Firestation Print Studio

Jaime Powell - VCA Graduate Award Winner 2011

2012-02-03T14:57:00.000+11:00

Jaime Powell, 'Connections', in the Firestation Print Gallery

The Firestation Print Studio / City of Stonnington Graduate Award VCA exhibition prize went to Jaime Powell. Her show opened last night and continues to the 11th of February. FPS Committee of Management President Coralie Stow gave a speech, congratulating Jaime, and thanking gallery curator Trudy Rice for her work curating the student shows.

Coralie opening the exhibition

Jaime has filled the end wall of the gallery with her beautiful calligraphic lithographs 'Connections', their subtleties evident only when viewed up close. The lithographs feature overlays of delicate calligraphic marks, the prints collected and arranged on the end wall, but equally entrancing as a single or double sheet.

The student shows give Firestation members and gallery visitors a chance to see the up-and-coming stars of the Melbourne printmaking scene, so come along to the gallery to see these beautiful prints.

Congratulations Jaime!

Connections

Firestation Print Gallery

2 Willis Street

Armadale

until the 11th of February (gallery hours 11am to 5pm, Wednesday to Saturday)

(images - Jaime Powell, 'Connections', details)

So Begins Another Year of Wonderful Classes at the Firestation

2012-02-01T11:53:00.000+11:00

Firestation teacher Marisa Corral with a happy student

It's February already and the Firestation programme is in full swing! There is an extensive range of classes on offer in the workshop - etching, aquatint, monoprinting, collagraph, bookbinding, linocut and much more. For more details on upcoming classes and workshops by visiting artists, have a look at the FPS website, which is regularly updated by our lovely workshop manager Edith.

Marisa Corral, an artist-in-residence at the Firestation who is currently studying for her Masters in Visual Arts at Monash University, recently ran a weekend workshop on collagraph and monoprinting. Students learnt to experiment with relief and intaglio techniques using cardboard as a base, and to combine these textural marks with the painterly qualities of monoprinting.

Marisa also runs regular etching and aquatint classes in the workshop (for beginners and more experienced printmakers), and is one of our many teachers who are happy to pass on their extensive knowledge of printmaking techniques.

More happy students

The Firestation classes aren't just restricted to printmaking. Visiting artists often share their skills in related fields as well. Experienced book artist and printmaker Joss Farmer-Bowers recently gave a bookbinding class where students learnt to make their own covered concertina book, as well as the techniques of pamphlet binding. All very useful for printmakers wanting to take their prints to another level.

Students learning bookbinding skills with Joss Farmer-Bowers

Firestation Artists Contribute to Save-A-Dog-Scheme Fundraiser

2012-02-01T11:10:00.001+11:00

Gwen Scott, 'My Dog', linocut

Firestation artists recently contributed prints to the City of Stonnington charity fundraiser, held late last year. A local charity is chosen by the mayor and a fundraising dinner and auction is held. Last year the charity was 'Save-a-Dog-Scheme' and prints were donated by the Firestation and some of its artists to help raise the $17,572.

SADS is a local non-profit organisation that works to save the lives of cats and dogs, once their time has expired at the council pound. The charity does not receive any government funding and relies on donations for its continued existence.

The Firestation bought the print 'Red Door' by Margaret Manchee to donate to the event, as it features one of the iconic front doors to the workshop in Willis Street. The prints were part of a cache of over 200 items auctioned at the event.

The other contributing artists were:

Myra Kaufman

Trudy Rice

Marie Watt

Gwen Scott

Carmel O'Connor

Rachel Lennon

Beata Slifierz exhibiting in Poland

2012-01-25T10:19:00.001+11:00

Beata with her work at the Royal Castle in Niepolomice, Poland

Firestation artist-in-residence Beata Slifierz has taken an exhibition of her print works to Poland. The first exhibition has just finished, at the Royal Castle in Niepolomice, and the second has just opened.

Her beautiful images, using much layering of both linocuts and etchings, evoke Polish folk patterns seen through the nostalgia of memory. Beata regularly exhibits in both solo and group shows at the Firestation, and last year was a finalist in the Silk Cut Award for Linocut Prints, exhibited at the Glen Eira City Council Gallery in Caulfield each September.

Beata was also a prize winner at last years Firestation Summer Salon exhibition, have a look at her image on the post about the show here, and another of her prints featured in a photo of our opening of the Portfolio exhibition last year, that's here.

So if you're in the area, have a look at Beata's exhibition...Congratulations Beata!

Polonia House

Cracow

22nd January to 17th March 2012

And to give you more of an idea of what her beautiful prints look like close up...here's Beata's print for our members' portfolio of last year 'The Print and Narrative'.

Beata Slifierz, 'Memory Carpet no. 6', 18x18cm, 2011

Jason Fujiwara - RMIT 2011 Graduate Prize Winner

2012-01-20T12:08:00.000+11:00

Jason Fujiwara, 'Remnants of a Tsunami', 2011,
digital, woodgrain and chine colle print (unique state, 15 panels)

The Firestation Print Studio / City of Stonnington Graduate Awards have come around again. The first of the prizewinners to exhibit in the gallery is Jason Fujiwara of RMIT.

Jason combines old and new printmaking methods, adding linocuts and woodgrain to digital images. He shows us a weird yet beautiful world of giant destructive waves from the sea, and the enormous and intriguing (and perhaps threatening) creatures that inhabit this world.

In the new digital prints 'Hidesato's Mortal Enemy the Centipede' we can imagine a colourful giant centipede lurching towards the great warrior Hidesato, in a beautiful landscape of snowy mountain forests.

