Sydney Printmakers: In the Shade II

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in the

shade II Sydney Printmakers

September 5 - October 11, 2020

GLASSHOUSE PORT MACQUARIE

REGIONAL GALLERY


Introduction It is with great pleasure to present In the Shade II by Sydney Printmakers.

Sydney Printmakers have a reputation for excellence in printmaking, a testament to the collective abilities of its members. The group has continually engaged with the national and international print communities through exhibitions, collaborations and exchanges. Forming nearly sixty years ago, Sydney Printmakers continue to evolve in a contemporary art context. This exhibition continues the Glasshouse Regional Gallery commitment to supporting Australian contemporary artists by presenting quality artistic experiences for our community and visitors to our region. I would like to sincerely thank all of the exhibiting members for sharing this outstanding collection of work.

Bridget Purtill Gallery Curator Glasshouse Regional Gallery

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In The Shade II Sydney Printmakers

Anna Russell, Night Shade, 2018. Stained paper, encaustic, etching & linocut, unique work, 90 x 41cm

In the Shade II exhibition explores forty-one artists’ ideas around the concept of living in a hot and changing climate. Using both traditional and contemporary forms of printmaking each artist drawing from a variety of angles within this theme.


Angus Fisher, Collection Tray No. 23, 2019. Multiplate etching, edition of 15 + AP, 30 x 30cm

Laura Stark, Into the Shade I, 2018. Collagraph and transfer monotype, 40 x 50 x 30cm

Thea Weiss, New York Memories I, 2011. Etching, edition of 3, 76 x 56cm

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In The Shade II Sydney Printmakers

As shadows lengthen... Shade is a nuanced word, shadow, a nuanced phenomenon. Shade can refer to subtle shifts in colour, tone, or meaning; shade from sunlight can bring welcome relief or unwelcome chill. Shadows are insubstantial, simply a lack of light, without physical form and fleeting in nature. Shadow can also infer a threat or a place of refuge. How does this assist us to approach this exhibition, In the Shade II? Somewhat lyrically, part of the answer springs from a residency that Janet Parker-Smith undertook at Umbrella Studios in Townsville. It was there, in conversation with Umbrella Studio artists that the idea of an exhibition with Sydney Printmakers was conceived. And it was there that In the Shade was first exhibited. The exhibition was initially assembled in response to the concept of living in a hot climate. From this kernel, forty-one artists developed their ideas around the social, architectural, environmental or poetic dimensions of dwelling in the heat. Some artists depict figures responding to blinding heat, people seeking shade as respite from the sun, others react to a built environment that provides shelter (adequate or otherwise) from searing heat, while others reflect on the impact of steadily rising global temperatures on the natural environment.


Marta Romer, Another Hot Summer, 2020. Archival inkjet print, AP, edition of 10, 30 x 40cm

Anthea Boesenberg, 1000 Days: Light and Shadow, 2019. Acrylic tube and base, burnt paper, variable

Michael Kempson, Home and Away, 2019. Etching and aquatint, edition of 25. 50 x 70.5cm

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In The Shade II Sydney Printmakers

Artists also explore the aesthetics of shadow as a play of light and dark, sometimes subtly, sometimes with great starkness. One artist observes the phenomenon of passing clouds as the instrument of shadow, while others experience the temporal aspect of light changing across the passage of a day, in their studio or in the world beyond. There are hints too of the metaphysical implications of lightness and darkness. Printmaking, historically a black and white medium, is particularly suited to this theme. The moody aquatints of intaglio, the dark tusche washes of lithography and the broad inked areas of relief prints, (all of which are in evidence in this exhibition) provide the darks against which soft greys and warm whites can radiate.

Contemporary printmaking extends these traditional techniques and this exhibition evidences the full breadth of contemporary practice: digitally derived images, prints on ceramic forms, prints as objects, prints on fabric, sewn prints, hand-coloured prints and mixed media prints. Sasha Grishin, writing in support of their fiftieth birthday in 2011, describes Sydney Printmakers as ‘a unique phenomenon in Australian art with few parallels anywhere in the world’.1 He analyses the particular circumstances in Sydney at the time that led a group of artists to make a commitment to band together in support of their beloved discipline of printmaking. Sydney Printmakers’ webpage


