Tony Linde


LPW Artist page 


Blog posts on:


Loading,
0
% complete
  • Jun 27, 15

    A couple of months ago I did a course at Leicester Print Workshop on Solar Plate printmaking (aka Photopolymer printmaking and photo etching) with Nick Mobbs. I have only just now started doing my own such printmaking and thought, before posting work-in-progress reports, I’d post a couple of pics and a few notes from the course.

    We were sent the usual preparation sheet for the course and this contained the following summary:

    Solar plate is a photo-etching process using photopolymer plates that are developed and ‘etched’ in water. Simpler than traditional photo-etching, the process captures very fine detail and can produce beautiful prints from photographic or drawn imagery. During this day course you will learn how to apply your design by exposing and developing the plate, then ink and print your own photo etchings.

    and were asked to bring ‘a selection of black and white photocopies or computer prints of your subjects on acetate’. I edited half a dozen of the pics I took in Australia using Lightroom to turn them into black and white images of a quality I thought might print well then had these printed onto acetate at Staples in Loughborough (they did a good job on them).

    The plates we used were A4-sized Toyobo Printight Solar Plates from Intaglio Printmaker: the ones with 0.73 mm polymer coating, I think.

    Nick helped us choose images that would work and we then exposed everyone’s acetates onto two A4 plates (a two-stage process involving first exposing the whole plate to an ‘aquatint’ sheet then to the image acetates) using the LPW UV unit. Each plate was then developed in water at 22° C for 1-2 minutes, blotted with newsprint and then dried with a hairdryer after which we cut out our own plates using scissors and filed the edges down.

    The inking and printing was then the same as for etching. The plates were cleaned afterwards in White Spirit and we then had time to expose and print another plate each.

    My two plates were:

     

    and the resulting images:

    I was very pleased with the results of this course and think I’ve found a technique that fits well with my love of photography (not to mention my inability to draw) and the great satisfaction of getting inky with an etching plate.

    Many thanks to Nick Mobbs for his excellent teaching on this course. I had a great time and learned much.


  • Jun 12, 15

    I visited Warwick University’s Mead Gallery yesterday to see the exhibition, Imagining a University: Fifty Years of The University of Warwick Art Collection, which closes on Sat 20th June.

    To quote the website:

    The exhibition opens with the modernist utopia of the early University where the great colourfield paintings were hung like flags for the new, egalitarian age. It looks at how prints were bought to respond to ideas of a community in the 1970s, humanising the campus. In the 1980s, both the University and the collection were rewired by a new phase of development that included the creation of the Mead Gallery, while at the millennium, commissions sought to redefine public art in the context of a university. In the twenty-first century, the University Art Collection has many roles: delivering teaching, learning and research; introducing thousands of children and their families to the University; providing work experience for students and opportunities for artists; developing a sense of place and identity for the campus; initiating and extending discussions with its many audiences.

    It really is a wonderful snapshot of the last fifty years of art. I’m no art critic so I’ll just pick out a few of my favourites. The following pics were taken on my camera phone so are distorted, possibly blurry and with reflections of me, lights and everything else around me: the works themselves are glorious so do go and see the real thing.

    The entrance to the exhibition shows three vice-chancellor portraits, of which, the Portrait of Dr Clark Brundin by Maggi Hambling (1993) was my favourite:

    Next up were a set of abstracts playing with colour and shape, two of which were 1.3.66 by John Hoyland (1966) and Orange and Lemon with Whites: April 1965 by Patrick Heron (1965). I love the leftover pencil marks in Heron’s painting: the colours seeming to flow away from their originally intended shapes.

     

    Next up, possibly my favourite of all the paintings in the show, The Marvellous House by Albert Herbert (1963).

    and a highlight:

    It really is the most wonderful abstract idea of a house and what it means to be a house. And this from an artist I’d not heard of before.

    An artist I have seen before and admired was George Shaw. I love his ability to take ordinary urban scenes and render them with a heartfelt passion. This one was Scenes from the Passion: The Swing (2002-3). Apologies for the poor photograph; enamel medium does not photograph well.

