4TH BIENNIAL INKMASTERS PRINT EXHIBITION 2018

27 JUL - 19 AUG 2018

TANKS ARTS CENTRE 46 Collins Ave, Edge Hill, Qld

EXHIBITION LAUNCH 6PM FRI 27 JULY

ISBN: 978-0-646-98400-1 PRESIDENT’S MESSAGE LAUREL MCKENZIE

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.

The 2018 InkMasters Print Exhibition is our fourth, and My thanks to all the participating artists. It is a great pleasure we are immensely proud to present 136 works, finalists to see so many exceptional prints gathered together in the selected from over 300 entries. Works by artists from unique venue provided by Tanks Arts Centre. Particular , Canada, Denmark, France, Germany, Hong thanks are due to the Exhibition Coordinator, Rose Rigley, Kong, India, Ireland, Italy, New Zealand, Poland, South and to the InkMasters Committee. A project such as Africa, Sweden, Thailand, United Kingdom and United InkFest is a huge undertaking for a volunteer organization, States of America have been selected for this exhibition. particularly when the task includes delivering all 22 events of InkFest 2018. The quality of works submitted both surprises and delights. Print-based works selected as 2018 finalists demonstrate InkMasters Cairns is very grateful for the support provided the vibrancy and inventiveness of contemporary by grants from Arts and Cairns Regional printmaking practice, as well as the historical role of Council. We also thank our partner/patrons for their prints in articulating potent ideas. The success of this sponsorship of prizes – Corsair Management Services, exhibition builds on that of the previous presentations, Robert Clarke Builders, R&F Steel Buildings, CQUniversity, and it predicts a vibrant future for printmaking artists and TPG Architects, Australian Cultural Fund and Dr Raya their diverse practices. Mayo. A total of $15,000 has been made available through their generosity. Selecting works for the award of prizes was a demanding task undertaken by our panel of judges – Gary Shinfield and Ron Thanks to Simon Wright, Assistant Director, Learning and McBurnie, both eminent Australian artists, and Jenuarrie Public Engagement at Queensland Art Gallery and Gallery Warrie, printmaker, arts industry consultant and President of Modern Art, for making the time to come to Cairns to of Arts Nexus. I am especially grateful for their expertise present an informed talk on contemporary printmaking and their thoughtful consideration. Congratulations to the to an audience of artists, supporters of the arts and the artists awarded prizes! general public.

Also showing are works by our InkFest 2018 artist-in- Finally, a huge thank you to the staff at Tanks Arts Centre residence Gary Shinfield. And hanging in an adjacent for their wonderful support and professionalism. space in the Tank 4 Gallery are prints produced in a series of InkFest workshops delivered by regional printmakers at InkMasters is proud of what we have achieved, and I hope InkMasters Print Workshop in the months leading up to that the exhibition gives you much enjoyment. the exhibition.

4 FOREWORD MARGARET GENEVER

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.

Numerous groups, ranging from students in primary and Bound together by a common pursuit, the members of secondary schools to indigenous artists working in Arts InkMasters Cairns have, since its inception in 2011, been Centres in the region have participated in artist-lead motivated to extend access to facilities and learning workshops to make very large prints for the Big Print options. We promote exhibition opportunities and morning on 29 July. This is a fun community event in Tank enhance knowledge about prints and printmaking as an 5, where the artists and audience will energetically ‘dance’ artform. Our aim is to take the work of artists from our a 16 metre long print into existence, all to the music of a region (from disparate backgrounds, including some steel pan band. who are connected to this country through Indigenous cultural heritage) to wider audiences. Our international Many individual artists, from emerging to advanced, juried exhibition also brings the work of some of the finest have also taken part in a series of specialised print media international artists to . Recognised workshops and demonstrative presentations. They have as a Regional Event, InkFest and the InkMasters Print had the opportunity to expand their range of skills, learn Exhibition enrich the cultural life of Cairns, and bring more about the potential of printmaking for their own delight to local audiences and visitors to the region alike. 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.

InkMasters Print Exhibition 2018 ANDERSON, Gen Untitled Purple ATKINSON, Jeanie From Cairns to Australia Australia The Pub Pigment print on archival paper 59.5x42, 2018 Collograph 76x54, 2018

From a Buddhist point of view Loving Kindness is one of the immeasurable qualities required for the improvement With the heat and dust, travelling north and west from of self and then the world. I choose to try to depict this Cairns, I am constantly amazed at the fascinating images. concept by concentrating on the amazing beauty and They become the inspiration for my printmaking. wonder that is present all around me if only I take the time to look.

6 BALLETTI, Alberto Over Confidence Italy Etching, digital print 70x100, 2017

My works represent the comparison of two naked, parallel AUST, Jacqueline Bentham’s Premise ix bodies. The carnality of the projection makes redefinitions New Zealand between materiality and identity possible. 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.

InkMasters Print Exhibition 2018 BANFIELD, Elizabeth Herewith (worry box) Australia Linocut, kozo tissue, phase box enclosure 43x65, 2018

BENTLEY, Philippa Hic Sunt Dracones-North Contained within the worry box is a linocut on tissue New Zealand Coast paper; a pattern made of lines of abstract text, and a quiet note to myself to remember my worry. The tissue paper Silkscreen, hand painting on sea chart is resilient despite its look of fragility, and when crumpled 71x52, 2018 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 Maps and sea charts record the explored, known world blanket, gives a second print each time it is used. Through reassuring us – we know where we are going. However, repeated printings, an overlay of fine, calm lines appears. with climate change and warming oceans we are currently I worry over everything; nothing is wasted. And an outer heading into the unknown, into uncharted waters. Hic sunt look of calm is not always indicative of what is within. Here dracones! ‘Here be Dragons’ was marked on early sea I have made a box for my worry; it will stay in its box, until charts to signify uncharted territory, the great vast scary I require its gentle unwrapping and re-examination. Unknown.

