Scholarships Exposed: Where are they now? APW Collie Print Trust Scholarships for Emerging Victorian Printmakers
Scholarships Exposed: Where are they now? APW Collie Print Trust Scholarships for Emerging Victorian Printmakers
Australian Print Workshop Gallery 24 September â&#x20AC;&#x201C; 12 November 2011
Foreword The Collie Print Trust
The Collie Print Trust has a long-standing relationship with Australian Print Workshop that has grown, strengthened and flourished over many years. With the support of the Trust, APW has been able to provide a range of innovative programs for scholarship and technical education in the field of fine art printmaking. The Collie Print Trust is a philanthropic foundation established in 1967 by the late Barbara Collie in memory of her father Robert Collie, who created the highly successful Collie printing ink business. The Trust’s program of giving supports education in the print and design sectors through the provision of scholarships. The trustees of The Collie Print Trust are Mr Colin Lewis (Chairman), Mr Harry M. Hearn AM and ANZ Trustees. Enormous changes have been experienced in the printing industry since the Trust was first established. With the advent of new print technologies much of the history, traditions and technical skills have been lost in the commercial printing sector.
A respect for the history and traditions of printing and the pursuit of excellence through printmaking led the trustees to give ongoing support to the work of the Australian Print Workshop, where many of the age-old technical skills of printing are kept alive and practiced through the work of artist/printmakers. The Collie Print Trust is proud and delighted to partner with Australian Print Workshop in offering this program of scholarships for Emerging Victorian Printmakers. The impact of this Scholarship program has far exceeded the Collie Print Trust’s expectations. Through the support and encouragement of contemporary artists and their development, the program of Collie Print Trust Scholarships administered by Australian Print Workshop has ensured that the skill of fine art printing has thrived. The Collie Print Trust and Australian Print Workshop share a common vision that values artists and their contribution to the community, and the importance of art to the creation of a strong community.
The Collie Print Trust’s long term involvement with Australian Print Workshop has resulted in many significant outcomes. What has been demonstrated is the power and sustainability of philanthropic giving through a charitable foundation. The Trustees congratulate all involved in this special showcase of works by Scholarship recipients. Mr Colin Lewis Chairman The Collie Print Trust
Foreword Australian Print Workshop
Australian Print Workshop enjoys a special relationship with The Collie Print Trust that has provided key support for the furtherance of scholarship and education in the field of contemporary Australian printmaking for almost two decades. With the generous support of The Collie Print Trust, Australian Print Workshop has administered an important program of scholarships that have assisted and encouraged Australian artist-printmakers for a generation. The significant support provided by this Scholarship program is unique in Australia and has had a major impact on the development of contemporary Australian printmaking. This exhibition showcases a selection of limited edition prints by 41 artists who have been recipients of Australian Print Workshop Collie Print Trust Scholarships for Emerging Victorian Printmakers.
Since its inception in 1996, this Scholarship program has enabled APW to provide vital ‘early-career’ support and encouragement to 50 talented artist-printmakers. APW is very proud of its Collie Print Trust Emerging Victorian Printmakers Scholarship Alumni, many of whom are now engaged in senior teaching and other leadership roles in the creative industries, and whose print works have been exhibited and collected throughout Australia and overseas. The Collie Print Trust and ANZ Trustees have played an influential role in the development of APW’s organisational capacity over recent years, providing key early support and guidance that helped APW to secure its future, through the purchase of its Fitzroy premises. The philanthropy managers at ANZ Trustees in particular have always been very supportive of APW’s mission and organisational development. They have always understood and valued the work that we do, and the importance of our endeavour to the creation of a robust community.
We extend our heartfelt thanks to The Collie Print Trust and the trustees Mr Colin Lewis (Chairman), Mr Harry M. Hearn AM and ANZ Trustees for their ongoing generosity, support and commitment to APW and the art of printmaking. As part of APW’s 30th Anniversary year festivities we celebrate the achievements of these Artists and the far reaching impact of this Scholarship program, in shaping contemporary printmaking in Victoria and beyond. Anne Virgo Director Australian Print Workshop
Exhibiting artists Mari Adams
Elaine Su-Hui Chew
Scholarships Exposed: Where are they now? Mari ADAMS
Scholarship recipient 2011 Born 1989, Perth Currently lives and works in Melbourne
Scholarship recipient 2006 Born 1984, Melbourne Currently lives and works in Melbourne
Scholarship recipient 1999 Born 1969, Melbourne Currently lives and works in Melbourne
My recent woodcuts and digital prints explore connections between Australia and the islands of my forebears - Sicily and the Outer Hebrides in Scotland. I used the process of collage to construct stories and images that combine fact and fiction around my family history. The imagined, hybrid plants are metaphors for my mixed heritage, and for wider ideas of migration and transformation.
Since receiving an APW Collie Print Trust Scholarship in 2006 I have continued to pursue printmaking. I traveled to London in 2008 to undertake a Masters in Illustration at the Camberwell College of Arts. My time in London significantly shaped my arts practice.
The APW Collie Print Trust Scholarship gave me the invaluable experience of working full-time with printmaking in 1999, using brilliant facilities and sharing ideas and techniques with other artists.
As a recent printmaking graduate, the Scholarship has given me confidence and the opportunity to explore new techniques and ideas. I am learning about how to have an art practice by working alongside professional artists, and also how to balance studio-time with other work commitments and finding inspiration for my art through travel and exploration. I am inspired by the mystery, enormity and beauty of the natural world. Backpacking through northern India this year has enabled me to photograph some epic and awe inspiring places. I am employing collage to translate these and other images into real and imagined landscapes which seek to express wonder and curiosity, and the primitive human drive for exploration.
I am currently running Schoolhouse Studios with a friend in Abbotsford and creating work for galleries in Australia, UK and Europe. I work extensively with the theme of water, natural phenomena and architecture. My work explores the relationship between people and their immediate environment. I approach image making with a tactility that translates into a variety of media including printmaking, lighting and textiles.
Alexis BECKETT Scholarship recipient 2005 Born 1953, Melbourne Currently lives and works in Melbourne
Alexis received an APW Collie Print Trust Scholarship in 2005 upon completion of a Masters of Fine Art by research at RMIT University. She has continued making and exhibiting prints both on paper and glass on the topic of environmental change and loss of bird species. Alexis most recently exhibited in Crepuscular at the City Gallery in the Melbourne Town Hall; an exhibition curated by John Kean focusing on Melbourneâ&#x20AC;&#x2122;s nocturnal wildlife as recorded by local artists and scientists.
