Q: What were some of the foundation ideas for this exhibition project?

A: This is the third print exchange portfolio that Sydney Printmakers has undertaken over the years, the first  Urban Animals in 2008 and the second Boundless and Borderless a collaboration with a printmaking group Open Studio from  Canada in 2013. We had been planning to work towards another portfolio, but Covid delayed our plans for a few years so finally in  2024 we have our Visible but Intangible portfolio completed and currently being exhibited at PCA Gallery in Melbourne.

Regarding the theme we decided all participating members could put forward ideas and we would put it to the vote. Many interesting themes were suggested and Visible but Intangible was decided upon.

Everyone worked on a standard size paper 28x38cm with the image being any size from small to bleed print. Any printmaking technique could be used including monoprints presented as a series.

Q: How did the artwork selection take place?

A: All members were invited to take part in this project, however it wasn’t compulsory. The portfolio has prints from 38 members (Sydney Printmakers has a total number of 60 members) with all works submitted for the portfolio are being exhibited.

Q: How does the exhibition manifest – what do visitors experience?

A: There has been a variety of responses to the theme in subject matter and printmaking techniques. Some artists referenced past memories, spiritual journeys, gravity, memories of snow petroglyphs from Antarctica travels, shadows, grief after losing a loved one, addressing habitat loss and climate change. Printmaking techniques include etchings, linocuts, woodcuts, wood engravings, screenprints, digital prints, photopolymer photogravure and monoprint series. Our past portfolios have been collected by the Art Gallery of New South Wales and the National Gallery of Australia and it has been observed by curators that these types of portfolios are a snapshot in time for Australian printmaking capturing what is happening in this time and place.

Q: What are some of the key works and what subject matter do they deal with?

A: Seong Cho, Susan Baran, Ruth Burgess and Graham Marchant all look at the intangible beauty found in nature. Jacqui Driver explores tangled thickets and Salvatore Gerardi looks at imprints left at the water’s edge by the receding tide. Anne Starling’s layered linocut draws inspiration from mangroves and highlights concerns about habitat loss and Rafael Butron looks at climate change aiming to evoke contemplation on humanity’s impact on nature.

Gary Shinfield looks at ancient rock art and Anna Russell looks at the intangible nature of ecstasy when dancing. Roslyn Kean references silence in an immersive era of media and Rew Hanks is inspired by an artwork by Edward Hopper of a petrol station highlighting the complex transition from fossil fuels to renewables.

Q: What is it about the printmaking experience that you most appreciate?

A: It is said that printmakers are a collaborative lot open to sharing technical skills and working together unlike other artistic disciplines. Sydney Printmakers embodies this philosophy by organising their exhibitions and promoting printmaking on a continuous basis since 1961. It is the longest running printmaking group of its kind in Australia.