8 BOSWORTH, Molly Pteridomania Australia Cyanotype prints as artist book (36 pages) 19x14, 2016

BONG, Paul Shopping baskets Living surrounded by plants, both a tropical garden and Australia natural rainforest, I’m provided with endless inspiration Etching for my artwork. I become interested in the process of 100X80, 2018 cyanotype which uses the sun to print images, as it has an innate connection with flora. My mother was an avid It has been 119 years since the time of the W.E Roth researcher and collector of plants, including ferns, and collections of indigenous artifacts from North Queensland. when I recently came across her pressed fern collection, My great grandmother always spoke of her traditional I decided to honour her collection with a book of Rainforest Art Culture and it’s history. I was only little at handmade prints. Each print, made either as a photogram the time and couldn’t quite understand her memories or from a digital negative, has been individually and what she spoke of. People from all walks of life want processed. For the triptych, I gathered weeds from the to know about those silent memories, of who could have side of the road and aimed to transform their perception lived here, who were the tribes and what are their totems. by showing their beauty. Viewed from level, it In 2018, those very same silent memories are now being provides an immersive experience, the viewer being right unearthed through my art. My great grandmother’s silent in the weeds. 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.

InkMasters Print Exhibition 2018 BOURKE, Judy Tax Time 23 BUNCHAREON, Jutamas In My Place Australia Thailand Monotype Screenprint 56x38, 2018 70x100, 2017

This print is a comment on my experience of preparing My artwork is about the feeling within the subconscious. annual tax returns. I found them quite stressful, like I was It is a negative feeling toward friends and family. I use the drowning in numbers that were taking me down with human body as a symbol of the feeling. Because human them. Although I have not needed to submit returns in beings have diverse emotions and they can be concealed recent years the thought of the figures and the need in the face, my art is expressionism. I sincerely express the to submit them to scrutiny makes me feel sick and emotion within my mind. The human body in my art refers overwhelmed. 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.

10 BURCHILL, Sheryl Eye in the Sky Australia Linocut, chine colle 56x76, 2018

CALVERT, Myles W.W.McQ.D i My affiliation with dragonflies continues. This print Canada Sublimation image transfer, represents a dragonfly looking down to earth from above screenprint, puff additive with mountains and the red circles represent water holes 86x86, 2018 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 Current work explores the relationships that develop from my Mother’s parents stretches from Daintree through between everyday objects of comfort and popular culture to Shipton’s Flat and China Camp where the Roaring Meg interferences. Unique surfaces are explored through print - Falls is situated in North Queensland, Australia. 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.

InkMasters Print Exhibition 2018 CARTER, Lauren Jaye Almost (detail) Australia 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 CASTELL, Laura I would do anything for you events, or merely a subjective version. My studio practice Australia is an ongoing exploration of the relationships between Woodcut, stencil colour aesthetics, form and construction. Largely process 76x56, 2018 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. 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.

12 CHO, Seong Trail XXVII Australia Woodblock print 64x145, 2017

This print represents the transient nature of moments CLARKE, Helen Burringurrah, Gascoyne and memories, expressed in an abstract style through Australia woodblock printing. I printed on handmade Korean Reduction Linocut 50x70, 2017 mulberry paper to pay homage to my cultural background, and created my own brushes using sticks and leaves from the Australian environment. The handmade I live in rural WA. The influence of country – flora, fauna brushes create the feathered wispy effect that represents and scenery – is immense. The layers in the landscape the impermanence of life and the tenuous nature of fascinate me. Some are natural and others are created memories. I also used water based pigments and ink to with human intervention. Travelling to remote areas inland demonstrate the importance of the natural world around brings a wealth of amazing imagery. us, which we must appreciate all the more while living in the urban landscape.

InkMasters Print Exhibition 2018 COHEN, Brian D Candle COX, Carlton Mother Hen USA Australia (Tasmanian Native Hen) Etching 25x28, 2017 Multi-block reduction linocut and cork 38x29, 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, Mother Hen (Tasmanian native hen) – shows a protective inviting aggression and then delicacy, conjoining fire, mother and an adventurous chick. Native hens are water, earth, and air. I embrace themes of loss, futility, endemic to my home environment and give me the destruction, and unexpected, redemptive beauty, themes endless pleasure of observing their fascinating behaviour. tied to the tradition of printmaking, whose imagery has The use of cork tile provides a mottled texture. 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.

14 CREENAUNE, Danielle The Source (Triptych) Australia Mokulito (wood lithography) 91.5x180, 2017

The Source is about a place I have been revisiting for the CURRY, Belinda Sections Australia (quintet of artist books) last 18 years in the Catalan Pyrenees in Spain. This is a nook in a small valley path, seemingly insignificant in real Mixed media- strawboard, life. However for me its significance and beauty become recycled packaging, paper, magnified each time I walk, sit, draw and contemplate the relief prints, thread changes in the landscape and in me. One thing is constant 6x10, 2017 – the flow and sound of a stream. Here, high in the Pyrenees, water flows directly from the melting of glaciers In 2017 I embarked on a three month residency, and natural springs. This source of water, renewal, immersing myself in the natural and urban landscape change and continuity turns my ordinary path into an of during the dry season. From this arose extraordinary place. 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.

InkMasters Print Exhibition 2018 CURTIS, Anna The Flowering DADAA PRINT GROUP Print Of Friendship Australia Australia Reduction linoprint Woodcut 60x60, 2016 152X122, 2017

I love everything about eucalyptus buds, flowers, pods and The DADAA Print Group meets weekly in Geraldton, leaves, the intricacy of all its parts and I enjoy sharing with WA, exploring different printmaking processes. The the viewer the beauty of this ancient plant. The Flowering group caters to all abilities, encouraging fun and is a celebration of the ubiquitous eucalyptus, in a mandala experimentation. They regularly hold exhibitions of their like image, drawing the viewer in to focus on the detail of work, coinciding with interactive workshop sessions the stages of the plant, from the micro to the macro. Life open to the public. ‘Print of Friendship’ was created cycles, patterns, the continuum of life are all held within collaboratively in response to Hard Pressed, a large-scale the seed. The reduction linoprinting process used requires woodcut community arts project based in the midwest of one linoblock to create many colours through the carving WA. All of the participants of the group contributed their and printing process, applying layer upon layer of ink. hands, filled with their own unique marks. It embodies the I print by hand to create the subtle nuances. love, laughter and human connection central to our group.