Ben Rak, No Way (Manly/Manus), 2015. Acrylic & silkscreen on cotton, unique piece, 120 x 200cm

outlines the history of the organisation and the many distinguished artists who have contributed to its reputation. Since 1960, Sydney Printmakers have regularly exhibited together in venues across Australia and internationally, including in Canada, Chile, China, Japan, New Zealand, and Norway. A formidable achievement. Currently consisting of sixty ‘paidup-meeting-attending’ members, this incorporated organisation counts among its number recent graduates and artists new to

Anne Starling, Atomic Playground, 2016. Linocut, woodblock, intaglio relief, edition of 7, 108 x 80.5cm

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In The Shade II Sydney Printmakers


Angela Hayson, Broadmere Station, Northern Territory (Guardian series), 2018. Mounted multiple woodblock print on kozo; edition of 15 + 3 unique states, 50 x 170cm

Nina Juniper, Framework Construction I, 2020. Screenprint on Fabriano Artistico, edition of 3, 56 x 76cm

Max Gosling, Onion Catching, 2019. Etching and aquatint, edition of 10 + 1 AP, 32 x 36cm

printmaking alongside many of Sydney’s bestknown and long established printmakers. The group continues to cohere because it delivers for all: exhibition opportunities, supportive colleagues, friendships, and professional development opportunities. This is a community with a shared love of printmaking, speaking a language in common, but with sufficient maturity to accommodate difference. In the Shade began its life in Townsville in 2018. In the intervening period before its arrival in

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In The Shade II Sydney Printmakers

June this year as In the Shade II at Gallery Lane Cove, Sydney, and now at Glasshouse Regional Gallery, Port Macquarie, significant changes have occurred globally. The shadow cast by our global climate emergency lengthens and the world is convulsing under the impact of the COVID-19 pandemic. A number of artists have added new work in response to the incineration of vast tracts of the Australian landscape, the destruction of wildlife, and the loss of human life and livelihoods that occurred in the catastrophic bushfires of last summer. Few in Australia were unaffected, whether we found ourselves directly threatened by fire, whether

we endured weeks of smoke-filled air across the country, or whether we simply read and watched the horrors and the destruction that saturated our daily media. As an audience we are changed. We perhaps recognise more easily the urgency in these works, we certainly see the predominance of environmental concerns that underpin


Susan Baran, Troubled Waters - the Darling River, 2020. Photo polymer intaglio, hand coloured, edition of 8, 41 x 90cm

Wendy Stokes, Punctuated Silence I, 2020. Multiple woodblock, monoprint, unique state, 71 x 150cm

Bernhardine Mueller, All the Rivers Run? 2018. Etching relief and emboss

the exhibition. How do we now read a work that is perforated by hundreds of tiny burnt holes, a delicate, fragile object unable to sustain further damage, and that introduces a fractured shadow into the exhibition space? A remnant of the fires? A harbinger of our impermanent presence here, our uncertain future? I wonder too if we can draw a parallel between the strength of community that has

emerged in the face of recent calamity, and the sense of community that has sustained Sydney Printmakers for almost sixty years. In the Shade now appears an unwittingly prescient title. Jan Davis

1 Sasha Grishin, ‘Sydney Printmakers: fifty years on’ in Hot Off the Press: new directions, Sydney Printmakers celebrating 50 years, Manly Art Gallery and Museum,

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In The Shade II Sydney Printmakers

Sydney 2011.


Salvatore Gerardi, Shadowlines; Lake Cathie, 2020. Carborundum and relief, 82 x 85cm

Evan Pank, Endless Summer, 2020. Screenprint, smoke flares, 71 x 108cm

Denise Schulz-Wulfing, Australia Day on the Lachlan River (1st State), 2018. Etching, 22 x 64cm Australia Day on the Lachlan River (Final State), 2018. Etching, 22 x 64cm

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In The Shade II Sydney Printmakers

Rew Hanks, Napoleon in Exile, 2019. Linocut, Edition of 50, 106 x 75cm


9 In The Shade II Sydney Printmakers Graham Marchant, Poppy silouette at night, 2014-2016. Lino cut, 100 x 70cm

Anne Smith, Grose Valley After The Bushfires, 2019. Etching, aquatint, hand coloured, edition of 30, 25 x 30cm

Olwen Evans Wilson, From Sunlight to Darkness and Fire, 2018 & 2020. Woodcut serigraph, linoprint, unique state, 120 x 22cm

Helen Mueller, Roots 3, 2018. Woodblock prints, emboss, Edition of 3 + 1 AP, 117 x 84cm

Janet Parker Smith, Enlightened, 2018-2019. Screenprint with flocking and aplique, unique state, 120 x 80cm