Elizabeth Barnett & Deb Taylor 2006
Since then I studied Art Therapy and have been working in special education at a Government school with an Arts Curriculum. The school caters for students aged from 2 to 18 with a range of disabilities. The methodical nature of printmaking has helped me structure suitable and accessible art activities. Itâ&#x20AC;&#x2122;s great for students to work large scale or communally at times without the experience becoming chaotic or overstimulating. Alternatively, I work with many autistic students and provide a quiet space and the gentle social experience for students to work alongside me. This exhibition spurred me to return to APW to work on one print, a day every few weeks. Quite a change from the Scholarship year but a way to bring images inspired by students back to the workshop and into my own work again. My work in this exhibition, Draw Soap, is based on an image made each week since 2006 at the request of one of my students. It is the first image we make together in his weekly art therapy sessions.
Jazmina Cininas working on a lithographic stone, 1996
Scholarship recipient 2010 Born 1978, Alice Springs Currently lives and works in Melbourne
(in collaboration with Massimo Palombo)
Scholarship recipient 1996 Born 1965, Melbourne Currently lives and works in Melbourne
I was lucky enough to receive the APW Collie Print Trust Scholarship in mid 2010. At the time I was between jobs for a few months and was able to use the workshop a few times a week. After gaining full time employment I was only able to come in on Saturdays. However the experience was great, all the APW team were very supportive and I was able to make lithographs again after a nine year absence since graduating from VCA in 2001. My work for this show, Spillage, was drawn over two Saturdays and in a looser fashion to my work last year of the same title. Much of the time was spent waiting for puddles of liquid tusche to dry given that lithographic stones are not very absorbent and the beauty of tusche is its slow drying reticulated properties. It also serves as a prototype for large lithographs I hope to complete this year. I sighted this composition in an alley behind work, the mounds of garbage bags around the bins extended beyond the edges of the image and up to a metre high. It was after one of those four day festivus weekends so normal infrastructure had ground to a halt.
Scholarship recipient 2003 Born 1973, Melbourne Currently lives and works in Melbourne
What we have here is a scene from a forthcoming Italian language card game, a collaboration with Massimo Palombo. The personal pronouns pictured are played in conjunction with verb and conjugation endings, making for an educational card game. Prior to this, Massimo, Kate Zizys and Justin collaborated on a pasta card game called Cibo – the pasta card game, published 2008/2009. Cibo is a pictorial game in which the aim is to set the table and collect all the ingredients for a pasta dish, the game is fast-paced and, oddly enough, can inspire fierce competition. Judging by online sales, the town of Bega in NSW is currently somewhat of a Cibo heartland. Justin is employed in the publishing/ printing industry involving composition in the digital space, currently creating eBooks for a Melbourne education publisher. The work exhibited uses a direct lithographic press to print from an aluminium plate which has been imaged with a laser using the ctp (computer to plate) process.
It was at APW that I first fell in love with the Albion press and the reduction linocut process. The Albion was such a beautiful piece of machinery, transporting me to another, preergonomic time, tucked away in the small side workshop where Louise Rippert and I bonded over being constantly told off for having the hot plate on too high. It was also at APW that I learnt the value of a good D-ring, after my oversized, over-heavy framed work came crashing to the floor, almost giving the gallery manager at the time, Ursula Bolsch, a heart attack (although she did graciously assure me that it was partially Martin King’s fault). Thank god I’d used Perspex and not glass. Since being awarded the Scholarship, I’ve gone on to complete my MA, showing in exhibitions all over the world, curated a number of well-received exhibitions and secured a permanent lecturing position at RMIT. I’m proud to say that I’ve never burnt down a print studio (although there was that one time I left my lino on the hot plate too long and it practically melted) and all my frames have managed to stay on the wall. Touch wood.
Scholarship recipient 2003 Born 1971, Melbourne Currently lives and works in Mornington, Victoria
Scholarship recipient 1998 Born 1974, Melbourne Currently lives and works in Melbourne
Scholarship recipient 2000 Born 1961, Melbourne Currently lives and works in Melbourne
In my art practice I find I am constantly drawn in by repetitive shapes and forms that are present visually both in human anatomy and in all aspects of nature. The lungs in the body appear like trees growing from the ground and repeated again as coral on the sea floor.
Since her APW Collie Print Trust Scholarship, Marieke Dench has exhibited nationally and internationally. Dench has won a number of awards including the Silk Cut Award and Shell Fremantle Non-Acquisitive Print Award and has been commissioned to produce a number of extensive artworks in the private sector. Her work is held in numerous public and private collections. Dench has been a lecturer at the V.C.A, R.M.I.T. and N.M.I.T. She set up a custom printing business 10 years ago called Marieke Dench Studio. She now works full time at her inner Melbourne studio.
The APW Collie Print Trust Scholarship has assisted me in pursuing my passion for printmaking whilst working at the Australian Print Workshop.
Most recently, I was commissioned to produce a series of water-colour paintings that have been reproduced in a limited edition range of bags and accessories. Since completing my Scholarship I have been busy with 3 children so haven’t been as actively producing work as I once was. However, during the preparation for this exhibition I have found it has re-awakened all the possibilities that lie within the printmaking process. The APW Collie Print Trust Scholarship showed me that there is a very exciting life for printmaking beyond university.
During and since the Scholarship, my time at APW has allowed me to meet many other artists and this experience has enabled me to improve my own work.
Dench has a reputation for approaching two-dimensional material with a sculptor’s eye. Her works suspend between the object and the description of an object and/or concept. This work comes from the series Desire Lines. Combined with Dench’s ongoing interest in varied maps as image she has combined the work with an emotional and subconscious framework. This mapping system is known as a ‘desire line’ and is usually a pathway caused by the erosion of footfall. The track more often than not represents the shortest and most easily navigated route between point A and point B. We often refer to them as a shortcut. A path of least resistance. Dench never sets out to portray a direct copy of a place or location and instead uses aspects, or collaged elements of her source material and ideas to create images with strict formal concerns. This work is no different, combining her strong conceptual interests with her deft hand, creating yet another sculptural and inquisitive approach to picture making. Louise Donovan 2000
In my current work I aim to bring together a visual representation of the human internal structure, of organic forms; both from nature and the sun, with the sun being the life force that joins us. By presenting these forms together it is my intention to put into view their dependence and reliance on each other. It is my feeling that we have come to feel separate from all that share the planet with us, that we lack regard for our surroundings. Yet we are bound to our environment, and subject to it – we are as one. Any changes that affect it, directly affect us all.
