Wanderlust: PressNorth Printmakers exhibition

Wanderlust2

The President, Jo Lankester, accompanied Angela Cheung from Umbrella Studio to Brisbane to help with the installation and speak at the opening launch of Wanderlust, an exhibition by PressNorth Printmakers at the Judith Wright Centre, Brisbane.
The project was a collaboration between PressNorth Printmakers, Umbrella Studio of Contemporary Arts, Flying Arts Alliance and the Judith Wright Centre of Contemporary Arts. The Wanderlust exhibition comprises 27 framed prints by 21 members of PressNorth Printmakers.
The trip to Brisbane was a unique professional development opportunity for both Angela Cheung and Jo Lankester to work with Ben Werner, an industry leader of exhibition installation in Queensland. Ben lead a team of staff and volunteers from both Flying Arts and the Judith Wright Centre at a cracking pace to produce an elegant finish.
Wanderlust is displayed in a converted performing arts theatre at the Judith Wright Centre and has large windows leading directly onto Brunswick St offering passers by a glimpse of the exhibition 24hrs a day. The walls are painted a dramatic black and with the use of barn lights to frame each print individually they have created an amazing visual effect, you are not aware of anything else in the gallery space but the artwork.
The exhibition was officially opened by Judy Watson at the Judith Wright Centre, Brisbane, on the evening of Tuesday 21 October 2014. Flying Arts CEO, Stephen Clarke kicked off the proceedings speaking about the collaboration between the three arts organisations, PressNorth Printmakers, Umbrella Studio contemporary arts and Flying Arts. Jo Lankester was invited to speak after Judy Watson about PressNorth Printmakers. In her speech she highlighted the importance of working in partnership with arts organisations in our region and beyond. PressNorth Printmakers do not have a headquarters to call home, relying on working in partnership to hold exhibitions and run workshops for our members.
Read about Angela Cheung’s experience of installing Wanderlust is Brisbane: www.umbrella.org.au/blog

Congratulations to our artists who sold framed works during the exhibition at the Judith Write Centre, 4 works sold in total to a new audience outside Townsville. Thanks to Townsville City Council for your financial support through the Grants of Excellence in the Cultural Development, assisting with costs for Jo Lankester to travel to Brisbane and speak at the opening launch.

Workshops conducted as part of PressNorth Professional Development Program

The four workshops conducted as part of the Professional Development program were completed in May this year. Below is a brief description of each workshop. Needless to say the opportunity to spend a few days with these amazing artists was unique and much appreciated by the participants.

Workshop Review: Peter Lancaster – Stone to Paper

Magic is the only word to describe the workshop I attended, facilitated by Peter Lancaster. So now when I hear “Philosopher’s stone” I think of him rather than the Harry Potter book by the same title. Peter and his assistant Eliza came to Townsville from Melbourne to teach us the fine art of Lithography – a printmaking technique using Bavarian limestone and old-fashioned chemistry (Science and art DO mix!).

Mr Lancaster (the wizard) taught us the basic principles of lithography: How the stone becomes receptive or repellent to either water or ink depending on the information you lay on the stone. This was the first time I’d heard of a drawing as “information” and it made a lot of sense to me – you slowly build up the information on a stone until it becomes a picture or whatever it is you’re printing. Mr Lancaster then showed us techniques with different drawing materials, and how to remove information from the stone with razors, sandpaper and some other secret wizarding tools. He shared with the group tips and tricks for mixing stone-processing solutions in easy dispenser bottles, and how he identifies sponges used for different steps. It was amusing to watch him communicate to his assistant without words: He would often just squeeze his hand to indicate when we wanted a sponge or make other gestures.

At one stage he let me learn from a mistake: While rolling ink on the stone it, it became too dry. Ink started getting into places it shouldn’t! I worried and everyone watched to see what would happen. Mr Lancaster said to me “You know what’s wrong, so how do you fix it?” and I said “It needs water!” but I hesitated as I wasn’t 100% sure. He left me hanging for a few seconds before agreeing and we saved my image with a wipe down of water.