    I am currently doing a course at Attenborough Arts Centre (formerly Embrace Arts) in Leicester, with Peter Clayton, called The Sensual Garden and last week we were looking at abstracting lines and shapes from the garden. I was reminded of the course looking at Lost Heap by Clare Woods (2010) in which pools and their reflections in the landscape have been abstracted into this wonderful Oil and Enamel painting on Aluminium.

    and a couple of highlights:

     

    It wonderfully illustrates the themes of pattern and rhythm that Peter was trying to get us to demonstrate in our drawings on the course.

    My second favourite painting was Larkstoke by Mary Riley (2005). The mark making and brush work on this muted work is quite superb: a beautiful evocation of place.

    and highlights (can you tell I really liked it?):

      

     

    The exhibition had a good selection of prints as well. There was a wall of 35 of them for which there was a handout listing the artist and title of each print but not the technique or date or anything else: the only part of the presentation of the show I was disappointed with.

     

     

     

    The two I liked best were Boy with Goat by Julian Trevelyan and Pollarded Trees by Robert Tavener (the first above the second on the left of the last pic).

    Other prints were within the rest of the show. One brilliant example of a heavily embossed etching was Composition by Garth Evans (1971).

    And I also loved a set of twelve really well executed etchings from the portfolio Twelve Objects, Twelve Etchings by Rachel Whiteread.

    This was a great exhibition. I only wish I’d been able to go and see it earlier so that I had time to go back and see it over again. If you haven’t seen it yet, do make the time to go before it ends next week.


  • May 19, 15

    After a twitter request by Nicola Griffith about how to put a chart into a WordPress site, I thought I’d have a go. I found this help document and followed the instructions to embed the following meaningless chart:

    Seems it works!


  • Mar 02, 15

    Dianne Longley is one of those people with connections so extensive that it seems every printmaker in Australia knows her. When mentioning to Tess Edwards at Baldessin that I was from Adelaide, she told me that Dianne had had a studio there for many years but had recently moved and just this year opened a new studio at Trentham, north-east of Ballarat. I was lucky enough to find that Dianne would be able to see me on the day that I left Melbourne for Ballarat and so I turned up at Agave Print Studio on Friday 27th Feb.

    It was an easy drive from Melbourne, about an hour’s journey, along a road punctuated by eucalyptus forests (in my, admittedly biased, view, the most beautiful tree species in the world). The huge A-frame of the studio dominated the plot; next to it, Dianne is having a house built (and hoped to move in in a couple of weeks).

    Upstairs are two self-contained apartments:

    The rest of the painting of the beams awaits scaffolding and a stained glass panel at each peak will complete these beautiful apartments. (The second apartment was being temporarily occupied by Dianne until her house is finished.)

    The studio is fully equipped for relief and intaglio printmaking (non-toxic chemicals but still using oil-based inks):

    with UV unit and specialist inkjet printers:

    plus storage and all the space you would need for teaching, talking, drawing and plate preparation as well as cooking and eating:

    Dianne has a special interest in Printmaking with Photopolymer Plates (the title of the book she has written on the subject, available online from her website) and this is reflected in her course offerings though she also has classes in, among others, linocut, drypoint, letterpress as well as the making of artist books.

    Getting back to Dianne’s connections, she mentioned that she would be a speaker at the Art Vault Triennial (see post here) and I later discovered that she had recently spent time with Mei Sheong Wong whom I met at Bittondi (see post here).

    Dianne kindly gave me a copy of her book as well as some of her past exhibition catalogues to take back to Leicester Print Workshop. I had a wonderful time talking to Dianne (even, occasionally, about printmaking!) and was in awe of the progress she has made in completing her studio and the house next door as well as of the plans she has for the garden. I want to thank her for her time and hospitality. She has created the perfect place to combine printmaking and relaxation and is just the person to enable both for anyone who visits.


  • Mar 01, 15

    I visited Melbourne’s Australian Print Workshop on Thursday 26th February and was shown around by technician, Chris Ingham. Sadly Dianne Shannon, Deputy Director: Business Operations, with whom I’d organised the visit, was tied up with auditors and only had time for a quick hello. Chris did an admirable job of filling in.