As a result I have successfully appeared in a number of exhibitions, including The Waterhouse Natural History Prize, Williamstown Festival Contemporary Art Prize, Swan Hill National Print & Drawing Acquisitive Awards and the Hutchins’ Art Prize.
bridget farmer 2008
Scholarship recipient 2008 Born 1978, Belfast, Northern Ireland, UK Currently lives and works in Melbourne
Scholarship recipient 1997 Born 1974, Melbourne Currently lives and works in Melbourne
During the APW Collie Print Trust Scholarship my printmaking knowledge was broadened extensively, through experimentation and by working alongside other printmakers. I had very limited printmaking experience before 2008 and the Scholarship enabled me to work on a larger scale and try new techniques.
After the completion of my studies at RMIT University in 1996, I received an APW Collie Print Trust Scholarship for Emerging Victorian Printmakers. This allowed me to be further immersed into a professional printmaking environment full of inspiring and highly skilled printers, artists and personalities.
Scholarship recipient 2005 Born 1974, Newcastle, New South Wales Currently lives and works in Cambridge, England, UK
During the Australian Print Workshop renovation, when the workshop was closed, I decided I had to keep printing, so I bought myself a printing press and set up a workshop at home. I concentrated on acid free techniques such as drypoint and collograph. I also made a number of artist books, one of which depicted seagulls outside the State Library of Victoria. The State Library subsequently purchased this for their collection.
My art practice is ongoing with my work included in 35 exhibitions and prizes since the completion of the Scholarship.
In 2009 I moved to Northern Ireland, the country of my childhood and lived there for two years. I became a member of the Belfast Print Workshop and reacquainted myself with acid etching and aquatint. Throughout all this time my subject matter has concentrated on birds. While in Belfast I revisited the birds of my childhood and created a collection of familiar garden birds to bring back to Australia to remind me of the country in which I grew up. I also made this collection into an artist book that was accepted for exhibition in the Royal Ulster Academy in 2010.
The invaluable experience that I gained during the APW Collie Print Trust Scholarship continues to inform my practice on many levels.
Since 1997 I have worked as a Senior Printer at Chrysalis Gallery and Studio. In 2005 I became a committee member of the Print Council of Australia. In 2009 I returned to RMIT University to become a Studio Technician in the Printmaking Department. And in 2010 I commenced teaching printmaking at Monash College.
I was fortunate to receive the APW Collie Print Trust Scholarship shortly after finishing full time study. Practicing printmaking between the other demands of life can be hard. The Scholarship opened the Australian Print Workshop Access Studio to me and helped give the momentum to continue printing. Whilst utilising the excellent facilities, I also found a community of open access users that not only shared their friendship but also their technical and creative advice. In addition to the community of open access users, it was good seeing work created by master printers in collaboration with renowned artists. Since finishing the Scholarship I continued to use the facility and later, when alternative presses became available, I would still edition my prints at the Australian Print Workshop Access Studio. This is because the studio is unrivalled in its reliability and cleanliness. I would like to thank all the staff past and present who made the venue such a pleasure and a boon to my printmaking practice.
Scholarship recipient 2005 Born 1958, London, England, UK Moved to Melbourne in 1990 Currently lives and works in Melbourne
Scholarship recipient 2007 Born 1973, Melbourne Currently lives and works in Melbourne
Scholarship recipient 2002 Born 1967, Melbourne Currently lives and works in Melbourne
Since participating in the APW Collie Print Trust Scholarship I have continued to explore my fascination for family objects. I commenced a post-graduate research project in 2009 at RMIT called Material Remains that is focused on personal belongings that have been passed down to me by family who are now deceased. These ‘post-mortem’ objects function like personal relics that have been touched by the bodies of absent loved ones. I am reminded of this when I see the signs of wear, use and time on the surface of intergenerational possessions.
Receiving the APW Collie Print Trust Scholarship in 2002 helped cement my printmaking practice and bridge the gap between art student and practicing artist. From there I have built my own printmaking studio where I practice and also teach students privately.
I make highly decorative black & white and colour linocuts using native birds, flowers and domestic items as my subject matter. My work is influenced by my training in textile design and a love of oriental art. The Scholarship gave me confidence in my ability and reinforced my passion for printmaking. Since having the Scholarship in 2005, I have been exhibiting regularly, highlights include: • being a finalist in the Silk Cut Award and the Nillumbik Prize • being part of 50, a print exchange portfolio curated by Rona Green • having 2 of my black & white bird prints Two Pardalotes and Two Silvereyes in the exhibition Australian Print Workshop: Impressions from Australia at the Australian Embassy in Washington DC • these same 2 prints were part of 30 prints gifted by APW and the State Government of Victoria to the Aichi Prefectural Government, Japan to mark the 30th anniversary of the Aichi – Victoria sister state relationship • this year Melbourne designer Catherine Manuell has made bags and wallets using my print Tree Sparrows and Blossom.
Through works like On a knife-edge I have been exploring the significance of these things that are left over. I have investigated ways to extend my approach to the reduction linocut method, and I now draw on ideas of surface wear, bodily contact, burial and exhumation in the printing process.
I have been involved in solo and group shows as well as being a finalist in print prize exhibitions, such as the Geelong acquisitive print awards, Swan Hill National Print & Drawing Acquisitive Awards and most recently The Rick Amor Print Prize. I also enjoy an ongoing relationship with APW who have included my work in various exhibitions. Over time I have developed my own visual /symbolic imagery which informs my work. I experiment a great deal and use various processes and layers to realize my ideas. I am interested in the unseen and the subconscious. The drawing out and pushing back of memories and experiences. The haze of smoke and mirrors that is sometimes difficult to negotiate with any clarity.
eloise linklater working on an etching plate, 2010
In my process I try to find equilibrium between control and chance, perfection and imperfection. I often work in panels, which are like small fragments making up a whole story or sometimes a puzzle.
Scholarship recipient 2007 Born 1974, Adelaide Currently lives and works in Melbourne
Scholarship recipient 2011 Born 1967, Melbourne Currently lives and works in Melbourne
Scholarship recipient 2011 Born 1975, Sydney Currently lives and works in Melbourne
Since being awarded the APW Collie Print Trust Scholarship for Emerging Victorian Printmakers in 2007, in which I focused on making copper plate etchings with aquatints, I have slowly started to investigating stone and aluminium plate lithography.
Why has it become such an elusive and precious commodity and how does art practice fit into the busyness of life? Given the conveniences of 21st Century living we should have more time for thinking, making and reflection, yet the reverse is often true.
Being recently awarded this Scholarship, not long after moving from Sydney to Melbourne, has allowed me to continue a deep engagement with my passion in the prestigious environment of APW, surrounded by an exciting assortment of fellow printmakers.
After my Scholarship I attended a short course in stone lithography at APW.