By the end of the workshop, I had produced my best lithograph to date. I was so grateful to have their tutelage and for them sharing their skills with our group.

Written by Alan Junior, Photograph by Jo Lankester

 

Workshop Review: G.W.Bot: A life with linos

“Creativity is an act of uncertainty- the image is not done until it is created, so take the plunge, take a risk, find your own TOUCH and just do it.” (G.W.Bot)

Conversing with G.W. Bot throughout the workshop gave us an insight into how her art reflects her philosophical approach to life.  She said “Print of each other’s DNA”…”my stories, my space; I am the artist”. We were encouraged to see linocut as an extension of drawing.  G.W.Bot started the workshop with a conversation about the different “degrees of touch”, referring to the different marks that can be achieved on the lino using the same tools.  Each artist has their own touch: Matisse produced some simple linocuts that show the same line in different forms – harder pressure on the lino tool created a higher sound while softer pressure created a lower sound. This approach contrasted against Durer woodcuts that showed a more controlled realist approach.  Different approaches of mark making created different signatures of the artists.

G.W. encouraged students to work at their own pace, we could just spend the 3 days carving if wished or, as the majority of students did, carved 3 linocuts and printed non- stop……keeping G. W. on her toes for 3 days. She also encouraged us to experiment and let each print determine the next step. For me, I enjoyed the calm approach, first exploring dry embossing on previously printed images, a great technique with lots of potential for artist’s books. Second, I painted onto the lino with acrylic paint with a broad brush in a Motherwell/Tapies style and then carved the lino, a technique that created a more organic design.  I also used the soft and hard pressure applied to the roller and enjoyed the simplicity of hand rolling with the wooden rolling pin. Overall, the 3 days went fast and beautiful prints were produced, either as part of an ongoing process or as final.


Written by Karen Landt-Isley, photography by Umbrella Studio

 

Workshop Review: Trent Walter – The unique multiple image
 Respected printmaker, publisher and educator Trent Walter visited Townsville for a week long residency at Umbrella Studio. Part of his residency included an artist talk and a workshop with members ofPressNorth Printmakers. Trent is based in Melbourne where he runs the independent studio Negativepress. In his talk Trent presented first a summary of his work as a master printmaker collaborating with numerous other artists to produce prints. Then he gave us an insight into his own work as an artist. He spoke about his experiences as a senior printmaker in Singapore and went through many of the artists he has worked with and the images produced, all providing a springboard for learning the many possibilities of printmaking. Towards the end of his residency Trent taught an inspirational, enjoyable and productive three-day workshop. He guided us through a range of techniques including: print release using eucalyptus oil, water colour transfer from plastic to etching paper, stencil, reductive monotype using an inked plate, and spit bite aquatint, to demonstrate some of the rich diversity of ways of making marks in his unique multiple image approach to printmaking.Two artists books were finished with all artist participants contributing, and these will be shown at Perc Tucker gallery in the Dexterity exhibition in July. We extend a big thank you to Trent for a fantastic weekend.


Written by Jenny Terrey & Laura Castell

 

Workshop Review: Judy Watson: Drawing on the Stone

Over 3 days 12 workshop participants had the pleasure of attending a workshop with Judy Watson, the last of the artist residency/workshops that have been part of the RAF professional Development Program. Judy first taught lithography at Townsville TAFE and her mother Joyce was among her first students, so it was especially meaningful to have Joyce present at the workshop. Judy demonstrated on a small stone the various techniques to make marks, including drawing with litho pencils, litho crayons, rubbing crayons and the magical tusche washes. We spent the first day drawing our image, stopping for short discussions about techniques as the opportunities presented themselves throughout the day.  The next two days were spent on etching the stone and reworking the image as necessary. Judy used the stones she had worked on during her residency at Umbrella to demonstrate the various etching steps emphasizing all the time an intimate approach to letting the image guide the etching process. We saw how Judy went back to the image to rework some areas, add a transferred image and modify as necessary, ending up with quite a different image than that originally drawn. Finally, we had a collective stone where we all drew a small 12×12 cm image and printed it using a variety of colours, swapping the papers to get an overlap of images and discover the effects of combining colours and images while practising the inking and printing of the stone. The workshop was very inspiring and stimulating at many levels. We thank Judy and Joyce very much for the donation of some Lithography books to Townsville printmakers and for a wonderful time.