    The workshop is in easy reach, along the route of the number 86 tram:

    The entrance leads into the impressive gallery space where the Impressions 2014 exhibition was coming to a close. This is a major part of the fundraising effort of APW with artists specifically making prints for the workshop to sell. These and many other prints are available to buy in APW’s online Printstore.

    Behind the gallery is the workshop where there is an excellent range of presses for relief, etching and lithography work (including one large litho press still under wraps: APW had only just opened for the year):

    as well as ancillary equipment:

    All of these facilities are available to printmakers who can book a half or full day to work there. Full details of access are here. APW does not operate a membership system so any artist can make use of the workshop.

    Upstairs is a custom printing workshop which was unfortunately not open while I was there. Artists will work with APW printmakers to realise the piece they want to complete. Full details are here.

    As I was leaving, Chris gave me a number of brochures which document some of the work of APW and the Collie Print Trust in advancing the practice of printmaking through scholarships and fellowships; these efforts are certainly impressive in their scope and reach. They are explained further on the website.

    I want to thank Diane for inviting me to visit APW and Chris for taking the time to show me around.


  • Feb 28, 15

    I visited the Firestation Print Studio on a sunny Wednesday 25th Feb, after figuring out the Melbourne tram system and which route was best for me to use (see transport info on the website here). The building presents a lovely frontage with its warm red brick and bright red arched doors:

     

    The first part of the studio is a large gallery space. Currently showing was members’ 2014 Salon Show:

    I was welcomed by Studio Manager, Edith May and her assistant, Charlie.

    The studio has been going for 25 years, having been saved from demolition (nice story here). The studio has a lovely open working area:

    as well as, out back, a kitchen area and a room for meetings, classes etc:

    In addition to Edith as the only paid post, the studio is run by a volunteer management committee – details on the website here – and they have over 100 members. Access is available 24/7 and available to any competent member who has attended three health and safety training sessions (with a refresher each year). Non-printmaker members are also welcome to use the back room for other artistic pursuits. There is a Lino & Print Club and a newly started Book Arts Group (I told Edith about the London Centre for Book Arts as a possible link). Members are involved in a number of projects and exhibitions, the latest being held in the Atrium at Federation Square (just outside the National Gallery of Victoria): details here. The studio also hosts regular classes at various levels. Firestation also supports local students with prizes and other awards: see here.

    Upstairs are seven nice sized studios available to lease by artists. Edith showed me two of them, first that of Bronwyn Rees:

    and then that of Liz Norris:

    I was very impressed with the range of opportunities that Firestation offers its members and the ways that it uses these opportunities for fund raising in order to keep the studio viable. All kudos to the management committee and Edith for their efforts in this vein (see Edith’s wish list for this year here). Edith showed me a book they produced last year showcasing the studio’s artists (and kindly gave me a copy for LPW). This has since been produced as a hand-made book which has been sold to several museums even before being issued).

     

    I want to thank Edith (& Charlie) for making me so very welcome at Firestation Studio and briefing me on all the wonderful work they are doing.


  • Feb 27, 15

    I visited Baldessin Press Studio on Monday 23rd Feb, was greeted by Silvi Glattauer and then joined by Tess Edwards. Tess was married to George Baldessin, one of Australia’s most prominent artists in the 1970s. He and Tess built this studio for his etching work. An artist, printmaker and sculptor, he tragically died in 1978. Tess returned to the site in 2001 and restored it so that the studio could operate as a working memorial to George (see more here).

    The studio takes a little finding: my satnav misdirected me slightly so if you visit, do use the satnav to get you to the area and Tess’ instructions for the final part of the journey. The last part is along an unpaved but easily passable road and the journey is very worth while. The bluestone construction nestles naturally amongst the surrounding eucalypts, various sculptures dotted around the grounds.

    We sat and talked for a while in the newly extended part of a huge multipurpose room:

    The studio is run as a non-profit cooperative, owned jointly by Tess, Silvi, Tess’ husband Lloyd Godman and Rob Hails. The studio is not strictly open access in the usual sense. Access is available on Mondays, often used by those who’ve attended a weekend workshop and want an extra day to work on their own: booking is required.