My work examines the visceral relationship between the Australian landscape and the body as markings of time, place and the cyclic nature of existence.
Working in this professional shared studio environment, fosters commitment to the practice of printmaking whilst encouraging a deepened relationship with my visual language. I am able to prepare work for exhibition and am presented with the opportunity to connect with other artists, share knowledge and learn.
I am currently employed at APW as workshop assistant which has been an incredible ride. I am constantly exposed to various techniques and the ‘tricks of the trade’ in printmaking. I believe printmaking is something I’ll always do in my time and also a form of art that has loads of different roads to be taken leading to uncharted outcomes.
As a 2011 recipient of the APW Collie Print Trust Scholarship I see this as a gift that affords me time for the development and expression of ideas through printmaking, which in itself is a time consuming process that cannot be hurried. I hope to create an ongoing body of work that reflects upon the modern dilemma of making time for making art.
I hope in the year to come to develop and extend my skills working with intaglio techniques, as well as experimenting with other processes. I often use the analogy of my time at APW as being like spending it in Shangri La.
rebecca mayo preparing an etching plate, 1998
In 2010, I completed a two month residency making lithographs at Cork Printmakers in Ireland. The residency was a huge learning curve for me, experiencing the different operational processes and dynamics in styles of printing.
Damon Kowarsky drawing on an etching plate, 2004
Scholarship recipient 2004 Born 1973, Perth Currently lives and works in Melbourne
Scholarship recipient 2001 Born 1974, Melbourne Currently lives and works in Melbourne
Scholarship recipient 2010 Born 1978, Warragul, Victoria Currently lives and works in Melbourne
Just before he undertook an APW Collie Print Trust Scholarship in 2004 Damon Kowarsky worked as an archaeological illustrator for the Dakhleh Oasis Project Egypt and spent a year travelling in North Africa and Europe.
The year of my Scholarship was invaluable as it provided me with a great opportunity to show and see my print research as I considered my direction as an artist.
After completing a bachelor of fine art (Printmaking) at RMIT in 2009, I was thrilled to be one of the APW Collie Print Trust Scholarship holders for 2010. For a graduate, the opportunity to further investigate ideas that had been born at art school, produce prints in the newly renovated access studio of APW and have an exhibition to showcase this creative journey, has been invaluable.
It is no surprise then that travel was the main theme of this body of work. Since then he has lived, worked and exhibited in Egypt, Mexico and Pakistan and travelled extensively in the Middle East, West Asia, and the USA. Architecture and the colours of earth and sky inspire much of his work. The APW Collie Print Trust Scholarship gave me the time and confidence to develop a large body of work in a professional printmaking environment. This in turn opened the doors to further exhibitions, residencies, cultural exchanges and grants. I am very grateful to APW for this early support. It has made so many other things possible. Kowarsky recently participated in the 3rd Luxor International Painting Symposium in Egypt and returned to Australia from travels along the Silk Road in Iran and Uzbekistan. He is currently working on a series of prints inspired by these experiences. In September he travels with Kyoko Imazu to Tokyo to install their collaborative prints in Aesop’s new store in Aoyama, and undertake their first ever exhibition in Japan.
Whilst it has been sound design and performance that I have mostly pursued over the past ten years, the experience of working at APW gave me the confidence to work independently in a professional setting as well as understanding the importance of maintaining my own professional standards in whatever work I do. As an art teacher for over twelve years I have also drawn on all the technical tips and tricks I learned along the way. Funnily enough I still refer to myself as coming from a printmaking background when talking about being a sound designer. It’s curious how some things stick with us.
While it is impossible to condense a full year into one small paragraph, looking back over the year, I can appreciate that not only conceptually, professionally and financially did it enable me to access ideas and equipment I might otherwise have found difficult, it provided me with a wonderful launching pad into the printmaking industry by learning things that can only ever come through first-hand experience. Being able to interact and engage with practicing artists was both inspiring and insightful as was the communal nature of the access studio and a shared passion for the print medium which was contagious to say the least. The opportunity to exhibit and learn the organisational elements that are involved with such a process was another eye opening experience. Setting goals, consulting with the gallery manager, working toward time lines, considering the financial side and the physical challenges of installing an exhibition were all things I learned a great deal about and will take with me into the future. The knowledge and inspiration that I gained throughout my ‘Collie year’ surpassed all of my expectations and for this I am sincerely grateful.
Scholarship recipient 2003 Born 1978, Yea, Victoria Currently lives and works in Melbourne
Scholarship recipient 1998 Born 1971, Leiden, Netherlands. Moved to Australia in 1971 (aged three months) Currently lives and works in Melbourne
Scholarship recipient 2003 Born 1971, Hobart, Tasmania Currently lives and works in Hobart
In 2003 I was awarded an APW Collie Print Trust Scholarship, allowing me an entire year’s practice within the Australian Print Workshop.
The work presented in this exhibition is part of a series of glass prints called Family Mistletoe – Landscape Series. This work grew out of a residency at Megalo Print Studio, Canberra in 2009.
Although at the time I was conscious of the wonderful opportunity the award presented in terms of my practice as a young artist, it is only now in reflection that I have come to understand it’s broader value. Working at the studio during this time was a fantastic experience where I gained a deeper understanding of the functioning of a professional studio and came to witness first hand the diverse practices the many artists accessing the studio facilities. The Scholarship provided me with a unique opportunity for intensive studio time and as a result at the completion of the year I had both consolidated my own practice and was able to produce a complete suite of editioned mezzotints.
Using leaves from mistletoe plants to create dyes and screenprinting inks I have printed and dyed fabrics from which I have constructed a series of six garments, each a subsequent generation from one family. Historically, Australian Mistletoe has been largely ignored or regarded as a menace to the trees it inhabits. However, contemporary ecological engagements with mistletoe identify it as a ‘keystone’ plant that reflects, rather than being the cause of, either a healthy or a disturbed eco-system. Drawing parallels between women and mistletoe this work engages with cultural constructions of nature and women. The finished portraits, printed on glass, position the women inside their mistletoe garments within a constructed ‘studio’ landscape.
Since the Scholarship I have found myself moving on from my own practice, yet becoming increasingly passionate about works on paper. My focus has now turned to supporting the careers of other artists through my role as gallery assistant at Australian Galleries and further studies in Arts Management.
I moved to Melbourne in 1997 and was a recipient of an APW Collie Print Trust Scholarship in 1998. The timing was excellent as it afforded me access to printing equipment and perhaps more importantly to an art community. Some of my lasting Melbourne friendships date back to that year.
Jade Mahoney 2003
The APW Collie Print Trust Scholarship experience expanded my awareness of the local printmaking community, resulting in an exciting career path and many wonderful friendships.
