Imaginings: an exhibition of Printmaking by 65 artists curated by Rona Green

Earlier in the year I was invited by Rona Green to participate in this exhibition. You may have followed the progress of my linocut on Instagram and here.

Opening celebration 2pm-4pm Saturday 2 December 2017 at Neospace, 7 Campbell Street, Collingwood VIC 3066. All welcome – free entry. Exhibition runs until 5pm Tuesday 19 December 2017. Gallery open 10am-5pm Monday – Friday.

Neospace
7 Campbell St, Collingwood

The work I made for this exhibition is a Limited Edition Handpainted Linocut – ‘Enkindled’.

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‘Enkindled’

Handpainted Linocut

23.5 x 12 cm

It is a design which is emblematic of a new direction I have been exploring in recent years. It showcases my transition towards designs based on the concepts of ornamentation, beauty, patterns and embellishments. Enkindled is designed around the Grevillea rhyolitica, or Deua Flame, a grevillea endemic to South-Eastern NSW. The Deua Grevillea, with its delicate, falling red flowers, has long been a favourite of mine to photograph, especially when visiting the Eurobodalla Botanic Gardens near Batemans Bay. In this work I have played with positive and negative spaces, imagining ways to play on the plants original patterns and shapes.

It is also is in remembrance of my dear godmother who passed away earlier this year. She encouraged me with my artwork and was always up for a chat and discussion about what I was doing and giving her ideas and opinions on my work. I would send her emails or messages with my ideas and we would have a good natter. I miss that. She lived near Batemans Bay and every time I went down there she encouraged me to visit the Eurobodalla Botanic Regional Gardens for inspiration. So this work reflects where my thoughts have been this year as well. Memories and loss.

 

Imaginings: an exhibition of Printmaking by 65 artists – curated by Rona Green

Neospace
7 Campbell St, Collingwood
It is open from 1 – 19 December.
Artists: Emma ‘Ruby’ Armstrong-Porter, Janet Ayliffe, Susan Baran, Kylie Blackley, Helen Blue, Loris Button, Elaine Camlin, Laura Castell, Jenny Clapson, Elizabeth Cole, Paul Compton, Rachel Derum, Sue Ernst, Ian ‘Spike’ Farrawell, Philip Faulks, Kevin Foley, Sue Fraser, Rona Green, Gracia Haby & Louise Jennison, Gregory Harrison, Carolyn Hawkins, Bill Hay, Kate Hudson, Kyoko Imazu, Jet James, Deborah Klein, Jo Lankester, Suzie Lockery, Cassie May, John McClumpha, Aaron McLoughlin, Lorelei Medcalf, Glenn Morgan, Karen Neal, Belinda ‘Billy’ Nye, Sharron Okines, Diana Orinda Burns, Glenda Orr, Travis Paterson, Jim Pavlidis, Sue Poggioli, Jocelyn Rawlins, Bronwyn Rees, Trudy Rice, David Rosengrave, John Ryrie, Jill Sampson, Gwen Scott, Benjamin Sexton, Heather Shimmen, Glen Smith, Sandra Starkey Simon, Mrs Stamp, Maggie Stein, Rachel Suarez, Sophia Szilagyi, Scott Trevelyan, Lee Ward, Peter Ward, Justin Watson, Andrew Weatherill, Lynette Weir, Joel Wolter and Christine Wrest Smith.

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Transferring ‘Grevilleas’ Imaginings Design

The current design I am working on is one based around Grevillea rhyolitica – or the Deua Grevillea which is a grevillea endemic to south-eastern NSW. this has long been a favourite Grevillea of mine to photograph especially when visiting the Eurobodalla Botanic Gardens near Batemans Bay NSW. It has beautiful delicate falling red flowers.

In my more recent work I have been pushing my drawings and interest in Australian wildflowers into design/patternwork. Taking my drawings and simplifying and expanding them, I have been playing with various ideas for Grevillea rhyolitca for about 12 months now. In this particular work I am playing with positive & negative spaces and imagining ways to play on the shapes and patterns of the original plant & the photographs I have taken of them over many years.

I am hoping to revive this blog using some of my Instagram posts. In recent busy & more demanding times I have found it hard to keep up with this blog in amongst everything else. But Instagram has been a more immediate media to display my work and inspiration. I also value the platform as a way to connect to others & in particular to other artists & printmakers.

This image shows my template for the linocut which I have traced alongside the new piece of lino which I will transfer the design to using tracing paper. Oh & one of my photographs I have taken as inspiration for this this particular artwork.

Australian Floral Emblems 2014 – a new linocut

I was away in the Southern Highlands and Batemans Bay visiting relatives & taking some on holidays for most of March – it was a lovely break & I even managed to sneak in a bit of art making.