Jason Fujiwara's show 'Remnants of a Tsunami' will be exhibited until the 28th of January 2012, so make sure you come and have a look.

Congratulations Jason!

Jason Fujiwara, 'Hidesato's mortal enemy the Centipede', 2012, digital print

P.S. I've spoken to some past recipients of the graduate awards (both the exhibition and workshop prizes) to find out what they have gained from it, as they start their fledgling art practice after leaving art school. The resulting article will be published in IMPRINT magazine, the quarterly publication of the Print Council of Australia. Look out for the March 2012 issue.

Annual Summer Salon Party

2011-12-04T14:30:00.001+11:00

Bronwyn Rees with her prizewinning print
'Black Heart in the Wild Woods'

Yesterday we celebrated the opening of our Annual Summer Salon exhibition with drinks and the announcement of the four winners of the competition.
We had a very strong turnout of members reflecting, I think, the growth in the membership this year. Many people commented to me that they thought the exhibition of members' work was one of the strongest we've seen, too.

There was quite a bit of discussion about the future - possible improvements to the workshop layout to make it more flexible and new course ideas to meet perceived demand. It was really encouraging to hear this expression of optimism in the future of the Firestation.

Congratulations go to our 2011 prize winners. They were selected this year by Ailsa Brooks from the Council if Adult Education, and we must thank her for giving her time to this task. It definitely cannot have been easy!

First Prize of a $500 Neil Wallace voucher, donated by Menzies Art Brands, went to Bronwyn Rees for her large, striking drypoint etching Black Heart in Wild Woods

Second Prize of a $300 voucher towards a Firestation Course went to Beata Slifierz for her linocut Memory Veils No. 2.Beata couldn't accept her award as she is currently in Poland (and holding an exhibition there).

Third Prize of $200 access fees at the Firestation and a Taschen art book went to Keiko Murakami for her etching Batmania

Fourth Prize of $100 Neil Wallace voucher, donated by Neil Wallace, and two Taschen art books, went to Deb Taylor for Duality, a solarplate etching

Thank you to the the organisations and people that have helped keep the big red doors open this year:
City of Stonnington
Senior Art Supplies
Neil Wallace Print Making Supplies
Menzies Art Brands
The 2010-2011 Committee
Our Manager, Edith May
Our Patron, Sarah Amos
Our Gallery Curator, Trudy Rice
Our Teachers
Our Studio Artists
and Sue Top, Allan Dabscheck and many other volunteers who help out on a regular basis

The Firestation Print Studio will be turning 21 next year and we will be holding an 'reunion' exhibition and party to celebrate. We want to track down past studio artists and members, particularly from the early years, so get in touch if you can help.

Wishing you all a happy and safe holiday season,
Coralie Stow
President, 2011-12 Committee
Firestation Print Studio

Deb Taylor - 'Duality'

Beata Slifierz - 'Memory Veils No. 2'

Keiko Murakami - 'Batmania'

RMIT Graduate Prize 2010 - Kathryn Gribbin 'Through a Glass Darkly'

2011-11-23T09:56:00.001+11:00

Kathryn Gribbin, from 'Through a Glass Darkly - series 2',
digital light boxes, battery powered

Coralie Stow (FPS Committee President), artist Kathryn Gribbin, Edith May
(FPS Workshop Manager) and Richard Harding (Senior Lecturer, RMIT Printmaking Department)

Kathryn Gribbin was a recipient of one of the Firestation Graduate Prizes at the end of 2010. Kathryn graduated from the Printmaking department at RMIT and her exhibition was opened by Senior Lecturer Richard Harding.

Kathryn’s work explores the darker, more mysterious side of nature through the changing effects of light and shadows.

Exploring psychological spaces, human emotion, containment, and notions of the real and imagined through both traditional print mediums and digital imagery.

Come and see this beautiful and evocative exhibition which continues until the 29th of November 2011.

Congratulations Kathryn! And thanks to the City of Stonnington for their continued support for the Graduate prizes.

Kathryn Gribbin - Through a Glass Darkly

Kathryn Gribbin, 'Still, Here', digital print on Meseo rag paper, 86 x 86cm

Kathryn Gribbin, 'Fleeting', detail, digital print on Museo rag paper, 60 x 60cm

'That's Life', The Annual Life Drawing Exhibition Continues Until 12th November 2011

2011-11-05T20:31:00.001+11:00

Judy Schrever, 'Reclining Nude', oil on board

Sue Top, convenor of the life drawing classes, with Coralie Stow
(President of our Committee of Management)
who regularly attends the classes

It's that time of year again, when the FPS showcases its artists and classes. Today was the opening of the life drawing exhibition - and soon it will be time for the Summer Salon group show.

The life drawing classes are held on Tuesday nights in the workshop room at the FPS (always welcoming new members - see Edith in the office if you're interested).

Come along and see the results of their passion for the human form: drawings, paintings and prints.

Carmel O'Connor, 'Graphite Nudes', graphite pencil

Nicholas Hobbs, Untitled I, pencil

Philip Burgoyne, 'Study in Brown', conte pencil

Yolanda Matlakowski 'Good Night and Good Will' at the Walker Street Gallery

2011-11-04T20:35:00.000+11:00

Yolanda Matlakowski is a long-time member of the Firestation, and she has a solo exhibition of her drypoints and etchings at the Walker Street Gallery in Dandenong that continues until the 28th of November.

