Posts Tagged ‘printmaking’

Bonsai and Monotype

April 21, 2016

eucumbene

Well I am well out of the habit of writing blog posts, but there are a couple of pieces of news to share, so I am back. The two things are related, and they have to do with monotype. Firstly, my work above, Eucumbene, is in a show at the moment at Megalo Print Studio & Gallery in Canberra.  The show is called Bonsai + Print and it is the culmination of a year long project which brought together five printmakers and five bonsai artists.  More about that shortly.  The other thing is that Megalo have asked me to present a monotype workshop next month (May 22 – see here for details). This will be just a one day workshop to keep it as a fun and easy thing to do.  We will probably concentrate on black and white images for this one, and then schedule a later class for working with multiple colours later.

bonsaianika

The Bonsai + Print show has been really well received with many people commenting on how different the gallery feels with the living (and quite spectacular) bonsai in the space.  The above shot shows a great bonsai Banksia by Mike and a large print by Annika Romeyn which also happens to be a monotype.  Mike was the bonsai artist who responded to my query as to if anyone had any dead bonsai they could give me.  I intended to slice them up and either make relief prints as they were, or use them for wood engravings.  The dead bonsai that I received fromMike were such interesting objects though, I got stuck on making drawings of them and later monotypes and still haven’t reached the stage of being ready to slice them up yet.  A prominent feature of bonsai is of course scale, with the plants looking like scale models of much larger trees, and so it just felt right to start printing the monotypes on some of my sizeable collection of old maps (that’s another story).  I started drawing the trees in an upright fashion, but with them being dead, and using the maps which seemed to emphasise land as something to be used and altered for industrial purposes (like the map used for Eucumbene, which is actually a blueprint used in planning some of the tunnels that make up the Snowy Hydro Scheme in the Australian Alps) I began to think about the loss of very old trees from many of our landscapes and other forms of degradation of nature, habitat and soil that have occurred, and so my tree forms became fallen.

You can see a review of the show here, and it will be on at Megalo until April 30.  Keep an eye on the Megalo Facebook page; it seems like a number of us will be giving an artist talk in the gallery at 2pm on the last day (Saturday April 30) but that’s not quite confirmed yet.

Collectables show – Maleny Printmakers

November 4, 2014

MPM

I’ve been busy making some new small works especially for the annual Maleny Printmakers Collectables show. For details see http://malenyprintmakers.com/ or www.facebook.com/malenyprintmakers

passing on the knowledge

May 3, 2014

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Weekend Workshops Coming up

One of my favoured printmaking techniques is of course wood engraving, the means of creating detailed graphic images which was once so commonplace it was used to illustrate everything from bibles to newspapers.  Technology has long since passed on from the days when commercial printing was done from hand carved blocks wood.  But there are a few of us around who love to preserve these archaic methods, while putting them into a contemporary context, and for me it is a pleasure to share what sometimes seems like forgotten knowledge.  So it is time again to offer some weekend workshops in wood engraving.  I am visiting Sydney at the moment, and will be sharing this technique with students at the National Art School, and while I am here I am also offering a weekend workshop in Newcastle hosted by the Newcastle Printmakers Workshop on May 17/18.  Click on the link for more info.  After I return to Queensland, I’ll be offering the same course in Brisbane, at the newly opened studios of Impress.  That will be 28/29 June.  I look forward to seeing you there.

New show opened

September 28, 2013

ITWinstall1

 

I’m feeling a bit exhausted so I wont write much just now, but In The Wilderness opened tonight at Glen Innes Art Gallery.  I lived in Glen Innes for six years and so it was very nice to come back and exhibit here again.  The last time I had a solo show here was 2008, so it’s been quite a while, and I’ve never shown in the purpose built Glen Innes Art Gallery, which I was on the founding committee  of back in the day when we were still trying to make it happen.  I’ll try and write some more soon, but for now just a couple more install shots from the centerpiece of the exhibition which was a series of nine monotypes (76x56cm).

