The stone is made up of pores, pores of the skin or head of the brush, and the grease particles, like little dots, sit on top. I love pooling tusche washes, a greasy wash mixed with water, onto the stone and letting the wash reticulate so it dries out and releases the lines of what’s known as peau de crapeaud or skin-of-the-toad, wash onto the surface of the stone. Lithography is a really beautiful process where you work grease-based materials onto limestone slabs. Somebody has just loaned me a tiny portable etching press, which I’m about to try. Needless to say, I’ve still got a lot of crap in my studio space. I tend to travel from press to press using other people’s equipment because I don’t want to load myself down with anything. I’ve never had any printmaking equipment. I love lithography but I don’t do it very often because not many people have that process available. Is there a specific printmaking process you prefer? It becomes an osmosis with the message, which might be about massacres or internal history of a site, leaked in like a deadly poison dart and imploding in the viewer, leaking its content slowly. It’s the work that pulls you in, to seduce the viewer into the body of the work. As I’ve evolved the work is more mesmerising, more dream-like and a bit harder to get straight away. My work was very overt when I began, more high-contrast, poster-like. What’s changed since you started printmaking? These got me thinking about my Aboriginal background, and wanting to do something about my own culture. The American literature was split into African-American, Jewish, Native-American and some Latin-American. Literature led me into looking at other cultures, studying Australian women’s fiction and American literature. And literature, two different strands of Australian literature – drama and poetry. Where were you seeking inspiration for your painting and printmaking?įrom life drawing and other sorts of drawing. I learnt skills which I use today, like registration, working from a small to large image and transferring visual information from one plate to another or across surfaces, working with the idea of different textures and backgrounds. Printmaking gave me the discipline of creating layers, using compositions and several processes. Then, I focused on printmaking, because with the other subjects I wasn’t sure where I was going, in particular painting. At DDIAE now, the University of Southern Queensland, Toowoomba, I studied all visual art subjects and histories. When I was at high school in Brisbane, I did a small amount of printmaking, predominantly screen-printing, also a bit of lino block printing. When did printmaking enter your art-making?
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |