friday 20 september – sunday 10 november 2019
foreword The reputation of the Fremantle Arts Centre Print Award as the leading printmaking award in the country endures. Every year the judging panel bring their diligence and expertise to the task. And having a completely new judging panel each year has meant that no “preferred FAC house-style� for the winning works has developed over time. Over the years these winning works have ranged from traditional printmaking techniques to other works using digital technology to those made from found or discarded materials. This variety of winners reflect the never-ending dynamism of the printmaking sector, as well as the variety of perspectives in our ever-changing judging panel.
However an important invitation we extend to the public annually is the opportunity to enjoy a generous, varied and compelling exhibition that is a snapshot of the best of contemporary Australian printmaking. Fremantle Arts Centre, City of Fremantle is grateful to the longstanding support of the state government, via the Department of Local Government, Sport and Cultural Industries. Thank you to the judges, and in particular Emma Buswell for her success in her third year as FAC Print Award Coordinator. And most importantly thank you to the artists who continue to enter and participate in the FAC Print Award. Jim Cathcart Director Fremantle Arts Centre
introduction Now in its 44th year, the Fremantle Arts Centre Print Award continues to engage the forefront of contemporary and traditional printmaking from across the country. The dexterity and diversity of approach from all the artists represented in the exhibition is testament to the enduring power of print in an age where the digital is so much a part of the interface between our personal experiences and the world. Here at Fremantle Arts Centre the 56 artworks selected for this year’s award form a complex narrative of material and story, of tradition, technology and the communication of lived experience. Continuing in its engagement with the national conversation surrounding print making, Fremantle Arts Centre invited a panel of industry professionals from across Australia to select works from a pool of 284 entries. This year’s guest judges were:
Anne Ryan (NSW): Curator of Australian Art, Prints and Drawings at the Art Gallery or New South Wales; Mark Stewart (WA): Curator of the Murdoch University Art Collection; and Lee Kinsella (WA): Special Projects curator at Lawrence Wilson Art Gallery, University of Western Australia. Following two rounds of judging in June and August, the finalists selected and the winning works demonstrates a cross-section of contemporary Australian printmaking and acknowledges the full breadth and scope of the medium. As in previous years, the printmaking in this award evidences the deference of the maker towards the handmade mark, and of identifying and making palpable the relationship between the artist and the world and environment they inhabit. Examining the winning and commended works selected by
our judges therein lays a sensitive and informed representation of the human relationship to the natural world, as both witness and as custodian to this fragile ecosystem that supports us. It is more important now than ever, that printmaking, that image making, perform its lifelong function as both document and contract in the pursuit of relating the human experience to a wider audience. This award continues to present a cross-section of contemporary print making in Australia and suggests towards the experiences of artists practicing in our current day. emma buswell PRINT AWARD COORDINATOR FREMANTLE ARTS CENTRE
From Left: Mark Stewart, Lee Kinsella and Anne Ryan. Photo: Jessica Wyld
judges’ commentary The works commended and selected as prize winners share an emphasis on materiality, technique and process that is strongly aligned with the subject matter. The judges felt that there were well-considered and tangible connections between the chosen subjects and the techniques by which the artists expressed them. A sense of the artists’ touch is evident in the energised mark-making and surface qualities of the prints. There is a shared intimacy in these works, and a focus on the natural world, which only became apparent at the conclusion of the judging process.
reminding us of the fragility of nature and the impact of humanity on the environment. The energy of nature is effectively rendered in the layers of water, land, cloud and sky. The print is extraordinarily sophisticated and well executed, on an ambitious scale that sustains its power over the expanse of the image. The deep blacks contrast with the white of the paper and tonal areas using stipple and other subtle effects draws the viewer into this sublime otherworldly scene, and the eye is carried across the composition as if travelling through the landscape itself.
The winning print, Rew Hanks’ Gone Fishing East of Faskrudfjordur, stood out for its lyrical rendering of a vast Nordic landscape. This remote and beautiful part of the world seems untouched by modern life. However, on closer inspection tiny human figures infiltrate the scene,
In second place is Eunice Napanangka Jack’s Kuruyultu 2019 intaglio, screenprint on paper. This very painterly print glows with shimmering blue energy. In a print medium, it is faithful to the artist’s traditional image making practices with a real sense of her body and hand in its making.