Yolanda graduated in printmaking from the Victorian College of the Arts, she is a regular printer in the FPS workshop, as well as being heavily involved in the life drawing classes. Check out the gallery website for more details, and make sure you get along to see the beautiful prints in this wonderful council-run gallery that is the treasure of Dandenong.

'Haunted by phantoms and in fear of the end of the world, Yolanda’s prints are dystopic and dark. Her carnival of circus characters may not be performing for our amusement but for our total annihilation.'

'Salt and the Dress' by Lesley Dickman, also showing at Walker Street Gallery

Walker Street Gallery
Corner of Walker and Robinson Streets
Dandenong 3175

Impact 7 in Melbourne

2011-10-28T15:50:00.001+11:00

Have a look at this blog post by Wuon-Gean, of East London Printmakers, written after her visit to Australia for the conference. Her highlight (like mine) was the keynote speech on the first day by John Loane about his long collaboration with Mike Parr.

'Under the Microscope', Sue Top's Show Continues Until Saturday 29th October

2011-10-19T12:20:00.001+11:00

Sue Top, drawings from 'Under the Microscope', 2011, 30 x 30cm each

Sue Top's exhibition of recent works in the gallery is beautiful and should not be missed. She has filled all the walls of the entire ground floor of the Firestation with her recent work; drawings, collographs, linocuts and paintings. Inspiring and meditative works that delight in the fine details and textures of the natural world.

Have a look at her blog site for more photos, but make sure you get along to see the show too. Congratulations Sue, on a great exhibition!

Annual Open Day at the Firestation

2011-10-14T09:07:00.000+11:00

(Click on image to enlarge)

It's the Firestation annual Open Day tomorrow. Come and see the workshop, the gallery (a beautiful exhibition by FPS member Sue Top) and the studios upstairs.

Open Day is the only chance the public get to wander about upstairs at the Firestation, so come and see the sunlit spaces, talk to the artists about their work and their processes (there'll also be lots of reasonably priced original prints for sale!), and learn why it is that we all love being a part of this community arts organisation.

We're also on the art trail organised by the Malvern Artists Society, a walk visiting the galleries and community art groups of the area.

See you there for some friendly chat over a drink and a snack!

Children's Printing Activities in the Park

2011-10-07T11:47:00.000+11:00

On Sunday the Firestation will again have a stall at Stonnington's 'Spring into Gardening' day in the beautiful Victoria Gardens, Prahran, 11am to 4pm.

There will be some friendly Firestation artists on hand to answer questions and talk about the displays of original prints, our classes and exhibitions at the FPS, the open day next week...

AND children's printmaking activities for just a small gold coin donation. We will be helping our little local artists produce a beautiful print to take home.

There will be lots of other things to see and do: garden displays, dog races, sustainable energy displays, music and entertainment, stalls of other local community and charity groups, and lots more. Here's a link to the Council website for more information.

See you there!

'The Print and Narrative' - Opening Night a Great Success!

2011-09-23T13:00:00.000+10:00

The Gallery, artworks by, from left to right: Sue Top, Leah Bright,
Myra Kaufman, Michele Newman, Beata Slifierz, Cindy Mann

The opening night to our portfolio show was a huge success, with lots of lovely food and wine, speeches and conversation, and of course the beautiful artworks.

It was wonderful to see Marian Crawford from Monash University and Sue Forster from the Print Council take time out from their very busy Impact 7 schedules to come to the opening and be presented with the portfolio boxes for their respective institutional collections.

Councillor Claude Ullin officially opened the show, giving a speech in which he praised all the work that goes in to running a community arts organisation, and putting on a show such as this. Claude was on the Council when the Firestation began all those years ago, and has seen us go from strength to strength. He was impressed by the high quality of the work on display, including the little linocuts by children from one of our local primary schools.

Thanks to everyone involved (list below), and congratulations!

Enjoy the photos, or come along and see the prints in the flesh!

Councillor Claude Ullin
(the workshop was filled with other works by the portfolio artists, this one by Beata Slifierz)

Sue Forster of the Print Council of Australia, accepting the portfolio for their collection
from our Committee President Coralie Stow
(Leah Bright's artwork in the background)

Linocuts by the group of 5 children from Stonnington Primary School in Windsor
who did the Lino Doodling class earlier in September

Hand printed linocut by Callum from Stonnington Primary

Thank to the artists (all listed in previous post), Impact 7, Monash University, The Print Council of Australia Inc., Arts Victoria, the City of Stonnington, Seniors Art Supplies, the children of Stonnington Primary, and

Myra Kaufman for helping with framing

Trudy Rice for hanging the show so beautifully

Bronwyn Rees for helping with the collating

Margaret Manchee for her enthusiasm at getting artists to sign up

Judith Sackville-O'Donnell for helping with gallery minding

Edith in the office for everything

Coralie Stow and the rest of the Committee for their support

(and the beautiful flowers I got to take home!)

'The Print and Narrative' - FPS Members' Exchange Portfolio - Opening Celebration 22nd September 6pm to 8pm

2011-09-18T10:46:00.000+10:00

The portfolio exhibition opens on Thursday, and recently Bronwyn and I spent the day collating all the prints into their archival boxes. Each artist will take home a full set, and one will be presented to the following institutions: The City of Stonnington, the Print Council of Australia, and Monash University (as the exhibition came about as our contribution to the Impact 7 conference 'Month of Print').

Each of the prints will be available for individual sale, both framed and unframed, and all at very reasonable prices!

The show will be opened by Stonnington Councillor Claude Ullin. He will be presenting the prizes for the recent children's Lino Doodling class, the children's work will also be exhibited in the gallery.

