Print making

2023: Carbonised

This is another project for Studio 2, as part of my Master of Fine Art program. It consisted of a mournful, site-specific installation of charred cuttlebones, showing how a selected location informed a body of work. While continuing to memorialise endangered sea-life through cuttlebones, for this site specific project I entered the shadowy realm of museum storage the mausoleum of colonial trophies and taxidermy. Based on a dilapidated plan drawer this installation consisted of eight cuttlebones surrounded by pictorial labels, tags and flip books made from relief prints. The relief prints featured the contour lines of the cuttlebone.

This project was intended to create a mournful affect, with the charred cuttlebones symbolising the extreme consequence of global warming.

Photograph by Elizabeth Cole of Carbonised installation, close up of eight casts and tags, 2023. Casts made from high compression gypsum, painted with acrylic, with twine and tags from 250 gsm paper. Cast sizes variable, approx. 24 x 9 x 3.5 cm. 2023.
Photograph by Elizabeth Cole of revised configuration of the Carbonised installation, for a meeting with my supervisor, 2023.

 

1920s Chinese Postcards from the wonderful digital collection of the NYPL@nypl

In early January 2016, The New York Public Library made over 180K digital items available for high resolution download, in the public domain, i.e., available for unrestricted use (http://publicdomain.nypl.org/pd-visualization). This treasure trove consists of items as varied as photographs, menus, prints, maps and postcards. Fortunately for me it includes hundreds of old postcards, dating from the 1890s to 1920s, of China, Japan, Vietnam and Burma. These source items are invaluable as a basis for future art making, from reduction linocuts to mono prints to collages. Here are some of the Chinese post cards.

 

 

Work in progress- Yellow Jambhala from Rubin Museum@RubinMuseum

I am working on an image for an upcoming print exchange organised by Rona Green, an amazing, innovative and generous artist. The work is based on drawings and photos of a statue of the Yellow Jambhala in the Rubin Museum of Art. Whilst a linocut, I am using engraving tools and traditional linocut tools to achieve more of the tonal range of an etching. The drafts are printed using Graphic Chemicals letter press relief ink, a stiff ink that allows the fine lines to remain visible.

Cardboard etchings- images reworked

I have reworked a few images as cardboard etchings. These were previously created as reduction linocuts. Cardboard etchings are exquisite but fragile.

The amazing Yellow Jambhala – multiples in print @RubinMuseum

I used a drawing I made at the fantastic Rubin Museum as the basis for the relief print, and then played around. The original drawing and resultant prints are here. The latitude and longitude are based on the location of the Rubin Museum.

 

19092014_Rubin Museum Yellow Jambhala

Reduction linocuts- recent projects

I have continued to work on reduction linocuts, based on a technique shared by Jazmina Cininas. Here are two recent examples:

1. The Hiroshima project- a reworking of a well worked theme

Hiroshima 1 Nov 2014

 

 

 

 

 

 

 

 

 

2. The ruined watch tower

 

 

 

 

 

 

 

 

Bimblebox 153 exhibition and the Leaden Flycatcher

In March this year I was invited to participate in a travelling exhibition aimed at raising awareness about the pending destruction of the Bimblebox Nature Refuge, and the threat to the bird species inhabiting that refuge. Participating artists were each assigned a bird from the habitat. Mine was the Leaden Flycatcher. On first consideration this bird seemed rather uninteresting. However after research I realised that it is a fascinating creature. It catches its food (flies) ‘on the wing’, i.e., in flight, showing considerable dexterity and agility. The stocky little bird presents in two distinct gender based colours – a blue throat for males and orange for females. It is also known as the frog bird on account of its guttural, croak like cry. Whilst not actually an endangered species, and in fact quite widespread across the east coast of Australia, we need to protect the habitat for species like these now, to avoid them becoming tomorrow’s endangered birds.  As we all appreciate in theory, the protection of natural habitat should be a prime directive for governments, for the benefit of current and future generations of wild life and human kind. The challenge posed to the Bimblebox Nature Refuge by a looming coal mine is indicative of the broader struggle between short term commercial interests, and the current and longer term benefits of preserving such spaces. I congratulate the organisers of the Bimblebox 153 exhibition on their efforts to draw attention to the challenge, and preserve the nature refuge.

This print was made in honour of Penny Taylor (1965-2014), a passionate bush walker and nature enthusiast.

Assessment works

Below is a photo of the works submitted for assessment for the final subject of my print making major for the Diploma of Visual Art. This is a bittersweet time- joy at finally finishing 5 years of part time study, and sadness that it is over. Next step hopefully is a masters by research!

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