The print has been made in a successful and sensitive collaboration with a master printer combining intaglio and screen-print, which results in a complex surface of great depth and vibrancy. Lee Kinsella Curator at Lawrence Wilson Art Gallery, University of Western Australia Anne Ryan Curator of Australian Art; Australian Prints, Drawings & Watercolours at the Art Gallery of New South Wales Mark Stewart Curator of the Murdoch University Art Collection
award winners First Prize $16,000 Rew Hanks (nsw), Gone Fishing East of Faskrudfjordur, 2018 Work acquired for the City of Fremantle Art Collection
Second Prize $6,000 Eunice Napanangka Jack (nt), Kuruyultu, 2019
Highly Commended Mark Dustin (vic), Felt Suit, 2017 Clare Humphries (vic), New Moon on Monday, 2019 Nadia Kliendanze (nsw), Pebbles, 2018 Julie Mia Holmes (nsw), Anchorless, 2018
Rew Hanks has held 27 solo exhibitions and over 178 group exhibitions in Australia and internationally. Nationally he has been awarded 28 print prizes and 12 international print prizes. His works are held in the Australian National Gallery and most state and regional galleries throughout Australia and twelve international galleries/museums. In 1999 he was awarded a Master of Fine Arts from the University of NSW in Sydney and a Print Fellow from the Tamarind Institute at the University of New Mexico in America in 1991. Eunice Napanangka Jack was born in 1940 at Lupul in the Sir Frederick Ranges. When Eunice was a little girl shortages of food forced her family east towards the ration stations being set up in central Australia. She remembers the travels with her family very vividly and refers to it as when her mother carried her piggy back all the way from Western Australia to Haasts Bluff. Now an important woman in the community Eunice is well known for her hunting skills, dancing and traditional law knowledge. Eunice started painting with the opening of the Ikuntji Women's Centre in August of 1992. Highly collectable, Eunice is represented in leading galleries worldwide.
first Prize Rew Hanks (NSW) Gone Fishing East of Faskrudfjordur, 2018 Linocut 70 × 200 cm
SECOND Prize Eunice Napanangka Jack (NT) Kuruyultu, 2019 Ink on paper 50 × 100 cm Printer: Basil Hall Editions
list of works Lyn Ashby (VIC) The Light Down Here, 2019 Hahnemühle paper, boards 33 × 52 (open) × 1.5 cm Hayley Bahr (WA) Vestige, 2019 Hydrophobic solution foot and shoe print stencils printed on site specific cement/pavement, water sprinkler system with timer 500 × 100 cm Rebecca Beardmore (NSW) Red Earth 1, 2018 Screen print & digital pigment print on uncoated rag 107 × 107 cm Printer: Warren Macris (digital pigment print) Rebecca Beardmore (screen print) Lorena Blacklock (ACT) Lines that locate us, 2019 Ink, 30 × 15 × 1 cm
Matt Brown (WA) Divorce Vibes, 2018 Digital print and cloth tape on vinyl 122 × 180 cm Printer: vistaprint.com.au
Seong Cho (NSW) Australian Rhapsody, 2018 Woodblock print on French cotton paper 62 × 256 cm
Peter Burgess (NSW) Hosusai Wall Work', 2019 Inkjet on adhesive vinyl, cad cut matte 213 × 262 cm
Antonietta Covino-Beehre (VIC) Me- Mimesis Series, 2017 Cyanotype 12 × 12 × 3 cm (32 pieces)
Karen Casey (VIC) Bonk, 2019 Giclée print 90 × 120 × approx. 8 cm Printer: Image Science Susanna Castleden (WA) Watching time at two lighthouses on opposite sides of the world., 2018 Gesso, screen print and graphite on maps 153 × 228 cm