Have a look at the photos of the rest of the prints lined up to be boxed, and the concertina book of prints the children took home from their class.

Come along and see the show, it's a varied and beautiful showcase of the current art practice at the Firestation. And I know I'll be treasuring my set of prints!

Artists, from left to right, the order in the box:

Margaret Manchee
Yolanda Matlakowski
Michele Newman
Cindy Mann
Judith Sackville-O'Donnell
Bronwyn Rees
Trudy Rice
Leah Bright
David Williamson
Marisa Corral
Myra Kaufman
Gwen Scott
Beata Slifierz
Judy Schrever
Sue Top
Rhett Kilner
Elizabeth Banfield

'The Print and Narrative'
The Firestation Print Studio Members' Exchange Portfolio 2011
Firestation Print Gallery
22nd September to 8th October 2011
Wednesday to Saturday 11am to 5pm

Margaret Manchee's Exhibition - 'The Outsider'

2011-09-09T11:45:00.001+10:00

Margaret's show opened last week to much praise. It is a beautiful and moving exhibition from one of our most talented etchers. Margaret won a Firestation Graduate Student prize a few years ago and hasn't looked back. She's an inspiring teacher at the FPS as well as a great asset to the organisation.

Here are some more photos, and a copy of the beautiful speech given at the opening by our workshop manager Edith May.

The show is on until Saturday the 17th of September, so don't miss out on seeing these works!

Congratulations Margaret!

Margaret Manchee, 'Por Por', etching and aquatint, 2011, 38 x 32cm

Margaret Manchee, 'Speak No Evil', etching and aquatint, 2011, 20 x 20cm

We are all here tonight tocelebrate the opening of this exhibition – a body of work by Margaret Manchee.

Margaret Manchee is a veryvaluable asset of the Firestation Print Studio. She is one of our mostinspiring teachers, a tireless volunteer, committee member and the recent pastTreasurer. She is a wonderful friend and colleague. Tonight however, she wearsanother hat: the artist célèbre.

It is obvious in theseimages that Margaret’s technical skills are second to none. For those of us whohave seen her make her art, we know that for Margaret the process is asimportant as the end result. Preparing the plates is an act of love: etching,wiping, inking, preparing the paper, printing – all with meticulous andpainstaking care.

This exhibition is called Outsider. A curious name. And, as you think about it, asAlice in Wonderland said “Curiouser and Curiouser”.

There are two rather obviousmeanings:

Firstly, Margaret’s studiois the only one outside of theFPS building. You can see it in some of the images – a small shed withidiosyncratic windows. The little paper sculptures reference her studioalso. So Outsider reflects this fact.

Secondly, there is thereference to difference in theword Outsider. Margaret is from Hong Kong, althoughshe has been here for a very long time. But, in a culture of White Australia,there must be a sense of outsider.Arriving here from NZ in my early teens, I remember all too well how an accentmade me ‘different’.

But I don’t think Margaretis referring to cultural and ethnic difference in this title. In art history,there is the idea of the artist as an outsider, a voyeur.

Looking at these imagesthere is a clear evocation of different emotions and states of being. From thebeautiful dog hanging over the fence, to the stark etchings on the end wall,these emotions range from the frankly sentimental to the frankly scary.

Many of the images aresurreal, psychological- there is something happening in your headspace here.

While many of the locationsare firmly in our reality, - the FPS or the park – the creatures that inhabitthese spaces are often not normal at all: a giant octopus for instance whosetentacles escape from the confines of the building or a giant hound emergingfrom the burning Firestation.

Juxtaposed to images likethis, is the goggled pug diving into a dry swimming pool, or a large eyed dogstaring at us. Whilst these can be considered just quirky, for me, these imagesdisturb and at the same time intrigue. Their beauty of colour and form is oftenbetrayed by unsettling content. The smoothness of the superb aquatint creates atension between theme and depiction. It is this tension that is the heart of Outsider.

Within our carefulconstructs of normalcy - home, work, family, social strata - we all have ourown inappropriate inhabitants within our psyche. They are always ready to burstout and destroy our carefully nuanced projection of how we want to beperceived. No one is immune to these impulses and destructive forces thatcoexist under our veneer of civilisation. This is the outsider within us.

But, it’s when Margaretdestroys and removes the external framework and context that we are left facingthe works that are emotionally and spiritually absolutely raw. Out of thedarkness an amorphous shape emerges, one that looks directly back at your ownsoul. These images are not for the faint hearted: but great art never is. Theseintensely personal marks on paper do not give up their secrets easily and aremore like mirrors revealing your own Self to your Self. I find these worksconfronting and find myself in tears when I look at them.

Outsider is an unexpectedly thought provoking and profoundbody of work, not always comfortable, but the works will keep you thinking fora very long time indeed. It may be comforting for us to remember that we areall outsiders, all in the sameburning building guarded by the hound of hell.

CongratulationsMargaret Manchee.

Margaret Manchee, 'Shark', etching and aquatint, 2011, 20x 20cm

Margaret Manchee, 'Outsider', etching aquatint, 2011, 6.8 x 11 x 8cm

MYRA KAUFMAN ‘REMNANTS OF A GOLDEN PAST’ Review by Bronwyn Rees – An Exhibition of Collagraphs and Mixed Media Paintings June 18th to July 9th 2011, at the Firestation Print Studio, Armadale.

2011-08-23T11:30:00.001+10:00

At first glance, Kaufman’s work is a delicate tracery of veils, lovely colours and alluring patterns. On further contemplation however, a mysterious yearning voice seems to issue from the shadows.

What is the golden past to which the artist refers?