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In The Wilderness

September 6, 2013

webinvite

chalkboard 002

August 16, 2013

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You will recall, that I made myself a new chalkboard way back last summer.  The idea of the chalkboard is that it is a way to ‘free up’ drawing practice.  By using such an inherently ephemeral medium, not intended to be kept as a finished ‘work’ takes away all sense of anxiety over how a proposed drawing might turn out.  Trouble is, this process does its job all too well and so I end up making a drawing I like and wish I could keep.  So, this drawing was made last summer, and has just now been washed off, but not before a new version has been produced as a woodcut.  A woodcut is of course a very different medium to a chalk drawing, and so off course they are quite different images.  To see the woodcut, you had better take yourself along to the next show at The Left Hand Gallery in Braidwood, NSW.  Open on weekends, 24/25 August, 31 Aug/1st Sept, 7/8 Sept.  As Julian Davies, the resident curator at The Left Hand says of relief prints, “Once something is sliced away it cannot be put back. This is way of making pictures that asks for daring and imagination.” So the antithesis of a chalkboard really.

 

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woodcuts, Dürer and the desperate man

June 13, 2013

durer

I’ve been looking at a lot of Albrecht Dürer images lately.  I acquired a secondhand book about Dürer recently, and I already had a book of the etchings and engravings.  One day I must get the companion book of the woodcuts.  I’ve also been able to see some of the woodcuts ‘in the flesh’ a couple of days ago, since the Queensland Art Gallery has the entire Apocalypse series, plus a few other woodcuts, on display at the moment. (on show until 21st July 2013).  Dürer is of course, one of the greats of Western art history.  Born in 1471 in Nurenburg, he was part of the great revolution in image making and distribution brought about by the development of the Gutenburg Press around 1450.  One of my favourite Dürer images is the one above, sometimes titled ‘The Desperate Man’, though Dürer himself gave it no title.  It is not a woodcut, but an etching done in iron plate, and possibly his first use of this medium which was in it’s infancy at the time.  So, with all this as background, and having just bought some ply wood with the intention of making some new woodcuts, and armed with the love of reversals and contradictions perhaps common to printmakers, I set about making a new work based on The Desperate Man.

woodcut1

So, in making a woodcut homage to one of Europe’s first great woodcut artists, I’ve chosen to base it on one of his etchings – a medium he seems to have made infrequent use of (there are many intaglio prints by Dürer – mostly engravings).  When I teach relief printing, I seem to end up talking a lot about ‘black line’ and ‘white line’, and indeed I thought about this again in making this print (and I wrote about black line way back here).  You see, when Dürer made woodcuts, along with those that followed for many many years, his designs were ‘black line’.  An image would be drawn on the wood in black ink, and then the negative spaces lowered by carving, so that the lines would be left in raised relief (and hence the term relief printing) where they would receive black ink to then be transferred to paper.  Lately I’ve been preferring to make images with a ‘white line’ approach, thinking of the marks made by the carving tools as positive white lines on a black ground, coalescing to create and image delineated in white lines.  This doesn’t alter the nature of the way the process works – it is still the raised areas that receive and transfer the black ink, it’s just a different way of thinking about the creation of the image.  A lot of my recent images have been made in this way, from drawing with white chalk or pastel on black paper, to the monotypes of white clouds and skulls hovering in black spaces.  Indeed with this new print of The Desperate Man, I have continued my recent liking for bleed printing, that is printing right to the edges of the paper rather than leaving a white border.  I think this enhances the idea of the white line, making up the white object floating in a black field.  Viewers are sometimes fooled into thinking these prints are printed in light ink on dark paper, so used are we to the idea that the ‘negative space’ of an image equates to being ‘left blank’.  I love to watch that moment of confusion as people viewing these works figure out the mechanics.  To come back to that idea of printmaking being an inherently contradictory beast, this is indeed the case with a relief print, in the sense that the areas that print are those where no carving has taken place, but this is often masked in the way the conceptualy active parts of a design often seem to be made up of the blacks.  In a black and white image of course, as with any binary system, one side cannot work without the other.

Confusing?  Perhaps now you feel like The Desperate Man.