16 DHIMAN, Rahul Untitled India Woodcut 76x90, 2017

From the very beginning I have used my art to showcase the day to day movements of my life. I create DENYER, Al Stratigraphic i compositions from my surroundings, drawing what I USA Etching experience in my daily routine. The people I meet and 38x28.5, 2017 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 I am invested in creating visual illusions that manifest as the focus that a common man needs in order to achieve a confusion of space/subject as I work through different his goals. Signs give the message to keep moving straight series of 2D works. What appears as a satellite view of forward without looking back. 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.

InkMasters Print Exhibition 2018 DRUITT-PRESTON, My Place Christine Australia Linocut print 70x126, 2018

DIGGLE, Justin Dino Stealth Drone I am concerned with making work in response to domestic USA spaces and gardens that people create as sanctuaries Etching and photoetching from their otherwise busy worlds. These environments 76x111, 2016 are repositories of memory, affirmations of actions and past experiences. They are places of safety, where loved My recent work has focused on surveillance and the myriad ones and families gather, where friendships are nurtured, forms that this can take. In our increasingly technological resilience is built, and health is restored. These are places society it is becoming common to be spied upon or to into which I have been welcomed. My Place responds to spy on others in some way. In many cities, just walking both my interior and exterior world. It is where I live and down the street can mean that you have been filmed many make art; it is where family and friends are welcomed; times. Surveillance also takes the form of tracking. This it is the space that supports my physical and emotional might be by GPS units in a phone, internet usage, vehicle needs; it is the place that sustains and restores me. license plate recognition or by the use of gait analysis in There are works by artists I enjoy, furniture and objects I CCTV cameras. More recently the use of DNA as another have gathered, plants I have propagated, cushions and identifying biometric is being researched. The use of bird furnishings I have embroidered – it is my nest. 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.

18 GARNICK, Peter Elements Australia 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 FAIRBAIRN, David J.L.No.3 identify, define and categorise the chemical compounds Australia Etching, drypoint inextricably woven with the human condition. The fifteen 121x106, 2018 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 With this etching, I drew directly from the sitter onto species and the ominous consequences of its exploitation the plates with a variety of tools. The choice to work of the Chemical Elements. Lastly, there is a visual reference directly with a sitter is fundamental to my process. I am to colourful prayer flags, themselves a contemporary icon interested in the unexpected transformative qualities of diversity. 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.

InkMasters Print Exhibition 2018 GRAVER, Mark Imagined & Remembered New Zealand 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 GENEVER, Margaret Orion the Hunters a particular time in a particular place. They are layered, Australia Digital print much in the way memories are, and manipulated - things 110x90, 2018 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 In western culture up until the 20th century the names ‘film stills’. The addition of scanned sketches and digital of some constellations and their subjects changed drawing aims to reference the time and place as recorded depending on current events or interests. Today they are on paper and remembered on screen. 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.

20 HANKS, Rew Sunrise over Vestrahorn Australia Linocut, hand coloured 70x120, 2018

While visiting Iceland for three months in early 2017 I was GREEN, Kaye Moon Phases ii overwhelmed by its diverse range of uniquely beautiful Australia Collaged lithograph black volcanic landscapes. At the end of winter its 70x80, 2017 rugged mountain ranges were gently dusted with snow contrasting dramatically against the black volcanic rocks. These spectacular scenes of contrasting blacks and whites The consistent themes in my work are elements from demanded to be transposed into linocuts. Depicting this nature. I express how I view the world and the cosmos. I dramatic landscape, devoid of human intervention, was have personal encounters with elements in the landscape an exciting new direction in my work. As the sun emerged and sky and I use this information to create my images. over the Vestrahorn mountains the challenge was not only The moon is a constant inspiration; everything about it to capture the majestic beauty of Vestrahorn but also the intrigues me. amazing cloud formations in the morning light – and to survive the freezing conditions.

InkMasters Print Exhibition 2018 HOLROYD, Mylene Psychlone Nora HOLROYD, Jeannie A Minha Lo’orren Australia Etching Australia Etching and aquatint 40x40, 2018 55x70, 2018

Recently Cyclone Nora visited Pormpuraaw and caught I have lived my whole life near the sea on west Cape York. some by surprise, late at night. I wanted to show how my I am concerned about the turtles and how we used to find auntie looked when she was outside walking home. We many turtle eggs as children. Now there are few because stayed indoors with leaves and everything blowing around of the feral pigs that find them and the plastic bags that until the lights went out. There was lots of crashing and the turtles are eating, which kill them. The rangers are banging and nobody got any sleep. The wind stopped helping to keep the population of pigs down but we have in the morning, when we saw huge trees ripped from the to stop throwing the plastic bags in the sea. 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.

22 HORN, Ian Pelicans Rising 2 Australia Woodcut and EVA print 38x47, 2018 HORNE, Lizzie Look! A wombat! Australia I struggle with the sharp contrast of block printing and Drypoint etching, embossing 54x39, 2016 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 ‘Look! A wombat!’ cried Ben. ‘Where?’ asked Jack. ‘I plate to my lino and woodblock plates. This works for me can’t see a wombat. Where’s the wombat?’ This drypoint currently and has potential for further development. The etching also has a nick-name of Wombat field outfit #1. It tonal highlights achieved this way enhance the energy and responds to a children’s story about a little boy (Jack) who rhythm of the lines and moderate the tonal jumps. 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.