Written by Laura Castell, Photograph by Jo Lankester

These workshops were part of the PressNorth Professional Development Program funded by the Australian Government Arts Fund, which supports sustainable cultural development in regional, rural and remote Australia to give artists and communities better access to opportunities to practice and experience the arts. The program is delivered in partnership with Artslink Queensland. 

You are invited to Dexterity

19209Dexterity Exhibition opens at 12pm this Saturday at Perc Tucker Regional Gallery

Everyone is welcome to attend and below we have a schedule of events

12 – 12.30pm
Amber Church will introduce Jo Lankester to give a brief overview of the project and outcomes
Alan Junior as a representative of Umbrella Studio to talk about the highlights and benefits of the project for Umbrella Studio
Dexterity Artists to talk briefly about their either their artwork or participation in the project

The artist talks will be very informal 1-2 minutes each.

12.30pm – Jo Lankester Artist Talk, Cornerstone
1pm – Donna Foley Artist Talk, Lamina
1.30pm Refreshment
2pm – Gallery close for private critique for PressNorth Members

There is a private critique session planned for the end of the event at 2pm when the gallery closes. Please encourage members who are not exhibiting in Dexterity to bring a print a long to participate. Members attending are welcome to bring an additional image or include their Dexterity print as part of the critique.

We are looking forward to a fun celebration of post workshop.

‘The Art of Seeing’ Pen & Wash with Malcolm Carver

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Workshop in Townsville by well known artist Malcolm Carver, ‘The Art of Seeing’
August 22-25, 2014
Cost $150
If interested contact Gai Copeman at gaic1@bigpond.com
To know more about Malcolm carver, check his website http://www.carverstudio.com/

 

We used to call it sightseeing but more often today its snap snap, as tourists disgorge from a bus. Today, in reality, it’s apparent that there is lot less looking and even less seeing in travel.

Photography is a wonderful pursuit, yet sketching whilst travelling and taking it all in can be an even greater memorable event.

Open to all from beginners to proficient artists, this course will enlighten you to identify original subject matter, something special at home or abroad, to capture in a light and easy fresh style of sketching in pen and wash. Can be used whilst travelling to provide an excellent journal of your travels and interests.

Quote from a recent artist….. “For me, I feel that I have had my eyes opened! Without sounding ridiculous [after one week of watercolour classes,] I can’t believe how differently i am seeing my surrounds! I thought I was fairly observant but this is now driving me mad!!! I found today i just could not look at the garden or surrounding trees without looking at the pattern of light and then getting the insatiable urge to draw it and attempt to paint it! needless to say i took lots of photos, the children have not been fed properly all day and I want to give up my regular job to pursue this new passion! Tonight i went to pick tomatoes and eggplants for dinner and was waylaid for 30 mins taking photo’s because of the sheen on the veggies! ..we then had scrambled eggs for dinner, So thank you”

 

Judy Watson: Drawing on the Stone, Lithographic Workshop

Judy Watson

Judy Watson: Drawing on the Stone

Lithographic Workshop

 

This workshop aims to explore a range of drawing styles and mediums on lithographic stones, experimenting with the medium. Judy will work alongside the individual participants and suggest ways to translate your ideas and designs using these methods.

Drawing, composition, concepts and analysis of final works will be discussed.

