studio practice, performativity and the public gaze

Truth be told there has been some printmaking happening around here recently, but not a whole lot. I finally got to the studio last weekend to print some new drypoint etchings. But I'm not overly happy with the results (I messed up quite a few in my hurried attempt to do a lot in a short time) so will take a slightly different approach and print again from the same plates soon.

While the printmaking has been slow, there has been quite a bit of post-PhD-thesis-submission brain tinkering though. I've been thinking (and writing) a lot about the notion of creative practice and performativity, and how this becomes enhanced through the use of virtual tools such as blogs and Instagram to reveal studio practice. I am fascinated with the idea of the public gaze and what this might mean for how artists and designers think about their artist/designer identities.

More soon once I've finished the writing and (hopefully) get it published.

In the meantime, I'd be happy to hear any thoughts you have on this topic.

artists in conversation

I'm in love with a book I'm reading and think you might like it too. In many ways it encapsulates my dream job: interviewing artists and designers about their practice over many decades. 

'Artists in Conversation' by Australian journalist Janet Hawley has just been published and is well worth a read.

Hawley interviews many interesting (mostly Australian) artists and presents the book as a series of essays about each one. As this review points out "Spanning continents and decades, Artists in Conversation brings to life the creative talents of more than 30 artists including Brett Whiteley, Ben Quilty, Margaret Olley, Bill Henson, John Brack, Sidney Nolan, Arthur Boyd, Adam Cullen, John Wolseley, John Olsen and Albert Tucker, among others."

I've read about 7 chapters so far and was moved to tears by one in particular where Hawley reprints letters between the then dying Lloyd Rees and Brett Whiteley. So poignant.

What's quite special about this collection of artist portraits is the way in which Hawley has developed quite intimate friendships with each of them over long periods of time. Often holidaying with the artists and their families, and always being invited for studio visits and meals and long, interesting, thoroughly-worth-reading conversations. She has the inside scoop on what plagues them, what stirs and motivates them and what fame has meant for their lives and their creative work. 

You can listen to an interview with Janet about her book here recorded 15 November on ABC Radio National Books and Arts Daily.

Fascinating, I tell you!

Dream job indeed. So I'm putting it out there. I'm available to do this kind of project for printmakers if anyone has funding. Just saying.....

wanderings in the city

Yesterday I visited The Old Print Shop in midtown Manhattan and it was a real treat for the printmaker and paper freak in me. The Shop has been there for over 100 years and has old botanical prints stored in antique drawers and cupboards. The second floor is devoted to contemporary printmakers and it was here that I discovered the work of Su-Li Hung. This is one her prints pictured above, The Apples, just delightful. I also loved one her prints called Silk, but the digital image doesn't adequately capture the raw quality of the real print. The staff at The Shop are really friendly and knowledgeable, particularly Michael Di Cerbo, an etching artist who has lived in NY for 40 years.


We also explored the gorgeous Grand Central Station building which has intricate architectural detail everywhere you look. And did touristy things like look at the view of Manhattan from the top of the Empire State Building. Too amazing for words.

wild things

Over the Ridge. Drypoint etching by Robyn Rayner.

I just love the prints of Robyn Rayner, a Melbourne printmaker who documents in her work the ordinary weeds and wild surroundings of the western suburbs, as well as the wider landscapes of rural Victoria. Her work is full of the delicate lines and plants and things growing from the earth amongst shadows and clouds and the landscape of south-eastern Australia. I am a proud owner of one her prints, Shady, a group of 16 small prints together. It kind of looks a bit like this one


Neck of the Woods, but the one I have has more trees and weedy things, so generally more lines in it, which I like very much. I also love the colours she uses: soft greys, washed out blues, and pale earthy colours. And I've just found a few more of her prints here at the Framers Gallery website including the one I have, Shady, so I've decided to include it here for you to enjoy:

Shady, Etching by Robyn Rayner.

packing and printing

It's been a bit mad around here since we made the decision to sell our wee little house a week ago. We're starting to prepare for the open for inspection period where all and sundry can walk through the house and check out our stuff. So some of it's being packed up and put in the shed at the back of the garden including a lot of my woodblocks. It's so hard doing this because I have so many and I don't know which ones I'll be needing over the next few months. I'm hoping our next house will have a bit more space inside for me to spread out my blocks, tools, inks and paper. I'd love to have one of those amazing big paper drawers but haven't found one yet. That way I could keep all my paper stored flat rather than rolled up. If you happen to know where I can find one of these in Melbourne please let me know.

I'm getting a bit excited about seeing the new print exhibition by Australian artist Sarah Amos. Sarah lives and works in the USA now but in Melbourne next week Gallery 101 will feature her prints. Click here if you'd like to see more of her work. This lovely print below is one of hers.