InkMasters Print Exhibition 2018 HUDSON, Penny A Stitch In Time Australia Artist book of etchings, stitching, ashwood, acrylic 20x40cm, 2017-18 HUDSON, Kate Barking Owl & Hakea Australia Reduction linocut I make work about the stories, layers and history ‘woven’ 33x28, 2018 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 Barking Owl & Hakea is from a series of four prints I am lives. It’s all about the stitching, altering and repairing of making of Australian night birds. The Hokusai exhibition old clothing - the lengthening of a sleeve, pintucks to at the NGV last year prompted me to look more closely a waistline, the delicate repair to a tear. Each alteration at Japanese woodblocks, particularly the ones with owls has an associated story and memory embedded in the in them. I liked the stripped-back nature of the images, garment. I lament the decline of these hand skills. I a simple tree branch, a bird and the moon. I have work with the layering processes of soft ground etching interpreted that idea by combining some of my favourite and collograph, using actual fabric as the printing plate native flowers with the owls. The prints are round to echo and add hand stitching and repairs to both the print the shape of the full moon. 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.

24 JACKSON, Clare I saw it different, Australia 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 HUNTER, Elizabeth and Ancestral Tapestry SAM, Joel event, and how time seems to move differently after Australia Etching something momentous occurs. Like returning home after 100x75, 2017 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 Ancestral Tapestry is a collaborative etching, fusing the clouds of dust depicted are held in the surface of the symbols of two cultures prominent in Tropical Far North paper, in reality, there remains almost no sign that they Queensland. Sam has woven totems of his clans in a were there. 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).

InkMasters Print Exhibition 2018 JAMES, Michele Human writing iv KALITA, Ananda Ram Hope France India Etching, polymer Woodcut 40x30, 2017 130x90, 2017

After years of painting and drawing, I have dedicated My works are mostly around the immediate world that I myself almost exclusively to printmaking, in particular occupy, but recently my interests have expanded to the etching and wood engraving. I enjoy techniques that stories and experiences of other people and the society capture the marks of the present but also superimpose at large. 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).

26 KAY, Deborah The Three Faces of Eve Australia Linocut and pigment inks on Chiyogami paper 23x19.5, 2018

When I was young I saw the Hollywood movie ‘The Three KASTALJE, Soren Umbilicus 2 Faces of Eve’, a psychological mystery drama, that won Denmark 3D print on belly skin Joanne Woodward the Best Actress Oscar for her portrayal 10x10, 2018 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. Deep inside the navel is the physical memory of our origin The faces that we show to the world are like masks. and the short period of time we lived in symbiosis with our They can hide our most secret thoughts and desires, our mothership through the umbilical cord. But the navel is at anxieties and fears – the real landscapes of our mind. 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.

InkMasters Print Exhibition 2018 KEAN, Roslyn Edges Series, Venice Australia Multi-block woodblock hand printed (35 blocks) Defining Shapes-Creating 95x101, 2018 KEMPSON, Michael Child’s Play (detail) Australia Etching, aquatint 170x368, 2016-17 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 My recent prints extend ideas explored following a environment where surrounding carved blocks for earlier residency at Sydney’s Taronga Zoo, where the soft toys works have inspired a new composition. At the same time sold in the gift shop inspired arrangements that became I am making a link with works I admire from 19th century satirical metaphors for international power-play and Japan. Capturing a moment in time, stillness and quietness cold conflict. Child’s Play is a 27-panel installation of of a space as the light slowly changes casting shadows and etchings that depict invented animals that represent reinforcing time spent with a traditional practice. 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.

28 KITCHENER, Jenny Family Portraits Australia 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. KINGSFORD-SMITH, Ian Songs of the Sea Heard Bird pollinators, along with insects, play an essential role Australia When the Boat Returned in the life-cycle of the many plant species which green Etching aquatint our planet. 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.

InkMasters Print Exhibition 2018 KLIENDANZE, Nadia Stoned Too Australia 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, Helen Sheep Leap Australia Dypoint etching on giclee print 48x32.5, 2017

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

30 KOWARSKY, Damon Cite de Dinan (detail) Australia 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 KOOWOOTHA, Heather Yarrabah Battle from the valley in a sheer wall of vegetation. Travel has (Wunjarra) long been an essential part of my practice. In Léhon I drew Australia Drypoint every day, producing a body of watercolour and pencil 110x80, 2017 works. This combination of media allowed me to capture the endless varieties of green as they changed week by During the colonization of Cairns, cattlemen and sugar week. Since returning to Australia I have concentrated farmers took the land, forcing Yirrkanydji, Kuku Yalanji, on producing a suite of etchings inspired by my time in Djabugai and Yidinji Gamoi peoples to migrate and France. ‘Cite de Dinan’ is part of the series. 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.

InkMasters Print Exhibition 2018 LANKESTER, Jo Cortex-Yarra Park Australia Melbourne

Monoprint 74.5x104, 2017

KOZLOWSKI, Andrew Dark Days (March) Cortex-Yarra Park, Melbourne is part of a series titled USA Memory Studies, printed in the studio after the act of Linocut, screenprint 48.25x38, 2018 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 Throughout 2017 I collected images from news stories with the assistance of Australian Print Workshop printer, that populated my social media feeds, and wove them Simon White and resulted from an Artist-in-Residency into a series of prints collectively titled ‘Dark Days’, a project supported by APW in 2017. 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.