Before I left I managed to complete this new design – Australian Floral Emblems 2014.AUSTRALIAN FLORAL EMBLEMS 2014 WEB SCAN SMALL

It was commissioned as a gift for Lismore City Council’s Sister City – Yamato-Takada – for the Lismore City Council Mayor and General Manager’s visit which is currently underway  and joins the previous purchase by Lismore City Council and Yamato-Takada 50th Anniversary of the first Sister City relationship program in August 2013. My linocut was presented yesterday by Mayor Jenny Dowell of Lismore City Council to Mayor Yoshida of Yamato-Takada Council.

Sister City Gift - Lismore City & Yamato Takada Councils April 2014

Australian Floral Emblems 2014 – a Fine Art Handpainted Linocut by Lynette Weir

This Fine Art Linocut Limited Edition Relief Print takes the Floral Emblems for each State or Territory of Australia and weaves them into a design held together by the Australian Floral Emblem – the Golden Wattle – Acacia pycnantha.

AUSTRALIAN FLORAL EMBLEMS 2014 Small Print File

Victoria – Common Heath – Epacris impressa
Tasmania – Tasmanian Blue Gum – Eucalyptus globulus
Australian Capital Territory – Royal Bluebell – Wahlenbergia gloriosa
South Australia – Sturts Desert Pea – Swainsona formosa
Western Australia – Mangles Kangaroo Paw – Anigosanthos manglesii
Northern Territory – Sturts Desert Rose – Gossypium sturtianum
Queensland – Cooktown Orchid – Dendrobium phalaenopsis
New South Wales – Waratah – Telopia speciosissima

The design begins as an idea in a small sketch, developed with a clear understanding of the structures of the wildflowers.

You can see the tiny thumbnail sketch showing the initial ideas sketch for the planning of this linocut in the top left hand corner of the image below. This little ideas sketch is then worked into drawings grounded in draughtsmanship.

Australian Floral Emblems 2014 Drawing medium SCAN

The work is designed into a linocut/linoblock print in the tradition of fine art relief printmaking creating a template to follow for carving.I photocopy the initial drawing and ink in the black areas which allows me a guide to follow for carving out the white areas. I used to bot do this & found I often made mistakes in the carving which meant re-starting the carving of a whole new lino block! So this way I have a guide, not to say that I don’t vary this as I go – sometimes I will rework areas by drawing on the lino block itself. Some of my long term followers may remember my initial false start of this design a few years ago about the time my shoulder was playing up & making carving difficult. The less said about that the better – let’s just say even with the template mistakes still happen!!

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The image from the template is transferred in reverse to the lino block for carving using carbon paper.

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A view from my srawing/carving/painting board out to the native banksias outside my studio window.

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I use a swivel table set at just the right height, strong lamp, specific reading glasses for close work & very sharp lino tools for the carving the lino block.

Australian Floral Emblems 2014 Linoblock

The completed fully carved linoblock!

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A roller is used to ink up a glass plate and then roll over the lino block to transfer the ink. It is important to get an even thin layer of ink to transfer the image to the paper.

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This is the lino block fully inked & ready to print. The more even & carefully applied the ink is to the block the better quality print you will achieve. Note that the design is carved in mirror reverse so that when it is inked and the paper placed on it fro the print it reverses and comes out the right way!! This is particularly important if you are using type or writing within your printmaking!!!

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The paper is placed on top of the lino block and a felt is placed over that to help distribute the weight of the press evenly & not damage the paper & lino block in the process. I use a small wind down book press which lowers a heavy plate onto the block.

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This is the very first print from the carved lino block. It is instantly gratifying to pull a lovely print the very first time. Sometimes the stars align!! But often they don’t! It may take numerous attempts before you get a good quality even print or edition.

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This is the first ‘working proof print’ that has some imperfections in the printing. I use this to work on the first handpainting.

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I use oil based ink for the printing & watercolours for the handcolouring. It is the old adage of ‘oil repels water’ so the watercolour is mostly contained within the oil printing. Although sometimes there will be the need to come back & remove some of the more opaque colours that may run onto the oil printed sections but it comes off easily without taking off the printed areas.

I have also made a little video which focuses on the handpainting of this linocut this time.

– Australian Floral Emblems 2014

Australian Floral Emblems 2014 – A Fine Art Linocut

Creating a Linocut Series or Collection

DECO SET WEb

I was asked a little while ago about my the ‘series’ or ‘collections’ of works that I like to create, which got me thinking more about why I like working this way. My main motivation at face value was pretty simple – I like to create several smaller works that can be hung or presented together so they can be seen individually or as part of a larger multi-work artwork but I think there is perhaps a little more to it than that simple explanation.

When I was beginning my exploration of the linocut/relief printing medium for my artwork I was very conscious of what I see as the strong influence of Margaret Preston in the medium of linocut/woodcut & wildflowers. She created a vision for linocuts & wildflowers which has had a profound impact & influence on many artists working in the medium of linocuts. Many linocut artists have continued to work within the influence of still-life or wildflowers in vases but I made a conscious choice to not take this path. So I deliberately put away any images I had of Margaret Preston’s work, and in fact any images of other linocut artists particularly those who used Wildflowers as their subject matter. I wanted to explore & develop my own vision. I have a deep love of wildflowers in particular & they are my passion within my artwork. I love to explore not only the endless variety of Australian flora but also explore different ways two represent them within my artwork.