Upon looking in Kaufman’s folio of artist’s information, there is a print on the first page entitled “Der Flucht”, by an unnamed artist, of two Jewish men on the run, holding their most precious possessions under one arm.

It poses the question, what would you take if you had to flee for your life, and could only take what you could carry?

While speaking about her work and her memories, Myra described a matchbox of precious tiny objects her mother had kept for her from her childhood, giving them to her 30 years later. She was so overcome by emotion, she lost her words for a moment.

She went on to describe her travels to Spain and Italy to find traces of the Jewish communities that thrived there before being expelled in the 15th century. She said the traces are so tiny, but packed with enormous emotional significance. Despite efforts to eradicate any trace of their presence, the marks on the walls, the relief decoration hidden behind Christian altars, even the embroidery on Torah scroll covers, lived on through all this time.

When looking at Kaufman’s earlier works, I could see realistic representations of all the things that have since been absorbed into the more abstract works of today – keys, lace, fragments of Hebrew text, old books, dress patterns and old suitcases, all things carried like the most precious gold across continents and time to arrive here in Australia.

When so much else has been lost, each little fragment to survive takes on a great weight of meaning. Visually this is represented by prints with broken stone like edges, inscribed with patterns that look like writing. Owls peer out from fabric veils, perched on the Tree of Life. Veils of lace conceal the unspeakable wrenching from life and home, the starting place for forced journeys to unfamiIiar destinations.

I have had the pleasure and privilege to observe Myra’s work develop over the last four years, parting like veils to reveal increasingly fascinating storytelling. I look forward to seeing and hearing about the next instalment.

Bronwyn Rees

July 2011

'On Fertile Grounds' - Exhibition Opening Celebration 7th of August 2011, 2pm to 5pm

2011-07-27T16:24:00.002+10:00

Donna O'Connor, Sue Devlin and Joan Johns with their work, at the University of Ballarat,
Horsham Campus, and above at the FPS.
Photos courtesy of the Wimmera Mail Times and Donna O'Connor

Three Wimmera artists, Sue Devlin, Joan Johns and Donna O'Connor will show their prints and paintings at the Firestation next month.

Here's an excerpt from the Wimmera Mail Times article, published on Wednesday 20th July 2011:

The artists have completed a Diploma of Visual Arts at The University of Ballarat, Horsham Campus and specialise in mono-type prints, using different techniques to produce individual works.

Devlin said her travels in outback Australia had inspired her 'wonderful' multi-drop prints.

"Using Dutch etch paper my mono prints develop a texture not unlike the land itself, with built-up layers to help capture its essence," she said.

"They express a beautiful earthy resemblance to the land's line and colour, a real joy to see."

Johns said her mixed media images were also inspired by the outback, but from an aerial perspective, with particular attention to water holes and the effects of rain and its passing over the land.

O'Connor said her series of prints was based on the female form and its fertility; a reflection of her own changing body shape.

"I'm trying to understand the perception of image and how it relates to the female form," she said.

Come along and see the show, from 3rd to 28th of August, with the opening celebration on Sunday the 7th of August 2011, from 2pm to 5pm. All welcome!

Members' Exchange Portfolio 2011

2011-07-17T11:03:00.000+10:00

Sue Top, 'What a Day', 2011, Collagraph, ink and thread, 14x14cm

The workshop is busy with artists preparing their editions for the 2011 Firestation Members' Exchange Portfolio. There will be 21 prints by 17 artists, all on paper 18 x 18cm. The exhibition in September will coincide with Impact 7, the international printmaking conference to be held at Monash University.

Each set will be presented in a custom made archival box. Below is a list of the artists involved; come along and see the show in September, as well as the many other printmaking exhibitions on during the 'Month of Print'.

Thanks to Impact 7, Monash University, the Print Council of Australia Inc., Arts Victoria, the City of Stonnington and Seniors art supplies.

Margaret Manchee
Rhett Kilner
Sue Top
Bronwyn Rees
Myra Kaufman
Judy Schrever
Judith O'Donnell
Gwen Scott
David Williamson
Beata Slifierz
Cindy Mann
Michele Senini-Newman
Leah Bright
Yolanda Matlakowski
Marisa Corral
Trudy Rice
Elizabeth Banfield

2011-07-14T20:05:00.002+10:00

Congratulations Myra on a wonderful show. I love the layout of the show and the signage is wonderful. Your work has shown a wonderful development forward from your last show and it is pleasing to see that you have followed this theme. Yvonne Watson

"Remnants of a Golden Past" Myra Kaufman's exhibition June 18 to July 9 2011

2011-07-06T00:02:00.004+10:00

This is the last week of my second solo exhibition "Remnants of a Golden Past" at the Firestation Print Studio. I am so pleased with the way the exhibition has gone although I must confess that this exhibition has been much more stressful to organise than my first one one which was 2 years ago. First of all, I spent most of March panicking that I wouldn't have enough work for this exhibition. I fact, as it turned out, after sorting and selecting which work would be shown, I realised that I was going to struggle fit all the work into both the gallery and the workspace. Also, I decided that this time I was going to frame most of the work myself. I was lucky to find some reasonably priced custom made frames which were the perfect dimensions for my 24 square collagraphs. However, My husband and I still spent hours attaching my prints with framers tape to acid free boards which we cut to replace the awful masonite backings which came with the ready made frames. The effort and extra costs were definitely worth it. When we hung the show, the work looked beaautiful on the gallery walls, flowed uniformly and was easy to to view. The smaller works were float mounted on board but as I ran out of time , I handed them over to Warwick at Senior Art to do. I am glad to say that I have been lucky to sell enough work at the exhibition to cover my costs, the largest amount being for mounting and framing!