List of works Rod Armstrong,

Nathalie Hartog-Gautier,

Thirst #5, 2018. Polymer plate intaglio, chine-colle, 38 x 57cm

Riddle 1 -15, 2018-2019. Collage and relief print on artist made paper, 27 x 21cm each

Tina Barahanos, Notations Landscape No. 5, 2018. Archival pigment print on Arche Museum velin rag, edition of 10, 66 x 100cm. Susan Baran, Troubled Waters - the Darling River, 2020. Photo polymer intaglio, hand coloured, edition of 8, 41 x 90cm Anthea Boesenberg, Inside Looking Out, 2019. Woodcut, 78 x 61cm 1000 Days: Light and Shadow, 2019. Acrylic tube and base, burnt paper, variable Rafael Butron, Storm, 2020. Aquatint intaglio, edition of 3, 54 x 79.5cm Seong Cho, Australian Rhapsody II, 2020. Woodblock print, 38 x 123cm Neilton Clarke,

Angela Hayson, Broadmere Station, Northern Territory (Guardian series), 2018. Mounted multiple woodblock print on kozo; edition of 15 + 3 unique states, 50 x 170cm Nina Juniper, Framework Construction I, 2020. Screenprint on Fabriano Artistico, edition of 3, 56 x 76cm Framework Construction II, 2020. Screenprint on Fabriano Artistico, edition of 3, 56 x 76cm Roslyn Kean, My Studio Shadows I, 2017. Multi-block woodcut, edition of 3, 75 x 50.5cm Michael Kempson, Home and Away, 2019. Etching and aquatint, edition of 25, 50 x 70.5cm George LoGrasso,

Tamayama Slip, 2020. Woodblock print, embossing, collage, 38 x 57cm

Wreck of the Maheno One of Many, 2020. Etching and lithograph, edition of 4 + 1 AP, 56 x 76cm

Danielle Creenaune,

Beach Hold Down, 2019. Lithograph, edition of 5, 28 x 38cm

The Source, 2017. Mokulito, wood intaglio, triptych, edition of 7, 91 x 180cm

Graham Marchant,

L’Ombra (the shadow), 2019. Mokulito, chine-colle, edition of 4, 62 x 36cm

Cranford Rose Garden, Brooklyn, 2014-2016. Lino cut, 100 x 70cm

Tanya Crothers,

Bobloli Gardens, Florence, 2016-2018. Lino cut, 100 x 70cm

Shade and Shadows, 2012. Collograph with hand colour, series of 5 unique states, 50 x 75cm

Poppy silouette at night, 2014-2016. Lino cut, 100 x 70cm

Barbara Davidson,

Seeking Habitat, 2020. Drypint etching, edition of 6, 60 x 45cm

Sound of Music Fortissimo, 2017. Etching and collage, 49 x 70cm.

Seraphina Martin, Bernhardine Mueller,

Angus Fisher,

All the Rivers Run? 2018. Etching relief and emboss

Collection Tray No. 23, 2019. Multiplate etching, edition of 15 + AP, 30 x 30cm

Helen Mueller,

Salvatore Gerardi,

Roots 3, 2018. Woodblock prints, emboss, edition of 3 + 1 AP, 117 x 84cm

Shadowlines; Lake Cathie, 2020. Carborundum and relief, 82 x 85cm

Evan Pank,

Max Gosling,

Endless Summer, 2020. Screenprint, smoke flares, 71 x 108cm

Onion Catching, 2019. Etching and aquatint, edition of 10 + 1 AP, 32 x 36cm

Ben Rak,

Rew Hanks,

No Way (Manly/Manus), 2015. Acrylic & silkscreen on cotton, unique piece, 120 x 200cm

Napoleon in Exile, 2019. Linocut, edition of 50, 106 x 75cm

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In The Shade II Sydney Printmakers