32 LARWILL, Kir Poppet Heads iii Australia Monotype collagraph from aluminium etching, lino 42x89, 2018

LAWLOR, Stephen Active Shooter The landscape around where I live, urban-country Ireland and bush, is scarred and pock-marked from the gold Etching mining that started in the 1850s. The devastation of the 50x46, 2018 landscape, so absolutely turned over, so unsparingly wounded, was incredibly thorough. Mine shafts, mullock heaps, re-routed waterways, sluiced cliffs, water races, The etching is part of a wider series of images based on scarred and misshapen trees, and the rusty remains of iconic characters from the past. In our collective memory sluicing machinery and poppet heads remain. It is the perceptions and values of a huge variety of individuals poppet heads, the largest of them, that seem to symbolise can erode or be substantially enhanced from the time of the proprietorial march of miners and mining companies their inception. Their demeanor and the residue of their across the land. They’re still very visible landmarks. 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.

InkMasters Print Exhibition 2018 LAWRY, Christine Garden in Kyoto LEHTONEN, Solveig Portrait i Australia Sweden Linocut on Awagami Bunkoshi Drypoint paper 70x53, 2017 35x40, 2018

My work is part of a series of 10 prints in which I portray a The Garden in Kyoto is both a reminder of a beautiful person who is looking straight forward, to the left and to trip to Japan, and an exercise in fine-line design. I ruled the right. It is about now, then, before and after. It is also parallel lines across the block and tried to use lines the reconstruction of a story about feeling hopeful, fearful, of various widths to describe the subject as far as courageous, maybe all at the same time. Fragments of I could. I was inspired by some of the contemporary memories and experiences are puzzled together. I often Mokuhanga works I saw when I was traveling. My work combine an etching on copperplate with ImageOn film on is printed in Western style relief method by hand with a a plastic plate. My work is a process in which unpredicted wooden spoon. incidents are accepted and utilized.

34 LOWDOWN, Rosie Kaplan wini Kaputpeh; MACFARLANE, Larissa Marking the Anniversary Australia Hiding (from trackers), Australia with Vitruvius Being Bitten by Ants Etching Sugarlift, etching 21x26, 2016 76x56, 2018

The etching is part of my ongoing investigation into my My story is about my great grandfather Kamplan, who daily practice of performing handstands. Over the past managed to evade being forcibly removed from his 13 years, I have done at least one handstand every day, traditional land to Cooktown with the rest of his tribe, by inside and outside, in streets and stairwells, against walls climbing a tree and keeping perfectly still, though green and trees, often in unexpected and inconspicuous places. ants were biting him all over. He was so traumatized and These are not public performances but private moments stricken by ants, he fell from the tree, but managed to that bring me grounding, pain relief and joy. Handstands survive the ordeal. 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.

InkMasters Print Exhibition 2018 MAK, Yuen Kwan Yokohama Flowers MACKIE, Glen (Kei Kalak) Kebisu Hong Kong Australia Photography and digital print Vinylcut 23x23, 2017 130x110, 2017

I am interested in the possibilities of the interactions I’m one of the last Iyama (Yam) Island storytellers. My relief of nature, craft, and technology. The flowers I meet in prints are made in collaboration with master printmaker journeys are the starting point for a series of prints. They Theo Tremblay. The warrior chief Kebisu is a legendary act as metaphors to recall a place - the distance of the hero from Tudu Island whose heroic acts of bravery are now and then, time and space. I am fascinated with 2D retold to young men to instill courage and obedience. maps, and in being in the 3D place. I take photographs The story involves an English ship bombarding innocent of flowers on travels and the pictures then emerge people on Prince of Wales Island, killing some, as a through digital manipulation. The bunches of flowers demonstration of power. Kebisu and a canoe of warriors are presented in the shape of the place as shown in a stealthily attacked the ship before dawn. Creeping Google map. I am curious about the reproduction of an aboard, they came upon roosting chickens and a cockerel. experience and wonder what do memory and imagination The warriors were intimidated by the loud crowing and add to it. Enjoying the pictorial space, I think about screeching and they jumped overboard and made haste echoes, layers of time, and connections. 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.

36 MAYO, Robyn A Basket from Australia Peppimenarti Holding Plants from Ruby Gap,

Hand coloured etching 68x110, 2017

The print is the result of observations I made on many camping trips to Central Australia and . I MARTIN, Seraphina Snow Leopard Dreaming became very aware of the importance plants play in this Australia harsh environment - they are a necessity for survival and Solar-plate etching Aboriginal peoples’ knowledge of their properties is 55x76, 2017 remarkable. The Basket from Peppimenarti shows plants were not only used for sustenance but also for utilitarian I aim to combine a textural intensity of surface in my objects. The drawing for the print was made in the field imagery, where animals, birds and the sleeping figure and then transferred to the plate. 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.

InkMasters Print Exhibition 2018 MCCUE, Catherine Out of the Box, WHY Australia Artist book with drawing, solar MCKENNA, Terry Beyond Raging Waves plate etching, embossed linocut, Australia Mokuhanga collage, transparent slides 65x45.5, 2018 33x27x9, 2016-17

My interest is in images that amuse and entertain. These I began making this mokuhanga inspired by the music of early forms of projected images - ‘magic slides’ - were DJ Krush (Beyond Raging Waves). After creating some produced to entertain a young audience at home or for energetic ink brush drawings, I set about turning one into public viewing, and are a forerunner to personal phones mokuhanga, refining the drawings and design. I think it’s and ipads for children. Portrayed on glass slides and about passing beyond turbulence in your life or a situation viewed through a light lantern, these images also have a and finding peace and tranquility. The imagery is based sinister side. On one level these images camouflage the very much on the South West Coast of Victoria, with wind real question: WHY do we go to war? My current work swept limestone and often raging waves. The completed questions how we perceive some of these earlier types work uses 14 colours and the same number of impressions. of imagery in today’s society; has our attitude to life issues changed?

