Saturday, October 29, 2011

Wangi’s Djirang: “Unique State” Prints
ArtCloth

Marie-Therese Wisniowski

Preamble
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


Introduction
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.


Criteria
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.

Technique
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).


Media
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















































































Saturday, October 22, 2011

Unique State (Partners in Print)
20th Anniversary Portfolio, 1991-2011
Mutlimedia

Guest Editor - Michael Florrimell

Preamble
This blogspot is not only devoted to ArtCloth and all things fabric (e.g. wearables) but also to prints on paper. There are now many posts on this blogspot in this particular genre and so for your convenience I have listed these posts below.
The Journey
Made to Order
Veiled Curtains
Pop Art
A Letter to a Friend
Beyond the Fear of Freedom
Travelling Solander Project
Print Making in the 1970s
Star Series
Imprint
Cry for the Wilderness
Federation on Hold - Call Waiting
Contemporary Aboriginal Prints on Paper
Japanese Ukiyo-e Prints
Wish You Were Where?
The Art of Erté
The Four Seasons
Mucha
Margaret Preston
Poster Art of the 1890s
Art Nouveau and Symbolism of the 1890s
Sea Scrolls. Celebrating 50 Years of Print
Northern Editions - Aboriginal Prints


Unique State
Partners in Print 20th Anniversary Portfolios 1991 - 2011
Michael Florrimell Coordinator Notes


Welcome to the Partners in Print 20th Anniversary Portfolio Project Unique State Portfolios

In 2010, I selected 21 professional print media artists to undertake a project in unique state media. Each artist was requested to make 40 x A4 art works as unique state prints to be collated into 40 unique state portfolios. From the 40 portfolios 21 artists would receive one portfolio each and 19 portfolios would be donated to a variety of Australian and International print collections.

I selected artists who have worked with my two organisations - Partners in Print and Exchange Partners in Print Media over the past 20 years. I regard all the Unique State artists as professionals in the arts of polymedia and the ideologies which go with being a long term media artists. Marian Crawford, Jodi Heffernan, Anne Marie Hunter, Jan Palethorpe, Bridget Hillebrand. Heather Hesterman, Richard Harding and Bob Stewart have all worked on large and small scale original unique state works over the past 20 years. To give the portfolios depth of polymedia I selected photographers and digital artists such as Michael Prior, Elizabeth Rodda, Julie Lancaster, Michael Zschech, Jim Brodie, Jutta Pryor and Gerard Morrissey who have used sequence photography, media clippings and video to produce 40 frames of images - each frame unique. Consideration was also given to artists using fabric such as Rebecca Mayo and Marie-Therese Wisniowski. Further consideration was given to artists who have used multiple combinations of media such as Rebecca Beardmore, Cherie Winter and Paula McLouglin.

Printmaking and polymedia arts have a representation in both reproduction and original production. Over the past 50 years Australian artists have been experimenting with a huge variety of historical and recent methods and materials in fine art institutions and workshops. In the 1960s printmaking was introduced into the fine art universities to provide artists access to commercial reproductive methods.  Photography and the graphic arts were also introduced as professional fine art and commercial courses in the 1960 – 70s period extending the domains of polymedia culture.

From 15th century wood engraving to the latest phone applications most communications methods are regarded as practice in fine art circles. Many artists within the history of arts have produced work with association to original fine arts and reproductive commercial graphic reproductions. Combinations of polymedia methods and personal ideologies have been practiced by fine artists such as Andy Warhol, Damian Hirst and Shepard Fairly resulting in the finest art of the past century. Polymedia arts have retained a strong following and will grow even more popular with time. We live in times where media is prolific, we use it every day in many ways, and hopefully now as artists we can celebrate and interact with media to produce works of art which push the boundaries and domains of our imagination.

As this is the last exchange portfolio under the name of Partners in Print I would like to thank all the artists, coordinators, curators and institutions who have supported and been involved with these initiatives from 1991 – 2011. Particular thanks to all the “Unique State” artists for making the “Unique State” portfolios possible. I have now registered the name Polymedia and will resume print media projects under this name in 2012. I look forward to working with you all again in the future.


Rebecca Beardmore

Title: Reflection Series (2011).
Media: Digital and silkscreen.
US/8 from 40 US prints.
Size: A4.

Title: Reflection Series.

Media: Digital and Silkscreen.
Examples of 8 from 40 US prints.
Size: Each panel A4.

Jim Brodie

Title: Amamoor (2011).
Media: Digital Print.
US/8 from 40 US prints.
Size: A4.

Title: Amamoor (2011).
Media: Digital Print.
Examples of 8 from 40 US prints.
Size: Each panel A4.


Marian Crawford

Untitled (2011).
Media: Etching.
No 1 of 40 US prints.
Size: A4.

Untitled (2011).
Media: Etching.
Examples of 8 from 40 US prints.
Size: Each panel A4.


Michael Florrimell

Untitled (2011).
Media: Digital print on Arches rag paper, double sided prints.
US/8 from 40 US doubled sided prints.
Size: A4.

Untitled (2011).
Media: Digital print on Arches rag paper, double sided prints.
Examples of 8 from 40 US doubled sided prints.
Size: Each panel A4.


Richard Harding

Title: Queer Zone Suck it up (2011).
Media: Etching and Silkscreen with glitter.
U/S 8 from 40 US prints.
Size: A4.

Title: Queer Zone Suck it up (2011).
Media: Etching and Silkscreen with glitter.
Examples of 8 from 40 US prints.
Size: Each print A4.