Receiving an APW Collie Print Trust Scholarship for Emerging Victorian Printmakers in 2003 resulted in a year of thoroughly enjoyable and productive printmaking. As one of four recipients for that year, my memories are of the workshop abuzz with energy and experimentation. For someone without an art school background, being granted a year to utilise the facilities of APW and the expertise of it’s staff while working among so many talented printmakers provided an invaluable opportunity to progress as an artist and to expand on the many skills crucial to successful printmaking. A number of the key technical elements still used in my work were acquired during that very busy year. Since returning to my home state of Tasmania, a few years ago, I have established a studio and am continuing to make and exhibit prints (despite the kids!). I still find it enormously beneficial to draw upon the experiences gained while working at APW, especially during my ‘Collie year’. Put simply I see the education and opportunities obtained during those early years of practice at APW as being the most important step to my becoming a printmaker.
Scholarship recipient 1996 Born 1964, Melbourne Currently lives and works in Melbourne
Scholarship recipient 2006 Born 1968, Auckland, New Zealand Moved to Australia in 1986 Currently lives and works in Mt Franklin, Vic
Scholarship recipient 2005 Born 1968, Ballarat, Victoria Currently lives and works in Melbourne
I am so appreciative of my year of access at APW during the Scholarship because I was able to work intensively with stone lithography. This would otherwise have been impossible to do unless one was a student at an arts college. There was a luxury of time, which created a capacity to experiment and develop my artistic sense of self. Even though I was covered in black ink, in my eyes it was pure gold.
Firstly, it must be said that for me the APW Collie Print Trust Scholarship represents a rare and precious gift, much like the drummer in a band the printmaker generally needs a substantial amount of equipment to produce the work, all of which and so much more was given to me at APW. There I found some of the most helpful, supportive and technically proficient printmakers in Australia. I have made lasting friends and contacts though this life changing experience.
Since completing my APW Collie Print Trust Scholarship I have gone on to exhibit work in group and solo shows, including at Heide Museum of Modern Art and the National Gallery of Victoria. My illustrative work has been published in magazines such as Rolling Stone, Meanjin and Business Review Weekly.
It is with deep gratitude that I thank the Collie Print Trust and all the APW staff for this amazing opportunity
Since the Scholarship I have been part of numerous shows both here and abroad, incorporated into private, regional and state collections, taken part in amazing print exchanges and experienced the sanctuary of the creative Spirit in troubling times. Over the last few years the work has diversified to include both painting and photography, using both mediums to influence and further enhance the printed work.
I have recently reached the fantastic stage where I am able to edition stone lithographs in my own studio. Fourteen years ago when I had the APW Collie Print Trust Scholarship this seemed impossible. And it was impossible. Both money and the lack of a suitable physical space prevented it.
For two summers I was fortunate enough to work for the Department Of Sustainability and Environment as a project fire fighter where I built up an extensive collection of photographs of the Australian bush and bush fire images that will serve as inspiration for many years to come. Michael Muir drawing on a copper etching plate, 2006
The graphic quality of Japanese woodblock prints and traditional tattoo imagery has always intrigued me and influenced my work.
Scholarship recipient 1997 Born 1968, Melbourne. Currently lives and works in Castlemaine, Victoria
The Scholarship thus provided an amazing opportunity to make lithographs in a professional environment, unhindered by financial restraints. I always felt incredibly fortunate to have had that opportunity to be in the Access Studio as much as I needed to be, and work around other printmakers. As I draw quite slowly the majority of my time is spent at the drawing stage of the lithographic process. This required me to spend many hours in the Access Studio for each image. Eventually I acquired my own stones, although not for a long time after my â&#x20AC;&#x2DC;Collie Yearâ&#x20AC;&#x2122;. Since the Scholarship I have participated in solo and group exhibitions. I have completed further study, and been commissioned to make lithographic prints. I have also set up my own lithographic press, which is a fantastic stage to be at.
Catherine Pilgrim drawing on a lithographic stone, 1997
Scholarship recipient 1996 Born 1966, Melbourne Currently lives and works in Melbourne
Scholarship recipient 2008 Born 1980, Adelaide Currently lives and works in London, England, UK
Scholarship recipient 2000 Born 1978, Melbourne Currently lives and works in Melbourne
Since having taken part in the APW Collie Print Trust Scholarship in 1996 my art practice has been largely focused on creating works both on and out of paper… many of them taking the form of constructions, albeit with the conspicuous absence of ink! Unfortunately, by the end of my university training, I had become sensitive to the many chemicals involved in traditional printmaking and it was during my Scholarship at APW that I began to explore alternative printmaking methods such as layered chine collé and embossing.
The APW Collie Print Trust Scholarship has taken me around the world. After completing the Scholarship in 2008 I taught a psychosocial rehabilitation art group for adults with severe and enduring mental illness using art as a therapeutic intervention.
After receiving an APW Collie Print Trust Scholarship in 2000 I have worked as a custom printer for artists. This involved working with a wide variety of people from many backgrounds. This has been a rewarding experience that has allowed me to travel throughout Australia.
Curiosity and an interest in Asian art led me to Indonesia throughout 2009 where I studied the local languages and art practices and lived with Balinese families teaching English.
Another field that I have developed in the printmaking industry has been working with indigenous artists, making prints and working as an artist in residence in remote parts of Australia. This has been especially developed with a close relationship to artists of Western Arnhem Land since 2003. Projects have been completed with the artists of the stone country focusing on developing ways to explore their rock art in a new medium for them.
Perhaps, what most importantly began during this time was a wider exploration of different types of papers and their surfaces. One of my favorite materials is the one used traditionally as an archival, protective layer between prints – glassine paper. Its ephemeral qualities hold an incredible sense of mystery for me… so perfectly capturing fleeting moments of light. The many varieties of Khadi, or handmade paper have been a continuing passion - one which I have indulged on my many trips to India. Also evocative are the pages removed from old, discarded books…With their gently softened, often yellowed surface, they almost seem to breathe or whisper with time.
In May 2010 I moved to London with an interest in art therapy. For the last year I have run the art program for an independent school in East London which provides educational services for socially, emotionally, and behaviourally challenged children. Taking part in the Scholarship has given me a greater understanding of myself and the possibilities for art making and the process involved. Working with people to make art is a privilege and the Scholarship tempered my artistic practice with the professionalism necessary to work with groups and individuals with integrity and confidence. I am currently in the application process to study on the MA Art Psychotherapy Programme at Goldsmiths, University of London.
The recognition of receiving a Scholarship has enriched my career. It is acknowledgement and encouragement that what you can bring to the arts practice of printmaking is unique.
