Exhibition Catalogue | 2018 Fremantle Arts Centre Print Award supported by Little Creatures Brewing

fremantle arts centre

2018 supported by little creatures brewing

fremantle arts centre

supported by little creatures brewing fri 14 sep – sun 4 nov 2018

Works laid out for judging, Fremantle Town Hall, August 2018. Photo: Jessica Wyld

IT’S GOOD TO BE A LITTLE DIFFERENT

foreword

The Fremantle Arts Centre Print Award continues as the leading print award in Australia due largely to the generous support of our sponsors Little Creatures Brewing (Lion). Fremantle Arts Centre, City of Fremantle is also grateful to the longstanding support of the state government, via the Department of Local Government, Sport and Cultural Industries.

The prestige of the FAC Print Award continues as printmakers all over the country vie to be selected for the exhibition, while for the prize winners the accolade is a significant career boost, and the cash prizes a real benefit.

Every year the Print Award offers up to the public a generous, varied and compelling exhibition that is a snapshot of the best of contemporary Australian printmaking.

Thank you to the judges, for the expertise and diligence they brought to their task. The credibility and gravitas of the award is only maintained through having a quality judging panel with national representation and perspective. Particular thanks to Emma Buswell for her success in her second year as FAC Print Award Coordinator.

Jim Cathcart Director Fremantle Arts Centre

sponsor’s word

This year we celebrate 18 years of Little Creatures.

As we officially “come of age� we reflect on the things that have been, and always will be, important to us.

Creativity. Creativity brings new ideas to the table, creativity makes the world an interesting place, creativity makes us smile.

Community. Everything we do, we do to bring people together, whether it be in our home in Fremantle or the world beyond.

Inclusivity and individuality. Embracing whatever makes you a little different, whatever makes you happy, you are welcome.

It is our great honour and privilege to be part of an award that so completely embodies creativity, diversity, openness and community connection.

As always, thank you to the artists who continue to inspire and create in our communities.

Claire Donovan Marketing & Community Coordinator WA Little Creatures Brewing

introduction

This year’s Fremantle Arts Centre Print Award supported by Little Creatures Brewing continues the award’s history of representing the forefront of printmaking in Australia. Now in its 43rd year, the award and accompanying exhibition offer an exciting and refreshing glimpse into the power of print and demonstrate the multiformity of this diverse medium. Here at Fremantle Arts Centre, the works in this year’s exhibition, from established, emerging and experimental makers and thinkers engage in the ongoing conversation surrounding contemporary print making and its place in Australian art.

The 50 artworks selected for this year’s award demonstrate the scope of the medium. In keeping with the history of the award, Fremantle Arts Centre invited a panel of industry professionals from across Australia to select the most technically brilliant, conceptually rigorous and exciting prints and artists’ books from a pool of 273 entries. This year’s guest judges were: Lisa Roet (VIC) – Senior Australian artist and previous winner of the non-acquisitive award at the 2011 Fremantle Print Award; Ron Bradfield (WA) – Bardi man, story

Works laid out for judging, Fremantle Town Hall, August 2018. Photo: Jessica Wyld

teller; arts consultant and advocate for regional and rural development within the cultural sector; Annika Kristensen (VIC): Senior Curator, Australian Centre of Contemporary Art (ACCA), Melbourne; and Charlotte Hickson (WA) – Exhibitions Manager at PICA. After two intense rounds of judging in June and August, the works in the resulting exhibition offer up an exciting glimpse into the state of contemporary printmaking today. Personal stories and cultural histories are shared through plate, press, image and ink. Now more than ever, the power of print to distribute ideas and stories is evident in the generosity of the work on show. emma buswell PRINT AWARD COORDINATOR FREMANTLE ARTS CENTRE

now more than ever, the power of print to distribute ideas and stories is evident in the generosity of the work on show

judges’ commentary Established in 1976 the Fremantle Arts Centre Print Award, supported by Little Creatures Brewing marks its 43rd year in 2018. Over its history this annual award has upheld and promoted the medium of print in all its forms and has supported practitioners to continue longstanding traditions and techniques through the emergence of a digital age. In its lifetime this award has witnessed the development and integration of new modes of production and distribution that have altered the practice and materiality of print media. During this shift the Print Award has at once championed the specificity of established print processes while also offering a platform that embraces experimentation and tests the conceptual frameworks of this broad medium.

The breadth of practice this award has come to attract is on display in this year’s exhibition.