 

Tusche washes, line drawings, tusche brush marks, rubbing ink, scratching back into the image, blocking out the image, transfer, monoprint techniques, crayon work, splatter and spray techniques will be demonstrated.

 

Printing techniques including chine colle’, multi-colour printing and registration may be used.

 

An all-inclusive print

In addition to you will be learning about Overlays and Colour Registration. On a large stone, each workshop participant is invited to do a small image that builds up to one image, hand inked in a different colour and run through at once, changing the small pieces of paper around so that each participant finally receives all the colours and a complete collaborative print to take home.

 

A note to participants: Please wear enclosed shoes, bring some source materials to the workshop. These could be examples of your own work, newspaper/magazine cuttings that take your interest, drawings etc. The stones will be pre-grained and gummed ready for the workshop. Two participants working to one stone, image size 22 x 32cm each.

 

Dates: 7th, 8th & 9th June 2014 (Public Holiday Monday 9th June)

Time: 9.am-4.30pm Sat, Sun & Monday

Location: Umbrella print Studio- entry via rear access (Enclosed shoes must be worn at all times)

Cost: PressNorth Printmakers members $140 non-members $180

All materials supplied

Biography

Judy Watson is an Indigenous artist whose matrilineal family is from country in north-west Queensland. She co-represented Australia in the 1997 Venice Biennale, was awarded the Moët & Chandon Fellowship in 1995, the National Gallery of Victoria’s Clemenger Award in 2006 and, in the same year, the Works on Paper Award at the 23rd National Aboriginal and Torres Strait Islander Award. In 2011 her exhibition waterline was exhibited at the Embassy of Australia, Washington, DC. Her work is held in major Australian and international collections including the National Gallery of Australia and all of the Australian State Art Galleries, Taipei Fine Arts Museum, St Louis Art Museum and USA, and British Museum, London as well as important private collections. She has exhibited widely over the past twenty years.

 

A major survey of works made from 1989-2003 was exhibited at the John Curtin Gallery, Curtin University, W.A. in 2003 and at the Institute of Modern Art Brisbane in 2004. A version of sacred ground, beating heart was toured by Asialink in 2004 Vietnam, Sri Lanka and the Philippines. It was also exhibited at the University of Queensland Art Museum, Brisbane and toured regional venues in Australia

 

She has received major public art commissions including wurreka (2000) a fifty metre etched zinc wall for the Melbourne Museum; walama forecourt (2000), a sculptural installation of woven steel screens and upturned bronze dilly bags at Sydney International Airport; ngarrn-gi land/law (2002), a fifty metre etched zinc wall at the Victorian County Court, Melbourne; heart/land/river (2004,) a large photographic and light piece on glass, installed in the foyer of the new Brisbane Magistrates Court; fire and water (2007), a bronze, granite, steel, reeds and sound piece installed at Reconciliation Place, Canberra. She is one of eight Indigenous artists commissioned to make work for the new Musée du Quai Branly in Paris (2006). In 2011 Watson designed a wall for the Queensland Institute of Medical Research.

 

In 2009 Watson was the University of Queensland’s artist-in-residence at the University’s Research Station on Heron Island. The residency resulted in an exhibition at The University of Queensland Art Museum in October 2010. The artist’s first major suite of etchings heron island suite was produced in 2009/2010 and was jointly published by the artist and grahame galleries + editions in Brisbane.

 

Images from heron island suite were used in the design of Judy Watson’s artwork on the exterior of the Tilt Train, which made its inaugural journey from Brisbane to Cairns on Friday 6 May 2011.

 

A new suite of etchings experimental beds will be released in February 2012.

 

Judy Watson blood language, a monograph by Judy Watson and Louise Martin-Chew, was published by The Miegunyah Press, Melbourne University Publishing in 2009.

 

Judy Watson is currently Adjunct Professor, Queensland College of Art, Griffith University.

