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IMPACT printmaking journal ISSN 2732-5490
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  • Journal
    • ISSUE FIVE
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    • ISSUE ONE
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Journal: Spring 2020

IMPACT Printmaking Journal Issue One Spring 2020

Academic, peer-reviewed journal on all things related to printmaking and the multiple. Published by Centre for Fine Print Research, UWE Bristol. Editor Wuon-Gean Ho

exhibition review

A Leap Forward at Toad Hall: David Ferry’s Seasonal Veteran and Vintage Cars in Colour

Stephen Clarke, University of Chester, UK

Abstract The Wind in the Willows (1908) by Kenneth Grahame, is the fictional frame for this discussion on David Ferry’s altered book and print series Seasonal Veteran and Vintage Cars in Colour (2017-2018). Grahame’s character, Toad, is obsessed with the motor car. Toad’s disturbance of the rural scene is married with Ferry’s practice of inserting […]

point of view

En utpost mot havet. An outpost against the sea

Caroline Areskog Jones

History can fold in on itself, fracture and dissolve, leaving unresolved, fragile remains; misplaced particles hover as eerie resonance, suspended in space and time. The situation is precarious but expectant. Dust.Sediment that falls to the floor. From such a seed, an idea, a practice can grow, mutate, evolve, adapt, and a process of transculturation can […]

point of view

Ekphrasis: inscriptions on wood and stone

Serena Smith, Loughborough University, UK

Introduction Ekphrasis is a series of nine hand finished stone lithographs. Drawn on stone using a combination of autographic marks and transferred photographic imagery, the lithographs were printed by the artist using a direct press onto Simili Japon paper (sheet size 96 x 64 cms.). The seven copies of each image are individually hand coloured. […]

Book Review

GESCHICHTE WIRD KUNST / IMPRINTING HISTORY

Niamh Fahy, Centre for Fine Print Research, University of the West of England, Bristol, UK

Introduction PEENEMÜNDE PROJECT: GESCHICHTE WIRD KUNST /IMPRINTING HISTORY took place between July and October 2015 in the historic area of Peenemünde in Germany. In partnership with the Till Richter Museum for International Contemporary Art, Schloss Buggenhagen, and the Historical Technical Museum, Peenemunde, two visual artists, Gregorio Iglesias Mayo (Catalonia) and Miguel A. Aragón (Mexico/USA) were invited to […]

Book Review

Etching, An Artists’ Guide

Jon Mayers, Independent Artist

Printmaking is an exciting art field, continually evolving and assimilating new technologies. Etching conversely (if defined as scratching and corroding with acid into a metal plate an image from which an edition of multiples can be made) can seem curiously static and old fashioned, especially to emerging artists and younger printmakers who usually enter a […]

article

Call and Response: Challenges of Printmaking in the Field

Adrienne Momi, USA

The case at Tĕšetice-Kyovice, Czech Republic Abstract While exploring the terrain of prehistoric sites in the Czech Republic, Adrienne Momi conceived of a project to recreate the sensations and conditions of ritualistic art-making. The project took the form of a collaborative site-specific response to the land using hand-made paper and printmaking in the field by […]

point of view

Etching and Rewards of Uncertainty

Brian Cohen, USA

Abstract The process of etching is physical and elemental, requiring force and pressure, inviting aggression and then delicacy, conjoining fire, water, earth, and air. There is something about setting an image into metal that implies permanence, duration, and enduring presence, and I hope my images mirror the medium in that sense. I embrace themes of […]

article

Picturing the Island

Marian Crawford, Art Design and Architecture, Monash University, Melbourne, Australia

This article investigates how recollections of a colonial childhood might be re-contextualized within Pacific Ocean cultures and their histories and the fields of island studies and post-colonialism, in the language and materials of creative visual art. Examining Crawford’s artist book Picturing the Island (2016) as a case study to resolve these questions, this paper explores […]

exhibition review

Paul Coldwell, Picturing the Invisible

Ben Thomas, Reader in History of Art, University of Kent School of Arts, UK

Paul Coldwell’s recent exhibition at the Sir John Soane’s Museum in London was an example of ‘serious play’ (the Renaissance concept of serio ludere, as Edgar Wind explained, involves the discovery of profound truths through a playful investigation of commonplace experience). Taking his cue from the show’s setting – the basement kitchens of the famous […]

point of view

I went to bed and woke in another century

Zoe Tissandier, UK

Facebook to become ‘world’s biggest virtual graveyard’ Shipwrecks found with ancient cargo Carbon dating reveals earliest origins of zero symbol Hiker’s body found after 20 years Is this the beginning of the end for film? ‘I went to bed and woke in another century’ Parched fields reveal ancient marks Tsunami debris washes up in Canada […]

article

Intensively fast and intensively slow: encountering movement and stillness through printmaking practices