Deb Tate drawing on a lithographic stone, 2006
Elaine Su-Hui CHEW
Scholarship recipient 2008 Born 1978, Sydney Currently lives and works in New York, USA
Scholarship recipient 2006 Born 1960, Sri Lanka Moved to Melbourne in 1963 Currently lives and works in Melbourne
Scholarship recipient 2006 Born 1962, Melbourne Currently lives and works in Melbourne
Receiving the APW Collie Print Trust Scholarship gave me the confidence to take my work seriously, especially because of the consistent support and encouragement given to me by the APW community. After my Scholarship they helped me apply for an Ian Potter Cultural Trust Grant to fund a residency at Kala Art Institute in Berkeley, California and, amazingly, 6 months later I was on a plane with a one way ticket. I am still on that adventure. I’ve been a housekeeper, a dogwalker, an artist assistant, a tile setter, and have lived in Oakland, Toronto and now New York City. I’m currently working as a Studio Assistant for the artist Swoon and have just been awarded an artist fellowship at the Robert Blackburn Printmaking Workshop in Manhattan. I’m making completely new work, learning completely new printmaking techniques, and trying things I’ve never tried before.
My year of the APW Collie Print Trust Scholarship was a true springboard for my work. I had the opportunity to explore a range of processes in lithography that went beyond those taught at University. The year helped me greatly to clarify my vision for my art through working alongside other artists and reflecting on their varied forms of practice. I decided that I particularly like to experiment with technique and subject matter, staying only generally within the broad framework of printmaking and the topic of relationships between people. Commercial Galleries would not be for me. I have continued to base my images on people from my neighbourhood and have sought to “close the loop” by exhibiting my work within the same community, with hope of feedback. I have been involved in three exhibitions through local councils. The last exhibition was the culmination of a year-long residency with Bayside City Council, which also involved sharing quarters with a playwright and multimedia artist, and teaching/learning from secondary school students.
The universe told me I was a printmaker when I received an APW Collie Print Trust Scholarship. It allowed me to experiment, to work large, but more importantly to work often and in the company of other printmakers. Since then I have continued to make prints but at a slower pace, exhibiting regularly in solo and group shows. I have also been the recipient of local and overseas residencies, most recently travelling to Canada and the USA thanks to an Australia Council ArtStart grant. I usually use a number of different processes: monoprinting, collography, lino, woodcut and digital imaging, often using digital processes as part of my research to inform traditional processes rather than as a stand alone process. I often use a series of plates and print these in layers, using different combinations or the same plate gradually reduced/carved and printed in different stages to create series of works that are connected, rather than creating an edition of prints of the same image. For the print in this show, I have used one collograph plate – selectively inked and printed numerous times to create the final image. It was printed during my residency at Presse Papier in Canada earlier this year.
sarah menelaus drawing on a lithographic stone, 1996
Scholarship recipient 2007 Born 1971, Adelaide Currently lives and works in Melbourne
Scholarship recipient 2004 Born 1957, Croatia. Moved to Australia in 1998 Currently lives and works in Melbourne
Scholarship recipient 2001 Born 1954, Tel Aviv, Israel Moved to Australia in 1998 Currently lives and works in Melbourne
The APW Collie Print Trust Scholarship for Emerging Victorian Printmakers gave me a year of unforgettable and valuable experience. Surrounded with helpful APW staff and professional artists, I further improved my printmaking skills, especially in stone lithography. There I started working in collaboration with other artists and started to develop my ideas about projects I am now working on.
My current work involves ideas of contradiction, paradox and difference, the internal and the external. My work in this exhibition explores these within the notion of ‘life drawing’: the life model’s idealised pose in stillness that nevertheless represents a living body; the posed, the aware-of-beingobserved body that is at the same time an articulating, expressive, self-absorbed body.
This woodcut monotype is part of a continuing series of prints featuring the motif of a sun. The sun (‘sol’ in Latin + other languages), is the provider of light and life and the great determiner of colour. Japanese novelist Junichiro Tanizachi states in his essay, ‘In Praise of Shadows’, “light is defined by its opposite- darkness- and our appreciation of space is shaped by the way light is modulated by shadow, or the way the way light is obstructed, deflected and filtered by what stands between us and the sun.” This sentiment is the essence of this body of work. For the past 10 years I have been working primarily with woodcuts, building imagery with layers of waterbased pigments and oil based inks to create unique results, alternating between 100% cotton rag paper and Japanese mulberry papers. Since the Scholarship, I have exhibited regularly in group exhibitions and had work selected in finalist exhibitions for national print prizes including the Burnie Print Prize, the Swan Hill Award for Prints and Drawings, the Hutchins Prize and the Rick Amor Print Prize. My prints can be seen in the collections of the Australian National Gallery, the Art Gallery of South Australia and many regional gallery collections. In 2011, I was an invited speaker at the Pressing Issues artists’ forum as part of the Castlemaine State Festival.
APW is a place where artists exchange information, knowledge and experiences. This knowledge and experience helped me during my Masters study at RMIT University. It also helps me in my everyday work as an art teacher at a secondary college, and as an artist working on various projects in communities. In the last four years I have researched in my projects the relationships between the natural environment, sense of belonging and migration. This work is part of a series about belonging to different cultures, different countries and natural environments. This series extends from my project Celebrating Diversity, in which students and their families from many Brimbank schools and communities decorated post boxes representing their home and parts of their culture, their migration stories and their involvement in the community. 1000 Houseboxes was a giant installation at Sunshine Shopping Centre in February and March this year, celebrating multiculturalism and the opportunity to learn from each other.
In Life Drawing, textbook life-drawing samples are juxtaposed and extended with a gesturing photographed face and my subjective and idiosyncratic observational drawing – the drawn hand, my other hand. My interest in the material and conceptual aspects of the copy gained momentum during my time as recipient of the APW Collie Print Trust Scholarship, when I experimented with the photocopy transfer, the photocopy, and the photopolymer plate. The opportunity to work on my prints in a consistent block of time, relieved of financial considerations, and in a supportive and inspiring environment gave me the confidence to take up the challenges of this form of mark-making and develop it further in a creative PhD research. The relationships formed at that time at APW have contributed to my growth as an artist and to opportunities for creative collaborations.
Scholarship recipient 2004 Born 1971, Nowra, New South Wales Currently lives and works in Melbourne
Scholarship recipient 2010 Born 1983, Melbourne Currently lives and works in Melbourne
Scholarship recipient 2004 Born 1971, Melbourne Currently lives and works in Churchill, Victoria
The APW Collie Print Trust Scholarship enabled me access full-time to APW, particularly the lithographic presses. This opportunity gave me freedom I had not had before and contact with other artists interested in similar ideas and processes. Although I didn’t know it at the time it also helped me professionally, introducing my work to a broader spectrum of people.