38 MCKENZIE, Laurel Accoutrements ii MEEKS, Arone Gender Spirit Australia Australia Archival pigment printed Lithograph polyester satin, card 121x85, 2017 55x45x45, 2017

From Laura, and raised in Yarrabah, Meeks is a saltwater Persistent gendered imaging traditions are critiqued in man from the KuKu midiji clan. From his present home in this work, where fragments of representations of women’s Cairns, he creates works that speak to us of cross cultural naked skin from Western art history are reconfigured into a interaction, relationships, gender, traditional and modern fleshy mosaic, printed onto fabric. The fabric is fashioned spirituality and his environment. A proud aboriginal man, into accessories that signify conventional notions of Meeks presently works both in Indigenous Sexual Health ‘femininity’ – shoes and bags – that are arranged as and delivering TAFE courses in Aboriginal and Torres commodities in a shop-like display. 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.’

InkMasters Print Exhibition 2018 NEAL, Karen Snowgums Australia Linocut 38x56, 2017

I love to spend time travelling and my preferred subject matter is drawn from the natural environment. This NELSON, Rhonda Timelines xv image originated from a photograph that I found to be Australia graphically strong. I wished to capture image as a moment Monotype with drypoint, in time to remember. Snowgums is an image from Mt etching,embossing, rust on Buller where I visit my favourite spot each year to view the handmade paper trees, looking for changes that have taken place as they 46x34, 2017 continue their regeneration following severe bushfire.

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.

40 NORMAN, Kim Barramundi String Men’s Australia Ceremony

Etching, aquatint NUM GLOVER, Andrea Infinite Sphere i 40x57, 2018 Australia Archival pigment print 32.9x48.3, 2018 The barramundi string ceremony is performed by men in my clan group each year at the end of the wet season I have always loved travelling over the Diamantina area to thank the spirit of barramundi fish and to make the between Winton and a radius of connecting places - barramundi catch a successful one. 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.

InkMasters Print Exhibition 2018 O’SHANE, Daniel ii ra mer ene Gawei (the Australia 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 ORR, Glenda Offsetting Island). Saui had a pet pelican that became his only true Australia Etching, aquatint, spit-bite friend. Saui named the bird Gauei after his place Gau; 118x132, 2017 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 The axe is a hybrid of the natural and man-made, with Gauei tuck her head under her wings to sleep. When its forest-born wooden handle and hardened cast steel Gauei flew away with some wild pelicans, Saui took his head. This duality connotes nature as commodity, the traditional boroboro drum and tirelessly beat it as he cried artificial in the natural, and duplicity in the worlds we and lamented for the bird. The sound end of his drum inherit and construct. The print plays on inversion of this changed and became like the open mouth of a pelican. tool of destruction into one of creation. The old axe wears Saui turned into stone soon after and stands at Gau Paikai, its history on its head - the scratches, fractures and chips still looking south westward, until this day. 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.

42 PARKER, Hannah Through Squid Eyes (detail) Australia 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.

PARR, Virginie Taxonomie Canada 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.

InkMasters Print Exhibition 2018 PAU, Robert Conflict Map Australia Linocut 70x100, 2017 PAWLUS, Natalia Zero Poland Torres strait conflict Map documents the contact foreign Linocut vessels had with Torres Strait Islanders from the 1600s to 70x100, 2017 the early 1900s. 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.

44 PECKHAM, Penny For Leonard: Another Australia Mile of Silence PULFORD, Mary Bird.Watching. Australia Gelatin print, linocut, Artists book with photopolymer, cotton thread stencils and hand colouring 42x42, 2018 21 x variable, 2017-18

This work is from a series begun in 2017, working with Birdlife is a recurring theme throughout my artworks. what I had (small pieces of leftover paper), experimenting Varying feathered forms inhabit the multifaceted drypoint with colour and layers, combining natural forms with the and photopolymer prints. Bird.Watching. reflects mechanical. I enjoy working with a square format and the narratives of scientific research into climate change, many small square prints I produced were finally brought habitat loss and the fragile and the survivors of the bird together as a number of 9x9 grids, referencing the craft of world; just who is watching whom? 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.

InkMasters Print Exhibition 2018 REES, Bronwyn Werribee Gorge Australia Drypoint, mixed media 72x56, 2017 REES-PAGH, Yvonne The Strange Dragon Blood Australia Tree of Socotra Island

I immerse myself in the landscape and try hard to imagine Etching where I end and the world begins. To this end, I take my 160x230, 2017 plates to the field and draw the outlines of what I see through the clear plastic. I take them back to the studio, Socotra lies off the coast of Yemen, a strangely beautiful and, remembering the smell, discomfort and texture, try place. The island has not escaped the impact of climate to describe that experience. What is it like to live in that change. The animals and plants that remain represent a environment? What is the life of those ancient rocks that degraded fraction of what once existed. Where, until a for millennia witnessed Aboriginal people marking the few centuries ago, rivers and wetlands existed, now only course of their lives, and now, seeing a vast weekend sand gullies remain in a hot and wind-swept environment. parade of tourists tramping up and down the valley Many native plants only survive where there is protection (marvelling at their age and beauty) and throwing food from goats, which are starting to eat rare plants. The wrappers everywhere? From the trivial to the grandiose, most striking of Socotra’s plants is the dragon’s blood tree I try to stretch my eyes and my brain to encompass the (Dracaena cinnabari), an umbrella-shaped tree. Lack of scale of the rocks’ epic history, the dirt that will encompass adequate rainfall and soil erosion threatens the survival us all one day. 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.

46 RIGLEY, Rose My Mother’s Things i Australia Archival pigment print, object 38x56 , 2018

RITTER, Sandra Thru Thailand – Memory, in all its nuanced and complex states, is indelibly U.K. Street Crossing linked to self-identity and is a foundational construct of Linocut grief and loss. The loss of someone – through death or 40x30, 2018 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, Street Crossing and is part of an ongoing series named acting as memory cues or as mnemonic devises, provide Thru Thailand. The works are inspired by a journey access to reminiscences equally real as the original through a different culture and landscape. My works are experiences. Through the recent loss of my mother, I mainly in black and white influenced by traditional printing have begun to examine the evolution that time brings to and the early stages of photography. The Linocuts are recollection and how everyday articles link us back to our mostly reduced to a strong black and white contrast, or lost relationships. 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.