Carolyn Craig (NSW) words that define: The Voice project part 2, 2019 3D polymer print 13 × 80 × 3 cm Printer: Artist and Marina Azziz Jo Darvall (WA) Kathleen and Georgette, 2017 digital print on silk 6800 × 200 cm
Raimond de Weerdt (NSW) Forgotten Summer 2, 2019 Canson Rag Photographique 76 × 61 cm Printer: Giclée Josephine Duffy (NSW) Postcards from the edges: from Sydney and Cork to Santander, 2018 Wood engraving, embossing, etching, screen print, linoprint, photopolymer etching, collograph, letterpress, chin collé, on BFK rives paper; digital print on transluscent interleave cellulose papers; linen cloth binding with brass ‘Chicago’ interscrews; archival card and cotton cord envolopes 13.5 × 23 × 2 cm Printers: (order within book): Josephine Duffy, Jacqueline Corcoran, Angela Gilmour, Angela Wagstaff, Deirde McKenna, Ivy Wang, Dominic Fee, Michael Kempson, Jo Kelley, Douglas Schofield, Fiona Kelly, Rebecca O’Shea, Peter McMorris, Anna Russell, Séan Hanrahan, Stephen Lambeth, Conall Cary, Wenhui He, Rachel Dooris, Johnny Bugler, Olivia Wilson
Mark Dustin (VIC) Felt Suit, 2017 Screen print on felt 200 × 90 × 0.5 cm Marcia Espinosa (WA) Staging Times, 2019 Digital print on fabric 270 × 108 cm Gina Fenton (NSW) Interplay Series, 2018 Screen print on BFK Rives 194 × 296 cm (300 GSM) Beth Ferialdi (WA) Slow Mover, 2019 Hand cut paper collage / digital print 42 × 29.7 cm (each) Printer: Fitzgerald Photo Eva Fernandez (WA) Raven Family, 2018 Giclée print on Hahnemühle Photo Rag paper 80 × 70 cm (308 GSM) Printer: Fitzgerald Photo Imaging Angela Ferolla (WA) 1000 to 1, 2019 Shapewell fabric and screenprinting ink 300 × 110 cm
David Frazer (VIC) the tangled wood (composition I), 2018 Etching 80 × 120 cm Rew Hanks (NSW) Gone Fishing East of Faskrudfjordur, 2018 Linocut 70 × 200 cm Garth Henderson (VIC) colour_series/banksia_ericifolia/2019, 2019 Giclée print on ivory archival matt paper 170 × 100 cm (210 GSM) Deanna Hitti (VIC) Assimilated Museum (installation), 2017 Cyanotype 200 × 300 cm Julie Mia Holmes (NSW) Anchorless, 2018 Monotype 57 × 112 cm Clare Humphries (VIC) New Moon on Monday, 2019 Reduction linocut, monotype, wood 35 × 170 × 5 cm
Alana Hunt (WA) Cups of nun chai, 2010-ongoing Artists book: 100+ bound newspapers 56 × 36 × 12 cm Kyoko Imazu (VIC) Entomologist's garden, 2019 Etching and aquatint 60 × 54 cm Deborah Kelly (NSW) Venus Envy, 2019 Paper collage printed on metal, lacquer 39 × 125 × 0.5 cm Printer: Richard Crampton at Darkstar Nadia Kliendanze (NSW) Pebbles, 2018 Colour reduction linoprint 30 × 30 cm Hiroshi Kobayashi (WA) The bank on the other side, 2019 Acrylic on canvas 85 × 306 × 3.5 cm Damon Kowarsky (VIC) Kuan Yin Teng, 2018 Etching and aquatint from two copper plates 50 × 75 cm Printer: Artist, Wang Caizhen and Zhang Jianfeng
Nigel Laxton (WA) One hundred and fifteen thousand, 2019 Relief print on impacted polycarbonate plate 57 × 76 cm Monika Lukowska (WA) Memory of Place I, 2019 Digital print 123 × 220 cm Printer: Rappid Elisa Markes-Young (WA) Nowhere to hide, 2019 Inkjet print with embroidery 90 × 70 cm Printer: Churchill Colour Labs Lucille Martin (WA) Knowledge Extinction: For all the knowledge in the world won't save us, 2019 iPhoneography on archival fine art paper 60 × 200 cm Judith Martinez (NSW) Rorschach and the sea, 2019 UV inks on dibond brushed aluminium 50 × 100 × 0.5 cm Printer: Definitive Group
