Lancaster Press “Between a Rock and Hard Place"

Between a rock and a hard place L i t h o g r a p h y at Lanc aster Press

Tony Ameneiro Rick Amor Sue Anderson Eolo Paul Bottaro Dean Bowen Godwin Bradbeer John Coburn David Frazer Kaye Green Rober t Hague Kristin Headlam Euan Heng Locust Jones Daniel Moynihan James Pasakos Jim Pavlidis Geoffrey Ricardo Annika Romeyn Louise Tomlinson Wayne Viney

collaboration = manifestation (the collaborative lithography experience) Lithography is the ideal medium for the collaborative process between artist and printer because the technical issues and artistic issues are reasonably separate. However a collaboration can be much more than the two elements working as separate concerns and can be a most exhilarating and rewarding experience for both artist and printer.

Collaborative lithography involves a printer and an artist working together to make a lithograph. The printer is responsible for preparing stones and/or plates onto which the artist draws the image. If the artist is unfamiliar with the lithographic process the printer also may need to demonstrate the use and effects of the various drawing materials available. While the artist draws on the stone or plate the printer will take note of the drawing materials the artist is using and how the particular artist uses the materials.

When the artist has completed the drawing the printer then processes the stone and proofs the image. This enables the artist to see the printed image for the first time and to make changes to the drawing if required.

From examining that first impression other assessments regarding the number of colours, paper type and size may also be discussed.

It is helpful if the artist has some understanding of the lithographic process (especially how the drawing materials work) and certainly the printer needs to be in tune with the creative endeavours of the artist. If the two combine well a collaboration is a perfect way to make a lithograph. It can be a challenge for the artist, especially when collaborating for the first time, because one does need to be fairly articulate and clear regarding the aims and intentions for the lithograph. The printer needs to be supportive and patient to deal with the inarticulate artist!

My first experience with the collaborative process was in 1980 at Tamarind Institute while I was undertaking a Master’s degree at the University of New Mexico in Albuquerque. I participated in a collaborative semester with the eight Tamarind printer students and suddenly found myself launching into unrestricted lithographic heaven. At first I felt awkward having stones grained for me, inks mixed and paper torn while I sat in the studio area drawing my next image. But I soon realised that while I loved creating the drawings, the printer students

were totally committed to the printing process and couldn’t wait for the next challenge. It was a most productive and exhilarating semester for us all.

I have had the experience of standing on the other side of the press when I printed for a number of artists including Euan Heng and Linda Marinon. While I enjoyed the process of being a collaborating printer I limited myself to just a few undertakings...I enjoy being on the other side of the press too much.

I have printed my own lithographs for over thirty years and while I do enjoy the process of creating and printing my own work, the experience of collaborating with Bill Lagattuta at Tamarind unleashed a whole new realm of possibilities for me. That experience whetted my appetite so much that I decided to start collaborating with the Australian version of Tamarind at Lancaster Press in Melbourne. Peter Lancaster, who trained at Tamarind, has excellent lithography facilities and is a perfect collaborating printer. Peter puts up with me having my coffee cup sitting precariously on the edge of the stone and spreading my things all around the studio. We very quickly established a perfect working realitonship.

I would love to return to Tamarind in a few years to see the brand new purpose built facilities in Albuquerque but in the meantime I will be making an annual pilgrimage to Melbourne, preparatory drawings under my arm, to work at Lancaster Press.

I would highly recommend the experience of collaborating with an expert and dedicated printer. – Kaye Green

Tony Ameneiro Large lily head lily 2011 76 x 56cm Printed from 4 aluminium ball grained plates

Rick Amor Grounded ship 2014 50 x 70cm. Printed from 1 stone

Sue Anderson Avalon 2015, 40 x 56cm Printed from 1 stone and 5 hand drawn drafting films exposed onto photo plates

Eolo Paul Bottaro Sunset city 2013, 38 x 55cm Printed from 1 stone and 2 hand drawn drafting films exposed onto photo plates

Dean Bowen Returning Comet 2011, 48 x 68cm Printed from 1 stone and 4 aluminium ball grained plates

Godwin Bradbeer Imago-Lith 1 2015, 76 x 56cm Printed from 1 stone (Maniere noir) and 4 hand drawn drafting films exposed onto photo plates

John Coburn Kimberley landscape 1999, 42 x 68 cm Printed from 2 stones and 3 aluminium ball grained plates

David Frazer Half way home (by day) 2009, 33 x 48cm Printed from 1 stone , 1 hand drawn drafting film exposed onto photo plate and 3 aluminium ball grained plates

Kaye Green The Dreamers 2011, 36 x 52cm Printed from 1 stone

Robert Hague Cook’s Landing 2015, 62 x 62cm Printed from 1 stone and 1 hand drawn drafting film exposed onto photo plate

Kristin Headlam Tea 2010, 56 x 76cm Printed from 1 stone and 3 aluminium ball grained plates

Euan Heng Signal not detected 2003, 24 x 21cm Printed from 1 stone and 3 aluminium ball grained plates

Locust Jones Ebola 2014, 56x76 cm Printed from 1 aluminium ball grained plate

Daniel Moynihan Tasmanian Tiger 1996 50 x 66cm Printed from 1 stone and 2 ball grained aluminium plates

James Pasakos Tides Out 1996, 19 x 22cm Printed from 1 stone and 4 aluminium ball grained plates

Jim Pavlidis Relic 2015, 70 x 100cm Printed from 1 stone

Geoffrey Ricardo The Nuptialists 2006, 24 x 26cm Printed from 5 hand drawn drafting films exposed onto photo plates

Annika Romeyn Ravine 2012, 76cm x 56cm Printed from 1 stone and 3 hand drawn drafting films exposed onto photo plates.

Louise Tomlinson Photographer 1999, 20 x 14cm Printed from 1 stone and 2 aluminium ball grained plates

Wayne Viney New Morning 2006, 26cm x 24cm Printed from 1 stone and 3 aluminium ball grained plates

Collaborating with Peter Lancaster Peter builds a suppor tive bridge for ar tists to confidently cross all the technical issues of lithography to maximise the extremely wonderful experience of drawing and painting on stone.

His enthusiasm and passion for the medium is infectious.

His knowledge and understanding of the process and his precise printing methods ensure that we always achieve the best outcome for the transformation of an ar twork to a lithograph.

I always feel privileged to work with Peter on ever y edition.

– Sue Anderson I would like to thank all of the ar tists with whom I’ve collaborated over the years. They have produced some fine lithographs and helped keep the medium alive.

– Peter Lancaster

Design: Jim Pavlidis This catalogue is copyright.

Apart from any fair dealing for the purposes of of private study, research, criticism, or review as permitted by the Copyright Act, no part may be reproduced by any other process without written permission.

Front cover image: Geoffrey Ricardo The Nuptialists (detail) Back cover image: Annika Romeyn Ravine (detail)