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

 

An interview with Trent Walter

In your opinion what is so good about Printmaking and in particular etching?

The ability to make multiples and surfaces that are not possible in any other medium are the strengths of printmaking that I am drawn to. Etching is the most emotional of printmaking techniques. The depth of colour and mark making are qualities that cannot be reproduced any other way.

Can you give us a little bit of background about how you got involved in printmaking and what led you to become so well respected in the Australian print community?

I first tried printmaking at University of Melbourne in 1998. Soon after I had quit my enrolled course to take up Fine Art printmaking at Victorian College of the Arts. What got me hooked was the transformation of information from matrix to paper as both objects passed through the rollers of the press. Over time my relationship to printmaking has become more complex, though I have persisted and gain much joy from this engagement.

What are the top 3 things that an artist should know in order to be a successful Printmaker?

Be persistent, patient and open to what the medium may suggest.

What’s the best way to get started?

With enthusiasm!

How long does it take to really become proficient at what you teach?

There is no single answer to this question: there is always something new to learn and think about. When it comes to printing, I’d say that after 3 years of art school I could print a hard ground etching pretty well while many other processes felt foreign to me. After 13 years of regular engagement, I do feel proficient in one sense, though on another level I feel like I’m just starting to get past the surface I scratched several years ago. In terms of the content of the workshop I will run in Townsville, 3 days will be enough to get participants started!

Will your techniques and processes work in a humid climate?

For the benefit of the workshop participants I certainly hope so! Though I lived in Darwin in 2006 and understand the challenges of printmaking in northern Australia. For Townsville printmakers coming south I imagine there could be the same difficulties, though in reverse.

How much experience in printmaking does an artist need to attend your workshop?

None whatsoever.

If you had one secret to give about Etching, what would it be?

Degreasing your plate well is the key.

What are some of the common problems that printmakers experience in etching combined with book arts?

How to deal with the plate mark when your etching plate is smaller than your page size + the transfer of ink from an etching on the recto page to the opposite verso page.

Where can people find more information about your professional practice?

www.negativepress.com.au

https://www.facebook.com/pages/Negative-Press/420916147954083

What have been the benefits to your professional development to be an artist in residence?

The engagement with another community and the opportunity to spend time making my own work.

What tips can you give about applying to be an artist in residence?

Be true to your own work when making your application. i.e. be sure to apply to venues that could benefit your work rather than somewhere that might be nice for a holiday.