Journal: Spring 2020

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 […]

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 […]

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. […]

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 […]

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 […]

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 […]

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 […]

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 […]

‘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 […]

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 […]

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 […]

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 […]

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 […]

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 […]

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 […]

“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 […]