I have always worked hard at my drawing skills which underpins my linocuts, and I made a deliberate decision to study drawing alongside watercolours with some traditional water colourists.

*Drawing Images-WARATAH 2 ILLUSTRATION 1 WEB

I spent a few years attending workshops including with the wonderful artist & teacher Tom Offord. He was a regular tutor at the Grafton Artsfest & I attended several of his workshops, alongside other tutors – Jenny Macnaughton (watercolours), Jocelyn Maughan (drawing), Robin Norling (drawing) & Gillian Scott (botanical art). I wanted to develop & refine not just my own vision as an artist but also my skills base particularly in drawing & working with watercolours. It is interesting that watercolours was never taught at my art college back on the 1980’s & was frowned upon as ‘too traditional’ which is a great shame. I have however used the skills I gained with watercolour classes & workshops within the handpainting of my linocuts and within my drawing/illustration work.

WILDLIFE ILLUSTRATION Tawny Frogmouth 2

I find I like to at times set myself a challenge within my arts practice – to work within a particular ‘frame’ or design/layout for a particular work or set/collection of works. I often explore what I think of as ‘windows’ – windows both of design & vision for exploring & representing wildflowers in particular. So I create these ‘frames’ and then set a challenge to explore how I can capture some essential essence of the wildflower (or wildlife) within that frame for window.

Wildflower Squares Set LArger file

I push the parameters of the actual frames so that the wildflower is both contained & breaks out of the ‘frames, you can see above. An example of pushing the image beyond the frames can be seen in these two rainforest images of a Golden Penda and Firewheel Tree.

Australian Wildflower Rainforest - Golden Penda-Firewheel

I also use ‘series’ of prints to create images for my wildflowers cards.

Classic Wildflowers Set of 4 WEB

In some of my new work which I hope to move into in 2014, I am pushing some of the limits of these frames & my passion for wildflowers into new areas of visual exploration.

Gymea Lily Wildflowers – A new Linocut

The Gymea Lily is an iconic Sydney wildflower and was a favourite of mine when I roamed around the bushland of Loftus growing up. The tall flower spike with the deep pinkish/red flower spike was a like a beacon and provided a great reference point when exploring. The flower spike is now used by florists and is a dramatic addition to large spectacular arrangements.

Now that I live in Northern NSW a common sight is the ‘sister’ to the Gymea Lily – Doryanthes excelsa – it is the Spear Lily – Doryanthes palmeriwhich I grow in my garden.

The Gymea Lily is on the left & the Spear Lily on the right.

Gymea Lily & spear Lily

I have used the tall spectacular Gymea Lily flowers spike as the central focus of this work and added wildlfowers from around Australia.

Included are – the NSW Waratah, Flannel Flowers & Wax Flowers,  the Western Australian emblem – Mangles Kangaroo Paw, Firewood Banksia, Geraldton Wax, the Hybrid Eucalyptus ‘Summer Beauty’ and the Australian Floral Emblem – Golden Wattle – Acacia pycnantha.

Gymea Lily Wildflowers

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This design has been in the making since 2009!! I had started it & then got sidetracked with a busy schedule with family and it was something that I had always wanted to complete.

I have a number of projects that have been long term like this one which I am slowly working through & finalising alongside plenty of more new ideas!

Some of the ‘old but new’ work I will be working through in the next couple of months including some more contemporary work which is lovely to be developing finally!

This work will be part of my February exhibition at the Northern Rivers community Gallery in Ballina.

Exhibition 12 February – 9 March 2014 @ Northern Rivers Community Gallery

I have an exhibition opening in Gallery 1 of the Northern Rivers Community Gallery on 12th Feb until 9th March.

It includes some returning Lino-prints from my December exhibition alongside some new works of birds & Gymea Lily Wildflowers.

The Launch Event is from 5pm to 7pm on Friday 14 February 2014.
Following the exhibition launch the Gallery Café will be open with a special menu for
Valentine’s Day. Bookings are from 6.30pm.

For information contact the Gallery Café on
telephone 6681 3888.

NRCG Exhibition e FEB 2014 WEB

The main exhibitors for February are:

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Snapshots – Birds – New linocuts for 2014

I have just finished this set of 8 new linocuts – Snapshots Birds – my first for 2014! So things are off to a flying start – excuse the pun!

They are a series of small linocuts of birds based around some of my ‘snapshots’ or photographs of birds. I love taking photos, as you will know from this blog but I am not a very technical photographer & use the photos as resource material for my drawings and linocuts. So here is a little insight where I have taken my ‘snapshots’ of birds and developed them into drawings and then finally handpainted linocuts.

These will be available at my website and will be part of my return exhibition in Gallery 1 of the Northern Rivers Community Gallery in Ballina in February/March 2014.

Snapshot - Birds SET OF 8 - websmall