    The group were preparing to open up another area of the studio, knocking down a partition wall, so this will look completely different shortly:

    In the picture above left, Silvi is helping Helga Leunig get to grips with Lightroom. Helga had brought a copy of her newly published photo book, Mother Country. I had a quick chat to Silvi about her photogravure work. The prints she produces are stunning. She has developed a ‘direct to plate’ process that I would love to learn – something to add to the ‘to do’ list for my next visit to Australia. Since the studio also has three separate self-contained apartments available (see details here), I can combine a course with holidaying.

    Artists can book blocks of days to come and focus on a piece of work (see here for details). The accommodation makes such an approach very attractive.

    The main part of the studio houses two etching presses, one motorised, and an Albion press:

    I was invited to join the group for lunch. Just before, Lloyd Godman joined us and I chatted to him about his photography and living sculpture work. The sculptures are fascinating: he joins stainless steel constructions with wire and then trains air plants along the wires, the whole suspended with pivot mechanisms so that they can turn in the wind. The plants then grow and develop the sculptures in unique ways.

    (Apologies for the quality of the picture: I’d put the camera away at this stage and only used my phone camera. Once again, I was too engrossed to properly document what we were talking about!)

    Lloyd has a number of books, covering the wide range of his interests in photography and ecology, available online on his website, here. He showed me one work, a journey of photographing a forest area during and after a fire. Several triptychs were made and printed separately, but Lloyd also joined hundreds of these into a single, very moving, graphic:

    which were displayed high up on a couple of walls in the studio.

     

    Lunch was delicious and, after helping move some stuff from the area about to be demolished, I made my (now, with Tess’ instructions, quicker) journey away from Baldessin. I want to thank Tess, Silvi and Lloyd so much for making me so welcome at Baldessin.


  • Feb 26, 15

    On my way from Canberra out to the coast, I stopped at Basil Hall Editions in Braidwood to meet Basil and talk to him about his work with remote indigenous artists and their communities. I arrived, was greeted by Pam, Basil’s wife, and was immediately invited to stay for lunch, which I accepted (good choice: they have the most amazing baker in the town making superb pies – Dojo) and then had a look around the studio with Basil.

    Here’s the back of the studio, extended to the very edge of the property, with Basil standing in the lane next door:

    Basil has only his etching facilities in Braidwood. All his screenprint, lithography and relief equipment and accessories will be moved to a studio behind his wife’s house in Canberra (see post here). He will work out of both premises, when he is not travelling up north, that is.

    He has the one etching press with extension table:

    and the usual equipment:

    It is obvious that a master printmaker, working for himself, can organise any space to contain just the right equipment, to be exactly where he needs it when he needs it. It is quite different to all the open access studios I’d visited previously.

    We then talked about his work with remote indigenous communities. He has brought an enormous array of indigenous art into printmaking. In fact, he was shortly off north just after I visited and the storm weather in Queensland was of concern. To meet me he took a break from editioning another indigenous artist’s work (see his post here) – below are shots of the two plates being used and his reference print:

    He showed me a few of the prints drying in his racks:

    Although he has run a lot of workshops in remote areas where plates and prints are produced on site, this technique intrigued me. He has the artist paint the separate colours onto transparent acetate sheets which he then takes into the studio, photographs and produces the etching plates. Back in the house after lunch he showed me some of these sheets:

    The second one above is intriguing. Although a relatively simple print, the natural earth colours being used meant the yellow ochre colour was very grainy and Basil was thinking of ways to introduce a sense of this graininess. We talked for a good while about this balance between the artist’s intentions and the printmaker’s desire for an engaging print.

    Basil then showed me a very small portion of the huge store of prints he has (all for sale and I’d recommend people visit his online store):

    No reproduction could do justice to the dynamism and colour vivacity of these prints. But the last one above really blew me away. My eyes could not stop wandering over the image and the whole was lifted by the brilliance of the white: just looking at it was an electrifying experience.

     

    Basil also runs courses (really wish we could get him to LPW to run a course on his technique of turning layers of acetate sheets into the brilliant prints the way he does ) all over Australia and the world. I’d certainly recommend anyone with the chance to meet and talk to Basil or to attend one of his courses to do so.  For European readers of this post, he runs an annual workshop in Skopelos, Greece in the summer and I believe there are still a couple of places left on the 2015 course: see details here.