I was a recipient of the APW Collie Print Trust Scholarship in 2010. During this year I focused on investigating and extending upon my body of work. The Scholarship allowed me to meet other artists, learn new printing techniques and most importantly, gave me time to investigate my arts practice.
Since completing the APW Collie Print Trust Scholarship in 2004, I have secured employment in the field of printing as a technician, a fine art printer and a workshop provider.
This allowed me to participate in exhibitions at Port Jackson Press, Brunswick Street Gallery and Hawthorn Town Hall Gallery in Victoria, as well as Horus & Deloris Contemporary Art Space in New South Wales.
The Scholarship proved very essential to my working life, it allowed me to develop print production skills and OH&S knowledge, which would have been difficult to acquire without the support that the Scholarship offered.
I am currently working as a technician in the School of Art, Faculty of VCA and Music, University of Melbourne.
My work is currently held in collections at the Tyler School of Art, Philadelphia USA; Ontario College of Art and Design, Toronto Canada; RMIT University, Melbourne and in private collections around Australia. Since completing my Scholarship, my work has been acquired by the City of Yarra and I was recently awarded an ArtStart grant from the Australia Council for the Arts. I currently have a studio space at an artists’ co-operative located in Northcote, Melbourne.
kate zizys and justin caleo working in the APW access studio, 2003
Since 2004, I have been a practicing artist and produced work for three solo exhibitions and plan another this year. I am represented by Gilligan Grant Gallery and have been in selected group exhibitions and print exchanges. I have been involved in community print workshops, moved several presses and gained wonderful friendships and important contacts.
I have continued to make prints of my own using those techniques I learned over the ‘Collie Year’ at APW.
Scholarship Recipients Australian Print Workshop Collie Print Trust Scholarships for Emerging Victorian Printmakers
2011 Mari ADAMS Georgia JANETZKI Alexi KEYWAN 2010 Rhys BURNIE Eloise LINKLATER Jessica WONG 2008 Bridget FARMER Matthew ROBERTS Elaine Su Hui CHEW 2007 Jen FORTUNE Clare HUMPHRIES Chris INGHAM Georgia THORPE 2006 Elizabeth BARNETT Michael MUIR Deb TATE Deb TAYLOR
2005 Alexis BECKETT Kate HUDSON Greg HARRISON Jon PATON 2004 Damon KOWARSKY Mirjana VUK-NIKIC Cherie WINTER Kate ZIZYS 2003 Justin CALEO Anna CORBETT Justin McSHANE Jade MAHONEY 2002 Suzanne HUTTON Rob STEWART 2001 Anna LIEBZEIT Gali WEISS
2000 Louise DONOVAN Andrew SINCLAIR Natalie WEBSTER 1999 Anita BRAGGE Frank KIRALY 1998 Marieke DENCH Rebecca MAYO Esther THOMSON Celeste TRELOAR 1997 Andrew GUNNELL Soo HALLAMS Magdalena MORENO Catherine PILGRIM 1996 Jazmina CININAS Boyd KEATING Sarah MENELAUS Louise RIPPERT
Catalogue of artworks
Alexis Beckett Melbourne Souvenir 2010 Digital print with pencil drawing Edition: 6 Image size: 30 x 42 cm Paper size: 30 x 42 cm Justin CALEO in collaboration with Massimo Palombo
Anna CORBETT Harmony 2011 Collograph with chine collé Edition: 7 Image size: 20 x 20 m Paper size: 38 x 28 m
lei, lui, loro 2011 Lithograph Edition: 12 Image size: 38 x 28 cm Paper size: 48 x 38 cm
Mari Adams Artichoke Thistle 2010 Woodcut Edition: 5 Image size: 30 x 20 cm Paper size: 38 x 25 cm
Anita BRAGGE Draw Soap 2011 Drypoint etching Edition: 8 Image size: 28.5 x 37 cm Paper size: 28.5 x 37 cm
Elizabeth Barnett The Year of the Flood 2011 Etching with chine collé and stencil Edition: 12 Image size: 27 x 22 cm Paper size: 46 x 36 cm
Marieke DENCH Desire Lines in Red 2011 Silkscreen with relief print and hand cut incisions Edition: 20 Image size: 53 x 38 x 1.5 cm Paper size: 53 x 38 x 1.5 cm
Jazmina CININAS Micah is half of everything (else) 2011 Reduction linocut Edition: 20 Image size: 31 x 21.5 cm Paper size: 38 x 28 cm
Rhys BURNIE Spillage 2011 Lithograph Edition: 8 Image size: 16 x 22 cm Paper size: 28.5 x 38 cm
Louise DONOVAN Powlett Reserve 2011 Drypoint Edition: 4 Image size: 17.8 x 18 cm Paper size: 31 x 25.5 cm
Bridget FARMER Goldfinch 2011 Etching Edition: 10 Image size: 10.5 x 16.5 cm Paper size: 28 x 34 cm Kate HUDSON Cosmos and Red Jug 2011 Reduction linocut Edition: 22 Image size: 26 x 21 cm Paper size: 38 x 28 cm
Andrew GUNNELL Catchment 2011 Linocut with collage Unique State Image size: 32.5 x 28.5 cm Paper size: 32.5 x 28.5 cm Clare HUMPHRIES On a knife-edge 2011 Hand-burnished linocut Edition: 8 Image size: 31 x 43.5 cm Paper size: 31 x 43.5 cm
Greg HARRISON My words echo thus, in your mind 2011 Mezzotint Open edition Image size: 18 x 28 cm Paper size: 18 x 28 cm
Suzanne HUTTON What Lies Beneath 2011 Etching with aquatint and drypoint Unique State Image size: 49 x 36 cm Paper size: 49 x 36 cm
Chris INGHAM Wind him up and off he goes 2011 Lithograph Edition: 10 Image size: 29 x 17 cm Paper size: 38 x 28 cm
Georgia JANETZKI Untitled 2011 Lithograph with hand colouring and cast sterling silver stitched attachments Edition: 10 Image size: 13.5 x 21.5 cm Paper size: 28 x 38 cm
Alexi KEYWAN Replicas (abbreviated) 2011 Etching with aquatint and spit-bite Unique State Image size: 44 x 29 cm Paper size: 44 x 29 cm
Damon KOWARSKY Rollo 2011 Etching with aquatint Edition: 12 Image size: 26 x 25 cm Paper size: 43 x 33 cm
Rebecca MAYO Family Mistletoe Portraits – Landscape Series, Janet 1915-1995 [1 & 2] 2010 Screenprint and inkjet on glass Edition: 6 Image size: 16 x 24 cm Glass size: 16 x 24 cm Anna LIEBZEIT Magda 2010 Linocut with pencil and collaged antique wrapping paper. Unique state Image size: 34 x 26 cm Paper size: 34 x 26 cm
Eloise LINKLATER Multiplicity # 1 (detail) 2011 Unique State Etching with map pins Image size: 40 x 30 cm Paper size: 40 x 30 cm