The opening afternoon was wonderful. I had about 90 people attending, mostly family and friends. There were also a number of unfamiliar faces, people I think who came as a result of a great article with a wonderful photo which was published in the Stonnington Leader and the Boroondara Progress Press. We have also had quite a number of people walk in off the street into the gallery.The Firestation sems to be increasing its profile with people recognising that when the red doors are open they are welcome to come in and look around.

It is with regret that I will take down the show on Saturday. I have had great feedback from fellow artists and friends. I have sold quite a few works and I will certainly plan to have another show in the next couple of years.

Printing Demonstration at Malvern Town Hall

2011-06-18T12:54:00.000+10:00

Elizabeth Banfield - assorted lino blocks ready for a demonstration

On Saturday 25th of June the Firestation is taking part in an 'Artists @ Work' day of demonstrations at the Malvern Town Hall Banquet Room, 10am to 5pm. The day is organised by the Malvern Artists Society, $20/$15 concession, and sponsored by the City of Stonnington and Senior Art Supplies.

I'll be giving a lino demonstration from 10am to 12pm, going through all the processes of carving, hand printing using a spoon, as well as cutting and stitching the finished prints. There will be work for sale by myself and the other 10 artists who are demonstrating throughout the day.

See you there!

Bronwyn Rees - Giving the First Artist's Talk in a Series of FPS 'Saturday Socials'

2011-06-01T10:01:00.000+10:00

Bronwyn Rees, 'Motherland II', artist's book, etching and aquatint

On Saturday the 4th of June at 11.00am - 12.00pm Bronwyn Rees will be giving a talk about her art practice.

Bronwyn is an artist-in-residence at the FPS, regularly exhibits her work at the Firestation Gallery, as well as other galleries within Victoria and Australia. She has been a finalist in many print competitions, such as the Swan Hill Works on Paper Prize, the CPM Print Awards and the Libris Awards for Artists' Books.

Bronwyn has a passion for her work, and for the welcoming community of the Firestation Print Studio, so please come and join us for a cuppa and talk - Saturday 4th June 11.00am.

Have a look at links to other posts etc.:
Bronwyn's Prize at the 2010 Summer Salon
Bronwyn's 2010 exhibition
Bronwyn's 2009 exhibition
An interview I did with Bronwyn about the 2009 show, on the Artabase blog
Bronwyn's post about the 2009 show
A finalist at the CPM Print Awards

FPS Member Leah Bright, Highly Commended at the CPM Print Awards

2011-05-20T09:01:00.001+10:00

Leah Bright, 'Someone made me go there', 2011, Linocut and Etching on Fabric

This year the CPM Print Awards were judged by Professor Sasha Grishin, the Sir William Dobell Professor of Art History at the Australian National University and an acknowledged expert in Australian printmaking. The awards, held biennially, regularly attract a large number of high quality entries.

Professor Grishin highly commended the entry by Firestation member Leah Bright, calling it a "wonderful funky print that I would take home any day".

I asked Leah about her print:

"I have been working seriously as a Printmaker since 2006.

I began working at The Baldessin Press, then The Australian Print Workshop and now The Firestation Print Studio. I like to work at a variety of different studios to explore the different elements of the industry.

Printmaking is a wonderful medium which takes you on an intense journey of planning and exploration. The mix of different applications is very appealing to me. I love the simplicity and also the vast complicated methodologies that can be applied.

As a trained sculptor, I often feel the desire to work in a 3 dimensional nature. This piece ‘ Someone made me go there’ is a sixteen plate print. Four of those plates are copper etching and the other twelve are lino prints. It is printed in a grid framework to ensure correct registration. This process required a 24 hour rest period to allow correct drying time in between the use of different mediums.

The panels of the etching within this composition have allowed a subtlety of texture, pattern and the use of whimsical line to dominate the picture plane. The Lino cuts have created a dramatic contrast, creating an overall balanced affect. This piece was then transformed into a three dimensional work. It was sewn, stuffed and stretched onto a frame. I love to bring something different to the concept of printmaking. I have been exploring this concept for awhile and love to challenge the dimensions of the print, giving it form where possible.

This artwork was recently entered in the CPM exhibition which is held at Tweed River Art Gallery where it received a highly commended award.

Exhibiting artwork is an important process for me as an artist as it gives me a context and a platform to critique and create dialogue between the notion of image and analysis."

Congratulations Leah!
Follow the link to the Tweed River Art Gallery.

A successful Mt Zero - Cabin 1 @ the Grampians Opening Night

2011-05-16T17:28:00.012+10:00

Artists Roz Rogers, Lisa Sewards, Bern Olle, Sue Picot & Trudy Rice

Exhibition closes 30th May

2011-05-11T17:47:00.004+10:00

Hope to see you at opening night!

Members' 'Unframed' Show a Great Success

2011-05-10T20:12:00.000+10:00

Works by, from left to right, Rhett Kilner, Judy Schrever,
Gwen Scott, Gita Mammen, and Sue Top

Sue Top, 'Following the Rocks' (linocut), and Gary Solomon, 'S+S' (mixed media monotype)

The recent exhibition of unframed work by Firestation members has been a great success.

We all know that framing works on paper can be expensive, and to have an opportunity to show recent work without that cost is rare.

Thanks to all who contributed work, and to those behind the scenes who arranged everything. Congratulations on another terrific show!