The Desperate Man (after Dürer), Woodcut, Peter McLean, 2013

The Desperate Man (after Dürer), Woodcut, Peter McLean, 2013. Printed in black ink on grey stonehenge. 28x65cm

(Yes, I know, I’ve left out his head. All the better to display the wonderful pose of the hands, which somehow makes me think of Child with a Toy Hand Granade by that rather more modern master image maker of humanity, Diane Arbus.  The Queensland Art Gallery, incidentally, also has some Arbus photographic prints on display at the moment).

raw ink magazine

May 16, 2013

rawink20

You might think that something called Raw Ink Magazine might be a publication about printmaking, or perhaps tattoos.  Actually it is about neither of these, and yet both!  Raw Ink Magazine is an online publication about everything creative going on in Brisbane and the Gold Coast, especially art, design and music.  They are no flash in the pan, with this months issue (May 2013) being number 20!  Arts journalist Ruth Dunn interviewed me recently.  We talked about printmaking, walking, ecology, process and inspiration.  You can see the results in issue 20 of Raw Ink Magazine.

rawinkmagazine.com

libris awards

May 11, 2013

bonesequence1

 

 

Opening tonight at Artspace Mackay in North Queensland is the annual Libris Awards for artist books.  I hear this is the biggest show yet with work from over 90 artists selected. The work I have in the show is titled “Bone Sequence II”, and is of course the second book of this type that I have made from a sequence of prints taken directly from an animal bone.  A third is slowly underway.

 

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How do you print from bone you ask?  In essence, I treat the bone as if it was a wood engraving block.  Careful sanding with fine grade carborundum paper creates a polished flat surface, acting as a section through the bone and revealing detailed intricate structures within.  I don’t need to do any further shaping or carving, I’m just there to reveal what is already present.  This flat surface then has printers ink applied with a roller, and an impression transferred to paper.  Again, my work with wood engraving told me how to go about this in a way that would capture the greatest possible detail with the greatest possible clarity.  The process is repeated many times, creating a sequence of ‘samples’, which coincidentally turns the whole bone into dust.  Collated into a book, these images, one per page, act as a model or analogue for the real object now destroyed in the process.  In the above image you see the strong black image printed on translucent paper, showing the receding shadowy hints of the subsequent pages beneath.  Perhaps this process is also an analogue for human culture and society.  The more ‘advanced’ we become, the more our ability to obtain and collate knowledge of the world increases, the quicker we destroy it.

 

Artspace Mackay Libris Awards will be showing until June 30 2013.

wood engraving classes

April 8, 2013

lakeengravingcrop

I began teaching a new class today at the National Art School in Sydney.  I have been working with first year students over the last six weeks, giving an introduction to woodcut and etching. Today I began working with second year printmaking students on a relief printing course and began by introducing them to wood engraving, which is one of my favourite techniques to work with and also one I particularly enjoy teaching.  I think that is partly about it being a technique that is not practiced my many people, and offered as a class quite infrequently, so I enjoy the idea of being one of the people who is keep that knowledge and practice active.  It certainly didn’t look like the NAS tools had been used recently.  I think the students were a little surprised to see how small the blocks were that they were being provided with, but I soon managed to impress on them the fineness of mark-making that is possible and they have all undertaken admirably ambitious designs that they soon realised will take time enough to carve, despite (or perhaps because of) being so small.  I look forward to seeing some of the images start to be printed some time tomorrow.

I am also offering a number of other opportunities to learn this medium in the coming months, with weekend workshops running in Newcastle and Brisbane.

The Newcastle Printmakers Workshop will be hosting me on Saturday the 18th and Sunday 19th May with more details available at http://www.newcastleprintmakersworkshop.org/Workshops.html  For enrolments contact Samantha on 0422 362 924 or samantha.powell@det.nsw.edu.au

On the weekend after (25/26 May) I will have made my way north, and will be running the workshop at the Brisbane Institute of Art in Windsor, with more information and enrolments available on their website.  The BIA phone number is (07) 3857 5377.

I will also be teaching wood engraving and woodcut as part of the NAS public programs winter school in July, with more information available on the NAS website soon.

 


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