13.4.13 After The Rush 2010 Etching Edition: 52 Image size: 19.7 x 12.8 cm Paper size: 25 x 25 cm
Justin McSHANE The River 2011 Photo-etching with aquatint, dry-point and chine-collé Edition of 20 Image size: 10 x 6.5 cm Paper size: 18 x 12 cm
Jon PATON Swift 2011 Woodcut Edition: 5 Image size: 32 x 32 cm Paper size: 41 x 41 cm
Jade MAHONEY Cruickshank Park 2011 Lithograph Edition: 44 Image size: 22 x 22 cm Paper size: 22 x 22 cm
Sarah MENELAUS James 2011 Etching Edition: 8 Image size: 30 x 20 cm Paper size: 38 x 28 cm
Catherine PILGRIM Untitled 2011 Stone lithograph Edition: 8 Image size: 38 x 28 cm Paper size: 38 x 28 cm
Louise RIPPERT Portrait of my Mother 2006 Collage with embossing, gouache, pencil and nylon thread Unique state Image size: 29.5 x 21 cm Paper size: 29.5 x 21 cm
Matthew ROBERTS Maquette 2011 Etching Edition: 30 Image size: 12.5 x 16 cm Paper size: 28 x 26 cm
Andrew SINCLAIR Rock pools Arnhem Land 2006 Etching Edition size: 17 Image size: 24.5 x 19.5 cm Paper size: 44 x 37 cm
Elaine Su Hui CHEW Plant Medicine Dreaming 2011 Monotype with watercolour and collage Edition: 1/1 Image size: 58.5 x 42 cm Paper size: 58.5 x 42 cm
Deb TAYLOR Untitled 2011 Monoprint Image size: 38 cm x 38 cm Paper size: 38 cm x 38 cm Deb Taylorâ&#x20AC;&#x2122;s work in this exhibition resulted from a project that was assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
Georgia THORPE Sol 2011 Woodcut with monotype Edition: 18 Image size: 26.5 x 35.5 cm Paper size: 26.5 x 35.5 cm
Mirjana VUK-NIKIC Twilight 2010 Linocut Edition: 12 Image size: 38 x 28 cm Paper size: 38 x 28 cm Jessica WONG The rapture 2011 Woodblock with gel pen Unique state Image size: 49 x 17 cm
Gali WEISS Life Drawing 2011 Photocopy transfer Unique state Image size: 38 x 28 cm Paper size: 38 x 28 cm
Kate ZIZYS Buy More Stuff Kid 2009 Etching Edition: 5 Image size: 15 x 10 cm Paper size: 15 x 10 cm
Deb TATE Neighbours 2011 Lithograph Edition: 3 Image size: 25 x 38 cm Paper size: 25 x 38 cm
Cherie WINTER chree (in great distress) 2011 Monotype Image size: 45.5 x 36.5 cm Paper size: 45.5 x 36.5 cm
All measurements are height before width
Acknowledgements On behalf of Australian Print Workshop and all of the Artists who have been recipients of Australian Print Workshop Collie Print Trust Scholarships for Emerging Victorian Printmakers, I would like to thank The Collie Print Trust and ANZ Trustees for their ongoing commitment and generous assistance of this ground-breaking program that has provided key support to a generation of Victoria’s most promising early career artists. I would personally like to thank Mr Colin Lewis, Chairman of The Collie Print Trust for his continued support and encouragement and ANZ Trustees Philanthropy Managers Robyn Charlwood and Teresa Zolnierkiewicz for their guidance and belief in APW’s mission. APW’s appreciation is extended to all of the Scholarship recipients, who have ensured the overwhelming success of this program. APW thanks them for their participation and for their dedication to the art of printmaking. In particular, I would like to thank the forty-one Artists represented in Scholarships Exposed: Where are they now?, who have all contributed text for this publication and in many cases have produced new work specifically for this exhibition. APW Gallery Manager Jackie Hocking is to be congratulated for her coordination of this project. Her ‘detective-like’ efforts in tracking down the whereabouts of past Scholarship recipients resulted in locating many Artists that APW had lost contact with over the years; a correspondence trail that took APW from Fitzroy, Melbourne to destinations around Australia and overseas. Remarkably, all of the Artists contacted willingly agreed to participate in this project, and all of their artworks arrived at APW in time for the exhibition installation, including those that had made the long journey from other parts of the globe; a testament to Jackie’s organisational and communication skills. APW staff members Chris Ingham, Martin King, Eliza Turnbull and Simon White are also to be acknowledged and thanked for their contribution to this project. Their collective efforts have ensured that this project is a major celebration of printmaking to help mark APW’s 30th Anniversary. Anne Virgo Director Australian Print Workshop
Australian Print Workshop 210 Gertrude Street, Fitzroy, Victoria 3065 PO Box 1236, Collingwood, Victoria 3066 Telephone 03 9419 5466 firstname.lastname@example.org www.australianprintworkshop.com Gallery hours: Tuesday to Saturday 10am–5pm Australian Print Workshop gratefully acknowledges the generous and ongoing support of The Collie Print Trust which is managed by ANZ Trustees and the Victorian Government through Arts Victoria.
Published on the occasion of the exhibition Scholarships Exposed: Where are they now? APW Collie Print Trust Scholarships for Emerging Victorian Printmakers held at Australian Print Workshop Gallery, Melbourne 24 September â&#x20AC;&#x201C; 12 November 2011 ISBN 978-0-9871923-0-1 Published by Australian Print Workshop Inc, Melbourne, Australia, 2011 First printed in an edition of 1,500 ÂŠ Australian Print Workshop Incorporated and the Artists, 2011 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical (including photocopy, recording or any information storage and retrieval systems), without permission in writing from the publisher. Compiled & Edited by Catalogue Design Artwork Photography Pre-press & Printing
Jackie Hocking & Anne Virgo Kerry Aker, Desktop Skills Supplied by the Artists Kosdown Printing Company Pty Ltd
Cover Image: Sarah Menelaus (Scholarship recipient in 1996) working on a lithograph in the APW Access Studio
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