InkMasters Print Exhibition 2018 ROBINSON, Brian Proteus, the Oceanic Australia Alchemist ROBLES HURTADO, El Volar Gervasio Linocut South Africa Etching, hand painted 125x95, 2018 25x20, 2016

In Greek mythology the deity Proteus is a god of rivers My artwork is not the final product but a process which and oceans, usually referred to as the Old man of the starts with curiosity about the wild and nature. It goes on Sea. He was the herder of sea creatures, and a prophetic searching for its precious matter - the human reflection shape-shifter who could assume elemental or animal form on the wildness. How far we can go or survive without as well as foretell future events, answering only to those looking at nature as our mirror? That searching is the capable of capturing him. As an alchemist he possessed engine that generates enjoyment and leads me to anima mundi, the world’s soul, which gave him an intrinsic crystallise my art work. 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.

48 RUBEN, Bobbie Betty’s Diner Australia Digital print on linen 40x150, 2017

ROWELL, Natasha What Remains Loneliness and isolation are suggested in this twilight Australia depiction of long-haul transport underscored by the A la poupèe mulit-plate etching fast-food strip. The interpretative rendering of this and intaglio woodblock contemporary image captured from the steps of a 1950s 90x120, 2017 diner sets up tension and disconnect between the past and the present, tradition and progress. 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.

InkMasters Print Exhibition 2018 RUSSELL, Anna Coordinates Australia Etching, linocut, encaustic and linen thread stained with natural materials 59x83, 2017

SCOTT, Gwen Pomona and her Australia Watchful Friend This long view of the land is built on earth stains and bees wax. It suggests divisions created by use/misuse, passages Reduction Linocut of fertility and aridity due to practices like broadscale land 42x39, 2017 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 Pomona, the Roman mythological goddess, is depicted research station near Broken Hill. The wax was from the in classical works as hardworking and a guardian of fruit hives of a bee-keeper in Sydney. I grew up on the Darling trees and orchards. The narrative has been altered and Downs, on some of the most fertile soils in the world. in this ten-colour linocut Pomona is depicted sleeping While it might be a ‘shrinking world’, we are custodians of on the job. Sleep for many people is viewed as an a large country. 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?

50 SELTZER, Anita Edith Wharton Tablescape SHIMMYO, Yuri Aqua ii USA Australia Photopolymer etching Etching 38x28.5, 2018 23.5x19, 2017

We are surrounded and bombarded by color, but the I enjoy the process of printmaking and the element of tonality and texture of a hand-inked monochromatic excitement and surprise when the work reveals itself after print has the power to stop us in our tracks. Unsaturated going through the press. This print is part of a ‘water’ images command our attention because shape, form, series. I use hard ground and aquatint to show subtle context and the play of light and shadow are simplified. variation in tone. I wanted to show the sense of light on They allow us to concentrate on the subject. They are the surface of water. ‘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.

InkMasters Print Exhibition 2018 SMITH, Melissa Worlds within Worlds ii Australia 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 SHORTJOE, Sid Bruce Caampani (sawfish) eighteen months. Visiting such isolated landscapes with Australia Etching, aquatint the resonance of their history can have a powerful impact. 76x56, 2018 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 I was born in 1964 at Aurum mission and now live in pioneer tin miners that worked these moorlands continue Pormpuraaw on the western side of Cape York. We are to be told. There is a sense of needing to hold on tightly Kugu-Wik people and I speak nine languages, including to this landscape; it remains precious and warrants English. I am proud to be involved in the art center and I protecting. There is a unique sense of self-awareness have been working with interesting artists and printmakers realised in such environments that is difficult to describe, such as Theo Tremblay, who helped me print this sawfish but it emanates a sense of life and hope. totem design. I also have other totems including blue- tongue lizard.

52 STANTON, Ruth Handmade Landscape STARK, Laura Landscape Reconfigured ii Australia (Dream) Australia Multiplate photopolymer Intaglio 38x27, 2016 28x25, 2017

The work is about the pleasure of discovery - of the Drawing on texts about ceramics and the excitement of recombining images made possible anthropomorphism that gives a vase a ‘neck’ and a in printmaking by overlaying the different plates. ‘mouth’ and makes the raw material a ‘clay body’, my Photopolymer plates were made from transfer monotype work uses the language and imagery of ceramics to and ink drawings. These were overprinted on collograph explore personal exchange and the acts of making and prints. The imagery relates to a reinterpretation of sharing a voice. Inspired by descriptions in The White landscape forms. Road by Edmund de Waal, Handmade Landscape (Dream) considers how ceramics have shaped our landscapes.

InkMasters Print Exhibition 2018 STEIN, Maggie Going Places - Central Australia Station Sydney

Linoprint 41x44, 2018 STARLING, Anne Atomic Playground Australia Linocut, woodblock, intaglio I respond to where I live in inner Sydney through my work. 108x80.5, 2016 Cycling and walking give me time to observe and absorb. I often pass a particular landmark many times before I The notion of suburbia and identity is explored in Atomic decide to translate it into a linoprint. Going Places was Playground. The pictorial image of the post-war house created after several waits at Central Station Sydney; with with its menagerie of kitsch creates a narrative of a sun pouring in through the archway each figure becomes vanishing urban environment. In Atomic Playground, a silhouette against a backdrop of elegant buildings, a the rocket ship lies redundant in suburbia. The viewer bustle of people and traffic, framed within an elegant arch. is invited to revisit their childhood, where imaginative I enjoy adding layers to my work, keeping the way open play was encouraged, and the possibilities of the future for surprising results. 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.