Jodi Heffernan
Title: Coral Series (2011).
Media: Lino Cut, Printed on Paper and Tulle.
Size: A4.
US / 8 from 40 US prints.
Size: A4.


Title: Coral Series (2011). Media: Lino Cut, Printed on Paper and Tulle.
Examples of 8 from 40 US prints.
Size: Each panel A4.


Heather Hesterman


Title: Clearer Eventually (2011).
Media: Silkscreen, double sided print.
US/ 8 from 40 US double sided prints.
Size: A4.

Title: Clearer Eventually (2011).
Media: Silkscreen, double sided prints.
Examples of 8 from 40 US double sided prints.
Size: Each panel A4


Bridget Hillebrand

Title: Beautiful Possibilities (2001).
Media: Lino cut and pencil.
US/ 8 from 40 US prints.
Size: A4.

Title: Beautiful Possibilities (2011).
Media: Lino Cut and pencil.
Examples of 4 from 40 US prints.
Size: Each panel A4.


Anne Maree Hunter

Title: No Shoes (2011).
Media: Collograph, letter press, stitching and chine colle on obsolete maps.
US/ 8 from 40 US prints.
Size: A4.

Title: No Shoes (2011).
Media: Collograph, letter press, stitching and chine colle on obsolete maps.
Examples of 8 prints from 40 US prints.
Size: Each panel A4.


Julie Lancaster

Title: Changeling(Captured states) (2011).
Media: Giclee prints printed on museo silver rag paper.
US/ 8 from 40 US prints.
Size: A4.

Title: Changeling(Captured states) (2011).
Media: Giclee prints printed on museo silver rag paper.
Examples of 4 prints from 40 US prints.
Size: Each print A4.


Rebecca Mayo

Title: Mistletoe (2011).
Media: Silkscreen on cloth, ceramic on copper discs.
US/ 8 from 40 US prints.
Size: A4.

Title: Mistletoe (2011).
Media: Silkscreen on cloth, ceramic on copper discs.
Examples of 8 prints from 40 US prints.
Size: Each panel A4.


Paula McLoughlin

Title: Some walking and talking going on (2011).
Media: Silkscreen/pencil.
US/ 8 from 40 US prints.
Size: A4.

Title: Some walking and talking going on (2011).
Media: Silkscreen/pencil.
Examples of 8 prints from 40 US prints.
Size: Each panel A4.


Gerard Morresey

Title: Tea – Party – Life (2011).
Media: Digital Video Capture printed on rag paper.
US/ 8 from 40 US prints.
Size: A4.

Title: Tea – Party – Life (2011).
Media: Digital Video Capture printed on rag paper.
Examples of 8 from 40 US prints.
Size: Each panel A4.


Jan Palethorpe

Title: Take a leaf from my book (2011).
Media: Mixed etching and papers.
US/ 8 from 40 US prints.
Size: A4.

Title: Take a leaf from my book (2011).
Media: Mixed etching and papers.
Examples of 8 from 40 US prints.
Size: Each panel A4.


Michael Prior

Title: Pom Pom Girls (2011).
Media - Digital Photograph Printed on Epson 4800 Ultra Proof Trade Satin Archival Paper.
US / 8 from 40 US prints.
Size: A4.

Pom Pom Girls (2011).
Media: Digital Photograph Printed on Epson 4800 Ultra Proof Trade Satin Archival Paper.
Examples of 8 US from 40 US prints.
Size: Each panel A4.


Jutta Pryor

Untitled (2011).
Media: Digital print.
US/ 8 from 40 US prints.
Size: A4.

Untitled (2011).
Media: Digital print.
Examples of 8 from 40 US prints.
Size: Each panel A4.


Elisabeth Rodda

Title: Swan Dreamtime Story (2011).
Media: Digital photographic print on architectural transparent paper.
US/ 8 from 40 US prints.
Size: A4.

Title: Swan Dreamtime Story (2011).
Media: Digital photographic print on architectural transparent paper.
Examples of 4 from 40 US prints.
Size: Each panel A4.


Bob Stewart

Title: On stage with Kate Ceberano (2011).
Media: Digital video print.
US/ 8 from 40 US prints.
Size: A4.

Title: On stage with Kate Ceberano (2011).
Media: Digital video print.
Examples of 8 from 40 US prints.
Size: Each panel A4.


Cherie Winters

Title: Wear we put our feet (2011).
Media: Mono print, woodcut and chine colle.
US/ 8 from 40 US prints.
Size: A4.

Title: Wear we put our feet (2011).
Media: Mono print, woodcut and chine colle.
Examples of 8 from 40 US prints.
Size: Each panel A4.


Marie Therese Wisniowski

Title: Wangi’s Djrang (2011).
Media: MultiSperse Dye Sublimation (MSDS) technique employing disperse dyes on satin. A single holistic print from which 40 US artworks were cut.
Size: A single A4 panel.

Title: Wangi’s Djrang (2011).
Media: MultiSperse Dye Sublimation (MSDS) technique employing disperse dyes on satin. A single holistic print from which 40 US artworks were cut.
Examples of 8 from 40 US size artworks.
Size: Each panel A4.


Michael Zschech

Title: I don’t want to be here anymore, people are too cruel (2011).
Media: Photographic scan of collage on high gloss acid free photo paper with cotton thread, montage.
Examples of 8 from 40 US prints.
Size: A4.

Title: I don’t want to be here anymore, people are too cruel (2011).
Media: Photographic scan of collage on high gloss acid free photo paper with cotton thread, montage.
Examples of 8 from 40 US prints.
Size: Each panel A4.