    I want to thank Basil and Pam for inviting me into their studio and home and making me so welcome. I could have spent all day in their company but had to let them get back to their editioning.


  • Feb 26, 15

    I visited Megalo Print Studio and Gallery in Canberra on Thursday 19th Feb. I had spent the morning in the National Gallery of Australia (which in itself made me wish I’d planned a much longer stay in Canberra) and had taken a picnic lunch down by the lake. After lunch (partly spent watching an angler hauling in a huge fish), I allowed the satnav to direct me to Megalo’s address. I needn’t have bothered, it was only a couple of k’s down the same street but what an introduction to the studio: driving past what seemed like (and was) an enormously long frontage. Parking and walking back to the entrance was even better. I had to cross the street to fit this much in:

     

    Sadly, I wasn’t there to see the neon sign lit:

    Megalo is 35 years old. It began as a radical screenprint collective (as evidenced in the works shown in Megalomania : 33 years of posters made at Megalo Print Studio 1980-2013 by Chris Wallace: NLA link) and later incorporated an open access print facility, Studio One, to add relief, intaglio and lithography to its portfolio. It has since gone from strength to strength culminating in the move to these fantastic premises last year. The studio has a number of paid staff, all of whom are practising printmakers, and has an involved and active Board of Management. They are just getting started with recruiting volunteers and we discussed the successful approach that Leicester Print Workshop has taken.

    I was met by Erica Seccombe, Acting Public Programs Manager, who gave me a tour of the premises and an introduction to the studio. (I later learned that Erica had just won the inaugural Paramor Prize: Art + Innovation: more here.) Later, I joined the team for lunch (wishing I’d foregone my crackers and cheese when I saw the fantastic salads they’d prepared) and chatted with Acting CEO/Artistic Director, Megan Jackson, to learn more about Megalo.

    The studio has nearly 500 members. Any member can book time in the studio providing they have undergone the health and safety induction (which has to be retaken each year to learn of changes and to keep the knowledge fresh). There are hourly and day rates and proficient members can pay for extended access which allows use of the studio from 7:30 to 22:00. Full details here. They also feature a good range of course offerings, run on weekends or evenings.

    One innovative idea they’ve had is the creation of Print Clubs: members interested in a technique come together to book one night a week for six weeks in one area of the studio and pretty much look after themselves: a great way to get experience in an area of printmaking without being all on your own. This is something I could relate to as a beginning printmaker.

    As is apparent from the exterior signage, the studio is split into blocks, more or less dedicated to screenprinting (with a gloriously long table for fabric printing), lithography (including the biggest litho press in the southern hemisphere) and etching/relief (with three etching presses, one electrical in the litho space, and one Albion):

    with associated prep & equipment areas:

    In the middle is the office and library/lunch space and behind that, the litho graining sink:

    Megalo offer an impressive six residencies per year: four go to local artists, one from interstate and one international. These residencies include significant stipends and a materials allowance and the international resident can also apply for travel funding. I’ll certainly be making LPW artists aware of next year’s residency opportunity when it opens. Details of the 2015 residencies are on the website.

    The studio also coordinates a number of projects. An important one currently underway is the Anzac Centenary Print Portfolio 2014-15. Funded by the Australian War Memorial, this brings together ten artists, five from Australia and five from New Zealand, to work with the printmakers at Megalo to produce work that ‘explores the Anzac legacy and commemoration in a contemporary context’.

    As if the huge workspace is not enough to inspire print-envy, Megalo also has a dedicated exhibition space. The evening of my visit, saw the opening of a new show, Quadriform, by Sui Jackson, work which ‘explores the intersection between the ancient processes of mark making and digital connectivity’. A couple of shots taken to show the space (on my camera phone while holding a glass of wine):

     

    To conclude, I’d like to thank Megan, Erica and everyone at Megalo for making me welcome and taking the time to show me around and talk to me about the way the studio operates. I had a great time there, and felt so much at home that I even found myself volunteering to help fold leaflets in preparation for the gallery opening (kindly turned down since I was a guest)!


  • Tweets
  • abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz
    Now Playing
    ×