Firestation Summer Salon Exhibited at Malvern and Prahran Town Halls

2011-04-02T09:49:00.000+11:00

Our Summer Salon exhibition was recently on show at the Malvern and Prahran Town Halls. FPS members have exhibited there before and it's a great opportunity for local residents to see what goes on in the old fire station - and what they could do too!

Thanks to the City of Stonnington for the support. Thanks to Trudy, Coralie, Myra and Margaret for helping with the organisation and transport of works. And thanks to Myra for all the photos.

Crossings - An Exhibition of Prints, Paintings and Pastels by Marj Imlach and Rhonda Stevens

2011-04-01T13:07:00.000+11:00

Rhonda Stevens, 'Crossings 11', Etching, Sugar-lift Aquatint,
Drypoint and Chine Colle (Aluminium Plate), 55x36cm

This beautiful exhibition continues until the 18th of April 2011. Come and see the work of two friends who live and work at opposite ends of Australia.

Marj Imlach, 'No. 9 Untitled', 'No.11 Untitled',
Pastels on Paper, 43x55cm

At the opening night, five works at the left by Marj Imlach,
and two etchings on the right by Rhonda Stevens

At the opening night, work by Rhonda Stevens

Relief / Intaglio Water-based Woodcut Printmaking Demonstration on YouTube

2011-03-23T09:47:00.000+11:00

I found this video via Gail Brodholt's blog. It's in two parts and the first will link you to the second. I'm printing a large lino block onto beautiful tissue-thickness Japanese Iwaki paper at the moment, so I was interested to see how she manages to get the paper onto the block without it moving or buckling.

A demonstration that is well worth a look, for this and many other reasons!

Here is a bit of information about the artist, from the YouTube blurb:

Nana Shiomi is an extraordinary artist-printmaker who studied at the Royal College of Art from 1989-1991 and subsequently has gone on to a strong career exhibiting her own work and teaching.

She demonstrates her unique combination relief/intaglio water-based woodcut printmaking, rooted in the traditional methods of Japanese ukiyoe woodblock printmaking. These two videos are excerpts from her demonstration where we were fortunate enough to spend an afternoon watching her work at Double Elephant Print Workshop in Exeter, Devon. This was during the period that she had a show at The Brook Gallery in Budleigh Salterton, Devon.

Heidi Kozar, FPS Graduate Prizewinner, Exhibits on the Trans-Siberian Railway

2011-03-17T11:43:00.000+11:00

The Trans-Siberian Art Centre is a non-profit travelling art space initiated by Melbourne artists Britt Salt and Jon Hewitt.

Follow the link to their site and see Heidi's and the other artists' work.

'Fabric' Members' Show

2011-03-05T11:52:00.002+11:00

Trudy brought along these incredible, prehistoric looking flowers
to the opening, but we don't know what they're called!

The members' show 'Fabric' was opened my the Mayor of the City of Stonnington, Councillor Melina Sehr. Thank you to everyone who came along to support their favourite community printmaking facility (and a special thanks to those who supplied the food and wine!), thanks to Trudy Rice for curating and making everything look wonderful, thanks to Lisa Sewards for her help hanging the works, and thanks to all the artists who contributed their beautiful prints.

Councillor Melina Sehr speaking to a packed house at the opening of 'Fabric'

The Artists:

Dina Theodoropoulos

Trudy Rice

Lisa Sewards

Sue Picot

Myra Kaufman

Beata Slifierz

Sue Top

Rosemary Cato

Bronwyn Rees

Elizabeth Banfield

Cindy Mann

Dominique Horne

Margaret Manchee

Caroline Carruthers

Julie Hansen

The show continues until the 25th of March 2011. Come and see another great exhibition that showcases the current art practice of our members!

Artworks by, from left to right, Sue Picot, Lisa Sewards, Cindy Mann,
Beata Slifierz, and clothing by Dominique Horne

Artworks by, from left to right, Sue Top, Caroline Carruthers,
Bronwyn Rees and Sue Picot

Artwork by, from left to right, Beata Slifierz, Dominique Horne, Beata Slifierz,
Trudy Rice, Myra Kaufman, and Margaret Manchee

Firestation Members' Group Exhibition 'Fabric' Opens Thursday 3rd March 2011

2011-02-26T14:53:00.000+11:00

The exhibition, curated by Trudy Rice of Artists on the Move, will be opened by the Mayor of Stonnington, Cr Melina Sehr. See you there!

Sarah Amos Masterclass during the 'Month of Print'

2011-02-26T14:17:00.000+11:00

Sarah Amos' 3 day masterclass will be held at the Firestation on the 9th, 10th and 11th of September 2011, during the 'Month of Print' activities associated with the Impact 7 conference.

Places will fill fast, so ask Edith in the office to put your name down if you're interested.

Sarah's work was recently featured in the movie 'Black Swan' (see the recent post below). She is a very generous teacher and includes invaluable information about making a living from Printmaking.

We thank the Print Council of Australia Inc. and Arts Victoria for their support for 'Month of Print' activities...more news about other exhibitions and classes later.

Jesse Dyer, 'Narrative Decompression', Monash University Graduate Prize Winner

2011-02-19T10:35:00.000+11:00

Jesse Dyer, 'RGB', Artist's Book,
20 pages, gum bichromate and letterpress (detail)

Jesse Dyer's exhibition opened on Thursday - 'Narrative Decompression', with speeches of congratulations by Coralie Stow of our committee of management, and Marian Crawford of Monash University.

The show is a mix of film installations and artist's books, one book entitled 'Choose Your Own Adventure' where you are led through a collection of beautifully detailed drypoint and aquatint images and asked to choose the path your story will take.