Presented here is an intergenerational group of practitioners who each have a different approach to the traditions and innovations of print media.

The final selection includes works that explore both impact and non-impact methods of printing and the conceptual and technical principles of matrix, substrate and impression.

We would like to congratulate all the artists selected to participate in this year’s exhibition.

Collectively these works demonstrate not only strength in diversity of practice in the arts community but asserts the multiplicity of

it is the dialogue that is encouraged around these works that gives the award depth and integrity

contemporary cultural experiences across this country.

Amy Perejuan-Capone’s holding breath, 2018 co-opts the atmospheric elements of a polar night in Longyearbyen, Svalbard to create crystallized impressions that carry with them inklings of the climatic extremities from which they were produced. Garth Henderson’s constructive_botanics/banksia_grandis 02, 2017 takes a technological leap from the traditions of botanical art with a digital rendering that uses 3D computer modelling to mimic the naturally occurring structure of the banksia grandis. The resulting image alludes to a post-natural digital future where organic structures are replicated by algorithms. Jamie Powell uses lithography to create an impenetrable surface of asemic writing with the piece Inverse Variation, 2017.

The iterative possibilities of print are used to compose an overarching structure of order from an intricate and illegible surface. AHC McDonald’s, Angel Under The Solandra Vine, 2018 is a work with a succinct narrative and endearing character that disarms and enamours. These are each works among the 50 finalists which demonstrate the ways in which print continues to permeate expansive forms of contemporary practice.

This year’s Acquisitive Prize was awarded to Deana Hitti’s Towla, which the artists describes as a “cultural transaction” between herself, who

From Left: Ron Bradfield, Charlotte Hickson and lisa Roet. Photo: Jessica Wyld

is Australian born and her late father, Antonios El Hitti a migrant from Lebanon. This volume pays homage to the pairs daily practice of playing backgammon or táwla when Hitti was a child.

The pages hold Antonios El Hitti’s instructions for backgammon phonetically transcribed in both the Arabic and Latin alphabet. The artist explains that “The Arabic letters spell the instructions in English and the Latin letters spell the instructions in Arabic”. Towla presents a dialogue between her father’s homeland and his adopted country through which the artist articulates the joys and challenges of growing up biculturally in Australia.

This work is a caretaker of memory that carries forward and shares the imprint of a family history.

Across the two days of judging we each found ourselves returning to the work of Fiona Elisala, whose linocut Uman was presented with the NonAcquisitive Award. Elisala works at Moa Arts on Mua Island in the Torres Strait. Uman documents three generations of women practicing weaving.

As the artist describes “Uman means weaving, teaching and knitting together, so that the knowledge is passed on.” Weaving was taught to Elisala by her grandmother and forms part of her practice along with linocut, etching, and screen-printing. For Elisala these practices are daily reinforcements of her cultural identity and the building blocks of her community. Elisala describes how the basket at the bottom of the image represents the collective knowledge that is

shared when gathering together, it is a vessel that cares for and retains the past for the future.

Towla and Uman are works that offer an invitation to understand the experiences of these artists and how their practices record and maintain heritage and traditions that are shared within communities across generations.

We would like to acknowledge and thank Fremantle Arts Centre staff and management for facilitating an award and judging process that allows time and space for honest consideration of these works and rigorous conversation. It is the dialogue that is encouraged around these works that gives the award depth and integrity and ensures it will remain a critical platform for generations of practitioners as the future of print media emerges.

Ron Bradfield (WA) Bardi man, story teller; arts consultant and advocate for regional and rural development within the cultural sector; Lisa Roet (VIC) Senior Australian artist and previous winner of the non-acquisitive award at the 2011 Fremantle Print Award Charlotte Hickson (WA) Exhibitions Manager at PICA

award winners First Prize $16,000 Deanna Hitti (VIC), TOWLA, 2017 Work acquired for the City of Fremantle Art Collection

Second Prize $6,000 Fiona Elisala (QLD), Uman, 2018

Highly Commended Amy Perejuan-Capone (WA), holding breath, 2018 AHC McDonald (WA), Angel Under The Solandra Vine, 2018 Jamie Powell (VIC), Inverse Variation, 2017 Garth Henderson (VIC), constructive_botanics/banksia_grandis 02, 2017

Deanna Hitti is an Australian artist based in Melbourne with Lebanese heritage. Her artist books are recipients of major Australian Artist Book awards including The Libris Award. Her works have been short listed in numerous Australian art prizes and she has exhibited nationally and internationally in group and solo shows. During the last three years, Hitti has undertaken extensive research through artist residencies in Australia, China, Venice and Lebanon. Her works have been acquired by major Australian collections including The State Library of Victoria and The National Library of Australia.

