darks, I immediately think of the potential for the scene to be an etching. It is a long process to convert the initial idea to the final image – and I really enjoy the challenges and the process involved.

HERING, YvonneAustralia

Ginger

Woodblock 60 x 44 , 2021

Beauty makes the world go round! Traditional Japanese woodblock prints depicted their beauties with shimmering backgrounds, and so I have married this tradition with our own Australian flora and fauna.


REES PAGH, YvonneAustralia

The Strawman

Etching 120 x 80, 2020

The burning of wicker or straw men is a popular tradition in many Pagan and Wiccan belief systems. I witnessed this ritual as a child living in rural England. These straw effigies would be sacrificially burnt in the farmers’ fields in order to bring a good harvest for the following grain season.

I created my print The Exodus out of concern for the devastating effects of locust plagues on agriculture and inspired by The Plague of Locusts (1700) by Dutch artist Jan Luyken (1649-1712) - a large biblical engraving depicting the struggle between man and the destructive locust.

ARTIST-IN-RESIDENCEOur InkFest 2021 Artist-in-Residence,

Justin Majid has a selection of work

presented in his own section of the

Inkmasters Print Exhibition.

MAJID, JustinAustralia

Koey Koedal Thapika

Vinylcut print 76 x 146, 2021

Inspiration for my artwork comes from thinking about culture as living, and it is still taught today. Each linocut piece that I carve is a way of practising culture. Although materials and methods have changed, cutting and printing from lino (or vinyl) is a way of passing on traditional knowledge and stories. My upbringing on Horn Island – such as talking with family and friends, discussing hunting and gathering methods and where to find certain foods – also plays a major role in what inspires me. The simple joy of creating art motivates me. I enjoy building a piece of art bit by bit to depict my stories. Patterning in each art piece has small variations, depending on the story I am telling; these patterns depict the land, sea, and sky.

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ACKNOWLEDGEMENTS

Inkmasters Cairns gratefully acknowledges the generous

support of the following granting authorities, sponsors and donors:

This project is supported by the Queensland Government through Arts Queensland; Creative Partnerships Australia through Plus 1; Regional Arts Development fund - a partnership between the Queensland Government and Cairns Regional Council; TAFE Queensland and donors including Dr Raya Mayo,

Mitomel Printmaking, TPG Architects, Lee Edwards family, Crystalbrook Bailey and Auxiliary Design.

55 GREENSLOPES ST, EDGE HILL QLD 4870PO BOX 7792 CAIRNS QLD 4870

Documents

5TH BIENNIAL - InkMasters Cairns · 2021. 6. 9. · BURTON, Anne USA Surgery Quilt #2 Woodcut on Japanese paper 54 x 42, 2019 This work began before the pandemic as an exploration