Matthew McAlpine (WA) The colonial frame (gutting James Stirling's biography), 2019 Cast paper mâché and found book 9 × 97 × 58 cm Dan McCabe (WA) Cryptic, 2019 Automotive lacquer, glass, steel, and stainless steel fixings 90 × 60 × 3 cm Sarah McConnell (VIC) Black Wallaby, 2019 11 monoprints on Hahnemühle paper, concertina structure artist book 53 × 33 × 2 cm (230 GSM) AHC (Andrew) McDonald (WA) The Selfie, 2019 Rubber stamp relief print, with ink roller stencil, archive inks on BFK Arches watercolor paper 120 × 80 cm Clyde McGill (WA) The Requiem Songs, 2019 Etching, mono print, letterpress handstamped, gold leaf on BFK paper 225 × 315 cm (270 GSM, 9 pieces)
Tim Meakins (WA) Big Muscles, 2019 Blankets, digital weave 178 × 137 × 0.1 cm Printer: Slow Down Studios Eunice Napanangka Jack (NT) Kuruyultu, 2019 Ink on paper 50 × 100 cm Printer: Basil Hall Editions Evan Pank (NSW) Keeping the Bastards Honest 2, 2018 Screen print, smoke/ marine flares 90 × 192 cm Jaime Powell (VIC) Non Place, 2018 Lithograph on paper 210 × 250 cm Trevor Richards (WA) Untitled (Pine), 2019 Ink on paper 210 × 50 cm
Brian Robinson (QLD) Bedhan Lag : Land of the Kaiwalagal, 2019 linocut printed in black ink from one block 100 × 185 cm Printer: Theo Tremblay Sarah Rodigari (NSW) Composition for Eight Voices (Withdrawal), 2019 Offset lithograph print 84 × 59 cm (each) Printer: Big Fag Press Annika Romeyn (ACT) Chasm 4, 2017 Monotype on paper 228 × 168 cm Rachel Salmon-Lomas (WA) Time Horizon: Carbon Book (With Extra Carbon), 2019 Carbon book (with extra carbon), ink 20 × 12 × 2 cm Gary Shinfield (NSW) Valley, 2019 Woodcut 112 × 225 cm
Alex Spremberg (WA) This and That, 2019 Book of collages 30 × 21.5 × 4 cm Anne Starling (NSW) Detritus, 2019 Linoblock / monoprint 78 × 108 cm Andrew Sunley Smith (WA) House Drag ; Migratory Projects, 2019 Earth, road bitumen, plywood, acrylic, pine, steel 80 × 163 × 5 cm Donny Woolagoodja (WA) Wandjinas and Owl, 2019 Woodblock 76 × 36.5 cm Printer: Sean Richard Smith
highly commended Julie Mia Holmes (NSW) Anchorless, 2018 Monotype 57 Ă— 112 cm
highly commended Clare Humphries (VIC) New Moon on Monday, 2019 Reduction linocut, monotype, wood 35 × 170 × 5 cm
highly commended Mark Dustin (VIC) Felt Suit, 2017 Screen print on felt 200 × 90 × 0.5 cm
highly commended Nadia Kliendanze (NSW) Pebbles, 2018 Colour reduction linoprint 30 Ă— 30 cm
Elisa Markes-Young (WA) Nowhere to hide, 2019 Inkjet print with embroidery 90 Ă— 70 cm Printer: Churchill Colour Labs
Josephine Duffy (NSW) Postcards from the edges: from Sydney and Cork to Santander, 2018 Wood engraving, embossing, etching, screen print, linoprint, photopolymer etching, collograph, letterpress, chin collé, on BFK rives paper; digital print on transluscent
interleave cellulose papers; linen cloth binding with brass ‘Chicago’ interscrews; archival card and cotton cord envolopes 13.5 × 23 × 2 cm Printers: (order within book): Josephine Duffy, Jacqueline Corcoran, Angela Gilmour, Angela
Wagstaff, Deirde McKenna, Ivy Wang, Dominic Fee, Michael Kempson, Jo Kelley, Douglas Schofield, Fiona Kelly, Rebecca O’Shea, Peter McMorris, Anna Russell, Séan Hanrahan, Stephen Lambeth, Conall Cary, Wenhui He, Rachel Dooris, Johnny Bugler, Olivia Wilson
Hayley Bahr (WA) Vestige, 2019 Hydrophobic solution foot and shoe print stencils printed on site specific cement/pavement, water sprinkler system with timer 500 Ă— 100 cm