Fiona Elisala is an emerging artist and Torres Strait Islander woman who uses printmaking as a platform for sharing her values, beliefs and unique identity. Fiona believes that it is these values that “can impact the lives of our family, community and who we are as individuals. Art is my tool for retaining and retelling the stories of my people and culture�.

First Prize Deanna Hitti (VIC) TOWLA, 2017 Artist Book Screen Printed 34 × 53 (when book open) × 4cm

SECOND Prize Fiona Elisala (QLD) Uman, 2018 Lino Cut Print 120 × 81cm

list of works Hayley Bahr (WA) Woolgathering, 2018 Stamps & stencils on wool bales 100 × 240 × 160cm Printer: various woolclassers and Hayley Bahr Elaine Batton (VIC) Vanitas Revisited, 2017 Photographic on cotton rag 22 × 32 (when book open) × 1.5cm Nathan Beard (WA) Figure 3. Siamese Smile, 1970–1975, 2017 Digital print on Canson Baryta, Swarovski Elements, digital print on acrylic 50 × 37 × 5cm Printer: Joseph Landro (photographic print) and Directimage (acrylic) Rebecca Beardmore (NSW) ROAD, 2016 Screen print and digital pigment print on uncoated cotton rag 180 × 257cm Printer: Warren Macris and Rebecca Beardmore

Sam Bloor (WA) A Brand New Second Chance, 2018 Digital flat bed print on bubble wrap 230 × 150 × 100cm Printer: Sam Bloor and Hartley Design Solomon Booth (QLD) Baidam Tulu, 2018 Chine-collé lino cut and woodblock print 73 × 50cm Printer: Dian Darmansjah and Solomon Booth Tammy Brennan (NSW) Daughters, 2017 Pasteup wall art 303 × 259cm Printer: Big Fag Press Katherine Brickman (NSW) Love Poem, 2017 Collage 42 × 30cm Printer: Ultrachrome on Canson Photographique Cotton Rag Deidre Brollo (NSW) Doubtful Sound, Or: The Lure Of Gravity That We Cannot Refuse, 2017 Archival pigment prints on cotton rag, housed in a linen solander box with inlaid meteorite 28 × 54 (when book open) × 5cm Printer: Deidre Brollo Leah Bullen (NSW) Memory Theatre, 2018 Watercolour monotype 83 × 127cm

Bina Butcher-Monsees (WA) Refraction, 2018 Resin casts 85 × 117 × 31cm Printer: Bina Butcher-Monsees Eric C (WA) Comfort of Legacy, 2017 Tissue paper, cotton fabric, quilted 100 × 105 × 120cm Maggie Calzoni (WA) Transcience, 1980s–2018 Natural elements 54 × 39cm Seong Cho (NSW) leaking, 2018 Woodblock print 84 × 145 cm Olga Cironis (WA) Touch Me, 2018 Acrylic 190 × 80 × 3cm Carolyn Craig (NSW) the voice project mark#2, 2016–2018 Eftpos printer, software programme with text, stop motion 45 × 10 × 15cm Printer: Darren Poulton Christine Druitt-Preston (NSW) My Place, 2018 Lino block print on Wenzhou paper 70 × 150cm Printer: Brenda Tye Fiona Elisala (QLD) Uman, 2018 Lino cut print 120 × 81cm Printer: Solomon Booth

David Fairbairn (NSW) Large Head V.H.3, 2017 Copper etching and drypoint 120 × 105cm Eva Fernandez (WA) Dexter and Sinister, 2018 Archival pigment print 112 × 217cm Printer: Paul Jays Victor France (WA) Florilegium. Plate 1: Petrophile Linearis, 2018 320 gsm Acid free rag cotton 48 × 33cm Printer: Victor France David Frazer (VIC) pool, 2017 Artist book, wood engravings, typeset 33 × 58 (when book open) × 2cm Printer: David Frazer & Lawrence Finn Joel Gailer (VIC) Print.Text.Copy, 2016 One panel: digital print, one panel: oil and acrylic on paper 100 × 141cm Kate Golding (VIC) Unlearning Cook, Part Three, 2016 Lumen print 120 × 82cm Mike Gray (WA) Batu Karas, 2018 Back-lit transparency (inkjet) 147 × 112 × 15cm Emma Hamilton (VIC) Diagrams for Navigation, 2017 Lino print on inkjet on cotton rag 82 × 173cm

