Saturday, October 29, 2011

Wangi’s Djirang: “Unique State” Prints

Marie-Therese Wisniowski

Over the past decade or so, I have created a new signature technique named MultiSperse Dye Sublimation (MSDS). This technique employs disperse dyes and involves hand printing multiple resists and multiple overprinted layers, employing numerous color plates and plant materials. The completed works are rich in color, light, shade, contrast, movement, depth, and moreover, yield a three-dimensional quality to the finished printed artworks. For your convenience, I have listed the following posts on this blogspot that also features this technique using cloth as the medium.
When Rainforests Ruled
Merge And Flow
Flames Unfurling
Selected Disperse Dye ArtCloths
Sequestration of CO2

In 2009 I was invited by Michael Florrimell (printmaker and print media artist), who was a founder of Exchange Partners in Print Media, to produce 40 “Unique State” print artworks for the Exchange Partners in Print Media - 20th Anniversary Portfolio 2010 – 2011, together with 19 other professional print media artists (see Octobr 22nd 2011 blog).

Nothing like this project had ever been attempted in Australia as far as we know. It was an interesting and awesome challenge and an honor to be a participant in such an exciting and historical venture. I was looking forward to this challenge with great relish!

All participating portfolio artists would also receive a set of 20 works, with the other 20 portfolios being donated to major Regional and State Galleries and Libraries throughout Australia.

Artists were asked to make 40 x A4 unique state artworks using any form of print media. These artworks had to be a signature work, consistent with the artists practice. The size of each artwork had to be A4 in size (i.e. 29.7 cm long x 21 cm wide). All 40 works had to be different in some respect and the 40 artworks, when pieced together, had to rebuild an artwork in its own right. Artists were asked to use acid free materials and long lasting archival inks. Artists could use textile materials or different papers and media.

For example, some artists would have the same dominate image in all 40 prints on paper, but change one critical factor in each, thereby changing the act of engagement. Others would produce a video and extract 40 frames, which when put together would render the video itself.

My Interpretation Of The Criteria
What I wanted to do was slightly different to these approaches. I saw in my minds eye a mosaic in which each tile was self contained, but only when all tiles were put together would the mosaic be revealed. More than that, I wanted the act of engagement of the mosaic to be identical to the act of engagement of each tile, even though all were unique states. Knowing that each tile would be separated perhaps forever, made it more important that I hold fast to my interpretation of the criteria. It would be a miracle if all these tiles of mine would ever be re-constituted.

Artist Statement: Wangi’s Djirang
The aboriginal word “Djirang” translates as “leaves”. This series of unique state prints captures native leaves and flora found in the Wangi Wangi area of Australia (where I live). It is part of an on-going print series, which celebrates the uniqueness of Australia’s flora and pristine rain forest environments, and in doing so, raises our consciousness on how fragile these environs are to climate change and to human clearage due to the population explosion.

Over the last decade and more, I have been experimenting with hand printing techniques using disperse dyes on synthetic/polyester fabrics. These experiments have led to one of my new signature techniques, which I have developed and termed, MultiSperse Dye Sublimation (MSDS). I have taught my MSDS technique at national and international conferences and textile forums, textile/print groups and within university courses.

The MSDS technique employs disperse dyes and involves hand printing multiple resists and multiple overprinted layers employing numerous color plates and plant materials. The completed works are rich in color, light, shade, contrast, movement and depth. The multiple layers also imbue a painterly aesthetic and textural, three-dimensional quality to the finished printed ArtCloth works. Disperse dyes are light-fast, color-fast and wash-fast.

Summary Of ArtCloth Work
On the back of each unique state print was an image of the original holistic printed artwork. The original ArtCloth measured 3.15 meters in width x 80.4 cm in length. The unique state printed artworks (each tile) could be re-constituted to one holistic panel of 40 ArtCloth works.

Individual Tiles
Nos 1/40 - 15/40 are positioned in a vertical side-by-side format.
Nos 16/40 - 30/40 are repositioned in a vertical side-by-side format directly under the first row of prints.
Nos 31/40 - 40/40 are repositioned in a horizontal side-by-side format directly under the second row of prints (working from left to right).

The artist’s signature - MultiSperse Dye Sublimation technique - was employed using disperse dyes on a satin substrate, backed with organic cotton.

Size Of ArtCloth Works
Size of Whole Work: 3.15 meters width x 80.4 cm length.
Size of Individual 40 Panels: Nos 1/40 - 30/40, 21 cm width x 29.7 cm length; Nos 31/40- 40/40: 29.7 cm width x 21 cm length.

Wangi’s Djirang - The Complete Mosaic

Wangi’s Djirang - The holistic ArtCloth work.

Wangi’s Djirang - The holistic ArtCloth work showing individual panels, trimmed to A4 size. Each panel was sensitively and strategically designed so that each could be viewed as an individual ArtCloth print in its own right.

Wangi’s Djirang - The Individual MSDS Printed ArtCloth Panels Showing Printed Unique State Works 1/40 to 40/40

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