Jo Darvall (WA) Kathleen and Georgette, 2017 digital print on silk 6800 Ă— 200 cm
Evan Pank (NSW) Keeping the Bastards Honest 2, 2018 Screen print, smoke/marine flares 90 Ă— 192 cm
Antonietta Covino-Beehre (VIC) Me- Mimesis Series, 2017 Cyanotype 12 Ă— 12 Ă— 3 cm (32 pieces)
Rachel Salmon-Lomas (WA) Time Horizon: Carbon Book (With Extra Carbon), 2019 Carbon book (with extra carbon), ink 20 × 12 × 2 cm
Alex Spremberg (WA) This and That, 2019 Book of collages 30 × 21.5 × 4 cm
Tim Meakins (WA) Big Muscles, 2019 Blankets, digital weave 178 × 137 × 0.1 cm Printer: Slow Down Studios
Gary Shinfield (NSW) Valley, 2019 Woodcut 112 × 225 cm
Donny Woolagoodja (WA) Wandjinas and Owl, 2019 Woodblock 76 × 36.5 cm Printer: Sean Richard Smith
Carolyn Craig (NSW) words that define: The Voice project part 2, 2019 3D polymer print 13 Ă— 80 Ă— 3 cm Printer: Artist and Marina Azziz
Angela Ferolla (WA) 1000 to 1, 2019 Shapewell fabric and screenprinting ink 300 Ă— 110 cm
acknowledgements Immense thanks to this year’s judging panel: Anne Ryan, Mark Stewart and Lee Kinsella for the respect, enthusiasm and expertise they brought to this year’s award and selection process. Fremantle Arts Centre would like to thank in particular the partnership with Curtin University and the third year Bachelor of Art (Fine Art) Practicum students, who have undertaken their Professional Practicum Internship at Fremantle Arts Centre. Thank you to the following students who have significantly contributed to the preparation and delivery of this year’s Award: Qingqing Zhu, Mia Drake, Jessica Gray and Olivia Biasin. A special thanks once again to Sheridan Coleman for her peerless efforts in assisting on this year's award.
Catalogue Design: Isabel Krüger
Director Jim Cathcart General Manager Marcus Dickson Curator Dr Ric Spencer Exhibitions & Special Projects Curator Erin Coates FAC Print Award Coordinator Emma Buswell Revealed Project Officer Katherine Wilkinson Installations Coordinator Tom Freeman Gallery Officers Emma Buswell, Dan Bourke, Amy Perejuan-Capone City of Fremantle Art Collection Curator André Lipscombe
Moores Building Exhibitions Manager Richie Kuhaupt Residencies and Studios Coordinator Bevan Honey Events Coordinator David Craddock Learning Coordinator Silvia Ferolla Studio Technician and Learning Assistant Holly O’Meehan Communications Manager Andrea Woods Communications Officer Liz Walker Graphic Designers Susie Blatchford Sofia Antonas Finance Office Christine Lofthouse, Amanda Watson
FOUND Manager Pia Chomley Retail Assistants India Mehta, Rose Megirian, Joanna Brown, Jenny Dawson, Kate Jones, Betty Poulsen, Holly O’Meehan, Ruby Talbot-Dunn Reception Caroline Brook, Sheridan Coleman, Joanna Brown Grounds & Technician George Gregson Facility & Program Assistant Aaron Lyons Install Staff Dan Bourke, Emma Buswell, Damian Capone, Phoebe Clarke, Angela Ferolla, Tom Freeman, Liam Kennedy, Rob Kettles, Minaxi May, Hugh Thomson, Phoebe Tran, Tyrown Waigana, Zev Weinstein, Claire Wohlnick, Hans-dieter Zeh
From Left: Anne Ryan, Mark Stewart, Lee Kinsella. Photo: Jessica Wyld
Fremantle Arts Centre 1 Finnerty Street Fremantle Western Australia + 61 8 9432 9555 10am–5pm 7 days fac.org.au
Fremantle Arts Centre is supported by the State Government through the Department of Local Government, Sport and Cultural Industries.