Melissa Harvey (NSW) Dark Matter, 2017 Recycled cotton cloth pulped and sprayed to form a sheet on paper 190 × 150cm

Clyde McGill (WA) Witness, 2017 Artist book of etchings, letterpress, ink, graphite, gold leaf on 270gsm Velin Rives paper 90 × 39 (when book open) × 3cm

Garth Henderson (VIC) constructive_botanics/banksia_ grandis 02, 2017 Giclée print on 188gsm Hahnemühle photo rag paper 94 × 70cm

Gordon Monro (VIC) The Necessary and the Possible: A Logical Found Object, 2018 Digital print (15 panels) 86 × 252cm Printer: The Colour Factory, Preston, Melbourne

Deanna Hitti (VIC) TOWLA, 2017 Artist book screen printed 34 × 53 (when book open) × 4cm Emily Hornum (WA) Tinderreoptyps, 2018 Unique state print – digital collage, gel medium transfer, pen 27 × 237cm Clare Humphries (VIC) Near Sighted, 2018 Hand burnished and sanded reduction linocut 42 × 245cm Jenny Kitchener (NSW) Spliced: future perfect, 2016 linocut 247 × 38cm Hiroshi Kobayashi (WA) Self portrait as yellow bricks, 2018 Acrylic on canvas 82 × 250 × 4cm AHC McDonald (WA) Angel Under The Solandra Vine, 2018 Rubber stamps 80 × 121cm

Amy Perejuan-Capone (WA) holding breath, 2018 Watercolour pigment on paper 39 × 396cm Printer: sub-zero ambient temperature Jamie Powell (VIC) Inverse Variation, 2017 Lithograph on paper 70 × 100cm Brian Robinson (WA) Mapping the Cosmos from Kisai, 2018 Lino cut 100 × 145cm Printer: Theo Tremblay Anne Starling (NSW) Shangri-La, 2018 Linoblock / woodblock / intaglio 63 × 89cm Paul Sutherland (WA) Tobacco Sundial, 2018 Kinetic Photosculpture Digital print on fabric and ply 108 × 90 × 90cm Printer: Lydra Group, Clockwork Print

Lydia Trethewey (WA) Dreams of a Tiny Apocalypse, 2017 Solvent wash 80 × 111cm

Christopher Young (WA) Eight #23, 2017 Lightjet print 90 × 74cm Printer: Churchill Labs

Andrew Weatherill (VIC) View, 2018 Multi-plate drypoint and etching 54 × 63cm

Mariia Zhuchenko (NSW) Wind Will Blow On My Skin When I Run Away, 2018 Image transfer on recycled paper 49 × 130cm

Kate Webb (WA) 8-Bit Safari, 2017 Hand stamped ink on dot matrix computer paper 24 × 420 × 23cm Cleo Wilkinson (QLD) Vestiges, 2018 Mezzotint print 54 × 43cm Gosia Wlodarczak (VIC) ARTIST NOT @ WORK; 31 DOMESTIC JOBS FOR DECEMBER, 2017–18 Archival inkjet print on Hahnemühle Photo Rag 308gsm 306 × 306cm Jennifer Wurrkidj (NT) Kurrulk Kare (Going Underground), 2017 Screenprint on Hessian Linen 191 × 141cm Printer: Deborah and Jennifer Wurrkidj Tiger Yaltangki (SA) Malpa Wiru (Good Friends), 2018 Etching with chine-collé 80 × 240cm Printer: Basil Hall Editions

collectively these works demonstrate not only strength in diversity of practice in the arts community but asserts the multiplicity of contemporary cultural experiences across this country

highly commended Amy Perejuan-Capone (WA) holding breath, 2018 WATERCOLOUR PIGMENT ON PAPER 39 x 396cm

Please provide image: AHC McDonald, Angel Under The Solandra Vine, 2018

highly commended AHC McDonald (WA) Angel Under The Solandra Vine, 2018 Rubber Stamps 80 Ă— 121cm

highly commended Jamie Powell (VIC) Inverse Variation, 2017 Lithograph on paper 70 Ă— 100cm

highly commended Garth Henderson (VIC) constructive_botanics/ banksia_grandis 02, 2017 Giclée print on 188gsm Hahnemühle photo rag paper 94 × 70cm