Co-Authors: Lydia Trethewey and Susanna Castleden. School of Media, Creative Arts and Social Inquiry, Curtin University, Australia

Abstract This paper takes embodied experiences of printmaking as its point of departure and examines two artworks, Susanna Castleden’s 1:1 Gangway (2016) and Lydia Trethewey’s Interstices (2017), in order to elucidate the presence of stillness and movement in time-intensive practices. Underpinned by a curiosity of fast-slow dynamics and continuums, and informed by cultural geography, these […]

Technical

Printmaking using an Orange Juice Carton as a Matrix

Rosane Viegas Casa Tamarindo Estudio de Arte e Cultura, Sao Paulo, Brazil

Introduction Life sometimes surprises us – adversity creating opportunity. I’m a metal sculptor and printmaker who, after a painful operation on my hip, realized that an orange juice carton could provide an interesting alternative matrix to metal plates. Whilst recovering from that surgery I worked, in diverse ways, to transform this piece of packaging into […]

Book Review

Posters from Paddington Printshop

Arthur Buxton, University of the West of England, Bristol

‘Slogans in nice typefaces won’t save the human races’ reads a 2017 poster by Odly Head aka Tim Fishlock. Posters from Paddington Printshop by John Phillips cuts through the urbane nicety which, as Fishlock laments, dampens so much of today’s communication design.  Founded in 1974 by John Philips, Paddington Printshop opened its doors to community groups wanting […]

Book Review

RE:PRINT/RE:Present

Catriona Leahy, National College of Art & Design, Dublin, Ireland.

Introduction This review refers to the artist book publication re:print published by Marmalade Publishers of Visual Theory in 2018. Edited by Véronique Chance and Duncan Ganley, it was conceived as an extension of the Symposium and Exhibition RE:PRINT/RE:Present convened in July 2015 at Cambridge School of Art, Anglia Ruskin University, Cambridge. With contributions, both visual […]

point of view

The making of Paula Rego’s ‘The Nursery Rhymes’

Paul Coldwell, Professor Fine Art, University of the Arts London.

Paula Rego has always identified with the least, not the mighty, taken the child’s eye view, and counted herself among the commonplace and the disregarded, by the side of the beast, not the beauty… Her sympathy with naiveté, her love of its double character, its weakness and its force, has led her to Nursery Rhymes […]

point of view

They Drifted Slowly to Eternity

Oran O'Reilly, Manchester School of Art, Manchester Metropolitan University, UK

To drift implies slow movement, an engagement with time. To drift suggests the undertaking of an action, a gradual discovery. To drift presents the possibility of a lack of control, a dis-connection from one place and connection with another. To drift offers the possibility of crossing borders and traversing barriers. Introduction This body of work […]

point of view

Dark Energy: Working at the Perimeter of Materiality

Deborah Cornell, Boston University, Boston MA USA

Abstract Dark energy is a theoretical repulsive force that counteracts gravity, possibly accelerating the expansion rate of the cosmos. Physicists propose that dark energy may be a fundamental unseen force in the universe. Like dark energy, contemporary art forms, especially in print, are expanding, fuelled by the internal energy in artists’ practices that is generated […]

point of view

Grappling with Technology: thepostdigitalprintmaker

Phyllis Merriam, USA

Technology has provided unprecedented opportunities for me to expand my artistic practice and share my work globally, but in doing so it has evolved from a set of purpose-built tools to an all-encompassing environment in which I exist both creatively and socially. Technology no longer simply assists, it mediates every aspect of my practice. I […]

Technical

Woodburytype: A historical process resurrected by modern methods

Susanne Klein, Walter Guy, Damien Leech, Josie Argyle, all at the Centre for Fine Print Research, University of the West of England, Bristol, UK

Abstract One of the technological achievements of the 19th century was the mass reproduction of photographic images. Woodburytype was the first commercially successful photomechanical continuous tone printing method, of unsurpassed quality until today. Along with Collotype and Goupil gravure, it used the relief of dichromated gelatin exposed to light as the basis for the printing […]

point of view

Visualising Home in Australia

Dr Layli Rakhsha

“Home is where one starts from” (T. S. Eliot cited in Casey 1993, p.274) There are many social, political and economic reasons that push people to move to a new country. However, for me, coming to Australia was my father’s decision. In 1995, I was eighteen years old and had just started studying Fine Arts […]


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