Printmaking, like drawing, is often seen as the poor cousin to painting and sculpture. And I have as yet to work out exactly why that is.

With all its wonderful techniques and the endless richness of its textures and wonderful “surprises” in execution, printmaking has given us some eye-popping artifacts over history. Picasso loved it, so did Míro and Warhol.

‘Agikawa Spinner (33rpm)’ Neilton Clarke

‘Agikawa Spinner (33rpm)’ Neilton Clarke

The current show at Camperdown’s ArtsiteSydney Printmakers Celebrating 55 Years – makes it even harder for me to understand the poor cousin attitude.

As part of the 2016 celebrations of the Australian Print Council’s Year of Print, curator Madeleine Tuckfield-Carrano has put together sixty works by Sydney artists that span the range of printmaking, conceptually and technically.

From Neilton Clarke’s lovely surreal ‘Agikawa Spinner (33rpm)’ through Prue Crabbe’s smoke-fragile ‘Sublunary Diversions II’ to the brusque rust textures of ‘Landfall 1’ and ‘Landfall 2’ by Anthea Bosenburg, the range is breath-taking. It is all I can do to not reach out and touch these works – print has that effect: the colours and textures, although aiming for the relatively flat, have a tactile, almost erotic, attraction. Faint indentations, raised shallow welts, creases and almost imperceptible waves across the surface all draw us in subtly.

‘Peaches and Cream’ Rew Hanks

‘Peaches and Cream’ Rew Hanks

Though, flat is not all ­– Laura Stark’s ‘Totems’ stand as printed paper cylinder’s, tracing paper squares lean out and threaten to fly off the surface of ‘The Space Between’ by Robyn Waghorn. Tuckfield-Carrano’s ‘Autumn Rain’ has fabric stitches across the pigment.

The range of techniques – a couple had me groping for Google – is smartly covered here as well; it is one of the joys of printmaking that its techniques go from roughly stamping the paper with hard woodblocks through to gluing elements across the plate as in a collograph, or the relative caressing it with other approaches, such as aquatint. Rew Hanks’ ‘Peaches and Cream’ (relief print) has that perfect graphic hard edge while the linocut ‘Scratching for Bugs’ by Joanne Gwatkin-Williams shows a charming vaguery of line.

Poor cousin? Bah. These pieces are all as exquisite as you will find, speaking with maybe a quieter poetry that their oil-painted relatives, but powerful poetry nonetheless.

All images courtesy of the artist and Artsite.

 

Published March 2016 on www.sixtoeight.net

 

 

 

 

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