Anne Starling (NSW) Shangri-La, 2018 Linoblock / woodblock/ intaglio 63 × 89cm

Tammy Brennan (NSW) Daughters, 2017 Pasteup Wall Art 303 × 259cm

Gordon Monro (VIC) The Necessary and the Possible: A Logical Found Object (detail), 2018 Digital print (15 panels) 86 Ă— 252cm

Clyde McGill (WA) Witness, 2017 Artist book of etchings, letterpress, ink, graphite, gold leaf on 270gsm Velin Rives paper 90 Ă— 39 (when book open) Ă— 3cm

Joel Gailer (VIC) Print.Text.Copy, 2016 one panel: digital print, one panel: oil and acrylic on paper 100 Ă— 141cm

Kate Webb (WA) 8-Bit Safari, 2017 hand stamped ink on dot matrix computer paper 24 Ă— 420 Ă— 23cm

Melissa Harvey (NSW) Dark Matter, 2017 Recycled cotton cloth pulped and sprayed to form a sheet on paper 190 Ă— 150cm

Nathan Beard (WA) Figure 3. Siamese Smile, 1970–1975, 2017 Digital print on Canson Baryta, Swarovski Elements, digital print on acrylic 50 × 37 × 5cm

Tiger Yaltangki (SA) Malpa Wiru (Good Friends), 2018 Etching with chine-collé 80 × 240cm

Solomon Booth (QLD) Baidam Tulu, 2018 Chine-collé lino cut and woodblock print 73 × 50cm

Christopher Young (WA) Eight #23, 2017 Lightjet print 90 × 74cm

Hiroshi Kobayashi (WA) Self portrait as yellow bricks, 2018 Acrylic on canvas 82 × 250 × 4cm

Clare Humphries (VIC) Near Sighted, 2018 Hand burnished and sanded reduction linocut 42 Ă— 245cm

Deidre Brollo (NSW) Doubtful Sound, Or: The Lure Of Gravity That We Cannot Refuse, 2017 Archival pigment prints on cotton rag, housed in a linen solander box with inlaid meteorite 28 Ă— 54 (when book open) Ă— 5cm

thank you + fac staff

A special thank you to our long-term partner Little Creatures Brewing for their enduring support of this significant national award.

Heartfelt thanks to this year’s judging panel: Annika Kristensen, Ron Bradfield, Lisa Roet and Charlotte Hickson for the respect and proficiency 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: Ali Watson, Ella Steiner, Lewis Inglis, Natsumi de Dianous, Ruth Loveridge and Cara Teusner-Gartland.

A special thanks also to Dr Sheridan Coleman for her peerless efforts in assisting on this year’s award and to Jim Cathcart for his support.

Director Jim Cathcart General Manager Marcus Dickson Curator Dr Ric Spencer Exhibitions & Special Projects Curator Erin Coates FAC Print Award Coordinator Emma Buswell Installations Coordinator Tom Freeman Gallery Officers Emma Buswell, Dan Bourke

City of Fremantle Art Collection Curator André Lipscombe Moores Building Exhibitions Manager Richie Kuhaupt Residencies and Studios Coordinator Bevan Honey Events Coordinator Andrew Clark Learning Coordinator Deborah Byrne Communications Manager Andrea Woods Communications Assistant Liz Walker

Graphic Designer Sofia Antonas

Grounds & Technician George Gregson

Finance Office Christine Lofthouse, Julia Remmert

Facility & Program Assistant Aaron Lyons

FOUND Manager Pia Chomley Retail Assistants Rose Megirian, Joanna Brown, Jenny Dawson, Kate Jones, Betty Poulsen, Holly O’Meehan, Ruby Talbot-Dunn Reception Caroline Brook, Dr Sheridan Coleman, Joanna Brown, Amanda Watson, Silvia Ferolla

Install Staff Dan Bourke, Emma Buswell, Damian Capone, Janet Carter, Phoebe Clarke, Sam Eastcott, Sarah Elson, Tom Freeman, Simone Johnston, Liam Kennedy, Rob Kettles, Dominic Loss, Minaxi May, Hugh Thomson, Phoebe Tran, Claire Wohlnick, Hans-dieter Zeh

Catalogue Design: Isabel Krüger

From Left: Ron Bradfield, Charlotte Hickson and lisa Roet. 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.