54 STEVENS, Rhonda Interconnected Precious STEYN, Elmari Eyrie: S28˚37.595’/ Australia Moments Dreaming Australia E116˚25.327’

Unique monotype, mixed media Etching, aquatint 84x63, 2018 56x42, 2017

My arts practice is inspired by the speculative intersections Elmari’s current printmaking project explores the and connections of humanity, together with the paradoxes interaction that we allow ourselves with nature, through of difference between each other and being alone, and trees - especially unusual, expressive and characterful how it manifests through language, culture and music. trees, even misshapen trees. Each of these trees I aim to create poetic relationships between heaviness expresses their individual narrative, character, size, shape and lightness, between the language of the materials and and function. Whether in wild untouched places, such as forms. Lately I have become intrigued with the rhizomatic the outback location of the ‘Eyrie’ tree or in urban settings, model of Giles Deleuze‘s philosophy - a philosophy trees retain their individuality, their true form and nature; that opens new ways of ‘seeing’ the landscape and life, their distinct connection and relationship to an area with suggesting there are multiple and shifting points of its climate, wind and setting. connection across time and space. Contemplating these modes of inquiry, I seek to express fleeting moments captured in the continuous flow of changes.

InkMasters Print Exhibition 2018 STROBEL, Genaro Perspektive 1 Germany Woodcut 130x190, 2018

The view pictured is what you see when you leave the national library in Frankfurt, Germany. The Entrance is TESTER, Stephen Owl with Scowl straight behind you. You look onto a public art work from Australia Per Kirkeby (the brick construction with all the gates Mezzotint that you go through to get into the library) and on top a 14.5x13.5, 2018 McDonalds logo, then a Total Gasoline station logo. A little further in the distance you see crosses and angels The work is from an open-ended series of mezzotints, from the central main graveyard of Frankfurt. Perspektive Australian Raptors. My aim is not to produce ornithological 1 is meant as an understanding of a life perspective, and studies but concentrate on typical physical characteristics also just a view (perspective) which convey a sense of the power or strength of these magnificent creatures in a way that engages directly with the viewer.

56 THIRKELL, Paul Wood From the Trees U.K. Photoetching, chine colle TUFFERY, Sheyne Future Fale ii 42x45, 2018 New Zealand Woodblock 100x85, 2016 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 Future Fale ii depicts high density pacific-inspired present. I am fascinated by the myriad of visual languages cityscape resonating with my place in the world but also that have emerged through the need to illustrate and the problems we face in Aotearoa in the housing of our illuminate printed text en masse. My images seek to communities. These include the rise of sea levels in the weave visual narratives that often subvert, question greater Pacific where tiny island nations are being forced and transcend the original meaning and purpose of to evacuate as their homes disappear as a result of the such illustrations to communicate ideas based around effects of climate change. 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.

InkMasters Print Exhibition 2018 VICTOIRE, Sasi Go on Underestimate Me WATANABE, Kay Pines Australia Australia Etching Collagraph, drypoint, chine-colle 60x50, 2017 76x56, 2018

Alice in the Antipathies is an inter-medial, inter-cultural, The main theme of Pines is nature’s strength and resilience, postcolonial performance text, loosely based on Alice its beauty and solemnity. Attracted by their impressive in Wonderland. Victoire has developed this narrative to shapes (created by the weather and possibly pruning) uncover the struggle encountered by the Asian diaspora and the rough textures of trunks and needle-like leaves, to reconcile identity. By plundering the imagery and text I chose pine trees as a motif. These days, I have become of Alice in Wonderland, Victoire covertly raises human increasingly aware of topics such as environmental rights issues like migration, settlement, difference, destruction, global warming and natural disasters. I hope discrimination, women’s rights, and challenges the power to encourage the audience to reflect upon beautiful of language to create awareness. The work questions, nature and the consequences of losing it now, and nature’s transcends, crosses and interweaves between cultural strength to survive despite adversity. I created organic boundaries and embraces multi- and inter-disciplinary textures and rich shades with the collagraph technique, experimentation. 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.

58 WOLTER, Joel The Silent Theatre Australia Etching 21x29.5, 2016

WILKINSON, Cleo Vestiges I predominately work in etching, and explore the Australia environment and our varied relationships with it. The Mezzotint Silent Theatre presents a once popular, now deserted 40x60, 2018 nightclub. In reality this nightclub was on the verge of being developed into apartments and stood alone and I try to emphasize the singularity and silence of a form empty for months, waiting in the shadows of its former - what is missing in the shadows provides the greatest past. Metaphorically, it stands as a symbol of transience potential for me. I love nursing the life of an image out and change. 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.

InkMasters Print Exhibition 2018 YATUMBA, Christine Maiya Thethi Wakin ZALESKI, Kamil Cwiczenia 7 Australia (gathering food in Poland freshwater lagoon) digital print 140x100, 2018 Etching, aquatint 57x76, 2018 In the Cwiczenia series I am interested in physical activity from the level of the digital world. In this case, you do I live in Pormpuraaw on the western not need to consume energy to play. Computer games and have been making prints and painting for over 10 deprive the body of the experience of fatigue, pain or years. I like to show how things were done in the old sport-related injuries. When printing my graphics using days, how women used to gather food and raise children the digital method, I do not put any physical effort into in the traditional ways. it, unlike previous works that I created with silkscreen. Computer games give us the illusion of movement.

60 ARTIST-IN-RESIDENCE Our Inkfest 2018 Artist-in-Residence, Gary Shinfield has a selection of work presented in his own section of the Inkmasters Print Exhibition.

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.

Shinfield, Gary Border Lines Australia Woodcut with photopolymer etching on 8 sheets of Thai hand-made paper 152 x 224, 2017

InkMasters Print Exhibition 2018 ACKNOWLEDGEMENTS

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

This project is supported by the through Arts Queensland InkFest 2018 is also supported by Creative Partnerships Australia through the Australian Cultural Fund

DR RAYA MAYO

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