 

Bookings Essential: email pressnorthnq@gmail.com Subject line: Att. Jo Lankester- Judy Watson workshop

Ph: Jo Lankester 0400626313

Trent Walter Workshop: The Unique Multiple Image

Trent-Promo-Image

This workshop aims to explore a multifaceted approach to image making through monotype print processes. While each impression will be unique, multiple processes will be explored on the same sheet of paper to create a complex set of relations in the picture plane. Using both the litho and etching presses at Umbrella Studios, participants will engage with image transfer, rubbings, and monotypes from metal and plastic plates. The results will combine the painterly with the graphic in an exploration of the contemporary print.

A note to participants: Please bring some source materials to the workshop. These could be examples of your own work, newspaper/magazine cuttings that take your interest, collage elements, drawings etc. Various coloured etching inks, watercolours and roller if you have them. Enclosed shoes must be worn at all times.

Materials supplied: Paper, Copper, Plastic Etching Plates, Newsprint, A variety of coloured etching Inks

Biography
Trent Walter is a printmaker, publisher and educator. In 2009 Walter launched Negative Press, a publisher of limited edition fine art prints and a custom printing workshop for artists specialising in intaglio, relief and stencil techniques. Negative Press launched its first publication of Rose Nolan’s You See What I’m Saying (twice over print version) at Monash University Museum of Art in November 2012. Forthcoming publications include works by Emily Floyd, Stuart Ringholt and Laith McGregor. Walter lectures in Printmedia at Monash University, specifically artist’s books. He has given guest lectures at Seika University, Kyoto and Victorian College of the Arts, Melbourne, as well as delivering practical printmaking workshops at Singapore Tyler Print Institute, Singapore.

Dates/Times: Friday 25 & Saturday 26 April 9am-4.30pm, Sunday 27 April 9am-3pm
Location: 
Umbrella Studio Downstairs – entry via rear access on Ogden Street

Cost: PressNorth Printmakers members $140 non-members $180
To become a member of PressNorth Printmakers:www.pressnorthprintmakers.com

If you are interested in registering, bookings are essential:
Email pressnorthnq@gmail.com Subject line: Att. Jo Lankester – Trent Walter workshop

 

G.W.Bot ‘A Life with Linos’ workshop

Residency Dates: 5 – 9 March 2014 | Workshop Dates: 2 – 4 March 2014

“Creativity is an act of uncertainty- the image is not done until it is created, so take the plunge, take a risk, find your own TOUCH and just do it.” (G.W.Bot)

Conversing with G.W. Bot throughout the workshop gave us an insight into how her art reflects her philosophical approach to life.  She said “Print of each other’s DNA”…”my stories, my space; I am the artist”. We were encouraged to see linocut as an extension of drawing.  G.W.Bot started the workshop with a conversation about the different “degrees of touch”, referring to the different marks that can be achieved on the lino using the same tools.  Each artist has their own touch: Matisse produced some simple linocuts that show the same line in different forms – harder pressure on the lino tool created a higher sound while softer pressure created a lower sound. This approach contrasted against Durer woodcuts that showed a more controlled realist approach.  Different approaches of mark making created different signatures of the artists.

G.W. encouraged students to work at their own pace, we could just spend the 3 days carving if wished or, as the majority of students did, carved 3 linocuts and printed non- stop……keeping G. W. on her toes for 3 days. She also encouraged us to experiment and let each print determine the next step. For me, I enjoyed the calm approach, first exploring dry embossing on previously printed images, a great technique with lots of potential for artist’s books. Second, I painted onto the lino with acrylic paint with a broad brush in a Motherwell/Tapies style and then carved the lino, a technique that created a more organic design.  I also used the soft and hard pressure applied to the roller and enjoyed the simplicity of hand rolling with the wooden rolling pin. Overall, the 3 days went fast and beautiful prints were produced, either as part of an ongoing process or as final.

Written by Karen Landt-Isley, photography by Jo Lankester & Umbrella Studio

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