Sandi Rigby,

Laura Stark,

Central Highlands I, 2018. Etching, 12 x 12cm

Escarpment I, 2016-2020. Collagraph, edition of 3, 20 x 37.5cm

Central Highlands II, 2018. Etching, 12 x 12cm

Escarpment II, 2016-2020. Collagraph, edition of 3, 20 x 37.5cm

Looking Up Rainforest SW. TAS, 2018. Etching, 12 x 12cm

Escarpment III, 2016-2020. Collagraph, edition of 3, 20 x 37.5cm

Marta Romer,

Into the Shade I, 2018. Collagraph and transfer monotype, 40 x 50 x 30cm

Hot Summer, 2020. Archival inkjet print, AP, edition of 10, 40 x 30cm

Coastline 1, 2019. Monotype, collagraph and collage, 28.5 x 38cm

Another Hot Summer, 2020. Archival inkjet print, AP, edition of 10. 30 x 40cm

Coastline 2, 2019. Monotype, collagraph and collage, 28.5 x 38cm

In the Shade, 2018. Archival inkjet print, AP, edition of 10, 43 x 28cm

Coastline 3, 2019. Monotype, collagraph and collage, 28.5 x 38cm

Susan Rushforth,

Anne Starling,

Passing Clouds V, 2020. Woodblock, pigments, handmade Japanese kozo, 36 x 70cm

Atomic Playground, 2016. Linocut, woodblock, intaglio relief, edition of 7, 108 x 80.5cm

Anna Russell,

Wendy Stokes,

Shuttered, 2018. Stained paper, encaustic, etching & collagraph, unique work, 47 x 42cm

Punctuated Silence I, 2020. Multiple woodblock, monoprint, unique state, 71 x 150cm

Shaping Shade, 2018. Stained paper, encaustic, etching & linocut, unique work, 56 x 76cm

Madeleine Tuckfield-Carrano,

Night Shade, 2018. Stained paper, encaustic, etching & linocut, unique work, 90 x 41cm Gary Shinfield, Escarpment 1, 2020. Lino print on Chinese paper, 139 x 79cm Denise Schulz-Wulfing, Australia Day on the Lachlan River (1st State), 2018. Etching, 22 x 64cm Australia Day on the Lachlan River (Final State), 2018. Etching, 22 x 64cm Anne Smith, Grose Valley After The Bushfires, 2019. Etching, aquatint, hand coloured, edition of 30, 25 x 30cm Janet Parker Smith, As far as the eye can see, 2018. Etched copper, unique state, 33 x 22 x 3cm Enlightened, 2018-2019. Screenprint with flocking and aplique, unique state, 120 x 80cm Enlightened No. 2, 2018. Etched copper, unique state, 25 x 39 x 3cm

Folded clouds and rain, 2020. Combined print processes and machine stitching, 56 x 76cm Robyn Waghorn, No Boundaries, 2019. Multiple print processes, hand writing, chine-colle, burnt overlay, 15 x 46cm No Boundaries II, 2019. Multiple print processes, hand writing, chine-colle, burnt overlay, 15 x 46cm No Boundaries III, 2019. Multiple print processes, hand writing, chine-colle, burnt overlay, 15 x 46cm No Boundaries IV, 2019. Multiple print processes, hand writing, chine-colle, burnt overlay, 15 x 46cm Thea Weiss, New York Memories I, 2011. Etching, edition of 3, 76 x 56cm Olwen Evans Wilson, From Sunlight to Darkness and Fire, 2018 & 2020. Woodcut serigraph, linoprint, unique state, 120 x 22cm Cheryle Yin-Lo, Thirty Six Degree Hike at Sassafrass, 2020. Digital print on archival paper, Edition of 3. 29 x 47cm Sharon Zwi, Palimpsest in the Shade, 2020. Archival pigment print, Edition of 25 + 2 AP. 84 x 60cm

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In The Shade II Sydney Printmakers


Nathalie Hartog-Gautier, Riddle 1 -15, 2018-2019. Collage and relief print on artist made paper, 27 x 21cm each

Gallery Curator: Bridget Purtill

Images courtesy of the artists

Graphic Design: Marie Taylor

Cover image: Rod Armstrong, Thirst #5, 2018. Polymer plate intaglio, chine-colle, 38 x 57cm

Catalogue Printing: Chrysalis Printing Text Copyright: Bridget Purtill & Jan Davis

Photography: Jane Allen Š Glasshouse Regional Gallery 2020

Cnr Clarence & Hay Streets Port Macquarie 02 6581 8888 info@glasshouse.org.au glasshouse.org.au

In The Shade II: Sydney Printmakers On View: September 5 - October 11, 2020 This publication is copyright. Apart from fair dealing for the purposes of research, study or as otherwise permitted under the Copyright Act, no part may be reproduced by any process without permission.

Government Sponsors The Glasshouse is supported by the NSW Government through Create NSW

Enquiries should be made to Glasshouse Regional Gallery. Special thanks to the Glasshouse team for all their efforts and collaborations to make this a successful exhibition. A Glasshouse Regional Gallery initiative. Printed on recycled paper

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