Jesse holds the distinction of being the first to receive both the graduate prizes, the solo exhibition and workshop access. So come along and see this amazing show, it continues until the 26th of February 2011.

Print Council of Australia - Print Commission 2011

2011-02-06T14:01:00.000+11:00

Elizabeth Banfield - The Sword of Remembrance, detail, work in progress
Print Council of Australia, commissioned print 2010

The entries for the 2011 Print Commission close on the 9th of February, a submission of digital images of current work. See their website for the downloadable form under 'Print Subscription Program'.

I was lucky enough to be selected for the commission last year and produced an edition of 30 of the above print 'The Sword of Remembrance' at the Firestation. It was an exciting and also scary experience, with many ups and downs of confidence along the way. But ultimately it was incredibly rewarding; the amount of work required to produce such a large edition of a linocut applique was a challenge, requiring a strict routine of printing and stitching (around the restricting schedule of a part-time day job). I have been able to continue with this routine of working, which is very satisfying too.

I took photos along the way and they can be seen on my new blog, and recently I had the other overwhelmingly exciting news that my edition has sold out!

So I encourage printmakers to enter the Print Council Print Commission. Get those photos ready for your submission!

VCA Graduate Prize Winner - Heidi Kozar

2011-02-05T14:01:00.000+11:00

FPS President Coralie Stow,
opening the exhibition

The first of our graduate exhibitions for 2011 opened on Thursday night, VCA graduate Heidi Kozar with 'Ink & Paper'.

Heidi's exhibition of beautifully subtle and poetic woodblocks and aquatints is open at the Firestation Gallery until February 12th 2011.

Have a look at the photos, but come and see this lovely show for yourself.

Congratulations Heidi.

Heidi Kozar - 'Slate Fireplace'
woodblock on Japanese paper, card and pinewood

Heidi Kozar - 'Ink and Paper, 1, 2, and 3
aquatint on paper, card and foamcore

Open Day printmaking Demo

2011-01-30T15:15:00.004+11:00

As part of the Firestation Open Day program, I offered to demonstrate how a collagraph is created. In general, apart from practising printmakers, the term "collography" is a mystery to most people. I have been creating mainly collographs these last 5 years and decided that our Open Day was the perfect occasion to illuminate people as to how these prints are made. My audience consisted of a few of my fellow printmakers as well as family, friends and curious members of the public. Normally, it would take me 4 or 5 hours to produce 3 or 4 successful prints but for the purpose of demonstrating I decided to restrict myself to 45 mins. Normally, I work alone with loud music playing and I don't speak. This time, I had to explain the process step by step and justify each choice of plate, colour change, press pressure variation etc. I found that verbalising created a kind of competition with my creative thought process. The resulting images were a little strange ! Apart from that, I think that I managed to convey the collagraphy process quite clearly (judging by the enthusiastic applause from the spectators). I am happy that there are now a few more people who understand and hopefully appreciatethis wonderful printmaking technique.

Sarah Amos Print Featured in 'Black Swan'

2011-01-29T14:09:00.000+11:00

Sarah Amos, 'Cats in the Cradle', 2007, 518x213cm, on the 'Black Swan' set in New York

Our patron Sarah Amos has had a large print of hers used in Darren Aronofsky's latest film 'Black Swan' starring Natalie Portman.

Sarah told 'The Age' newspaper earlier this week that she flew from Vermont to New York with the print rolled in a tube under her arm to deliver it to the Soho loft.

A crucial scene takes place in front of the artwork, and it reflects the tangled psychological mess beginning to be exhibited by Portman's character.

Annual Summer Salon and Open Day

2010-12-12T14:38:00.005+11:00

Firestation Artists-in-Residence with Dave from the Fire Services Museum

Yesterday the Firestation held the opening of our annual Summer Salon, announced the winners of the competition (below) and also held our Open Day with the help of a 1940s Fire Engine and volunteer in historic uniform from the Fire Services Museum of Victoria.

The competition was kindly judged by Tim Abdallah, Head of Art for Menzies Auctioneers. His comments are in italics below.

Summer Salon Prize Winners:

1st Prize (Voucher donated by Neil Wallace Art Supplies)

Bronwyn Rees

'Nanango the Long Paddock'

Conveyed a strong sense of the landscape. A touch of whimsy (the cows) and a nice use of the panoramic format. A classic etching.

2nd Prize (Credit voucher for class at the Firestation Print Studio)

Trudy Rice

'Big Trees from Below'

I like the way the textures and surfaces were able to convey a strong sense of the landscape - technical strength caught my eye.

3rd Prize (Voucher from Senior Art Supplies, donated by Menzies Auctioneers)

Elizabeth Banfield

'Letters 13 & 14 (Mansfield)'

This was quite an interesting object, successful. Colour and movement!

4th Prize (4 x access passes from the Firestation Print Studio)

Marjorie Imlach

'Kangaroo Island' Triptych

Soft and subtle colours and textures worked well for me, and conveyed the subject well

You can see all of the winning entries and the rest of the show in our gallery until the 14th January. We will also post some images on our website to view and / or purchase. The Summer Salon was curated by Trudy Rice.

As usual, at our Open Day there are a lot of people and organisations to thank for helping us keep the big red doors open for another year, so here they are in no particular order:

City of Stonnington

Peter Redden

Jan Jacklin

Bendigo Bank, East Malvern Branch

Peter Wolff

Senior Art Supplies

Luke Senior

Neil Wallace Art Supplies

Chris Purton

Menzies Auctioneers

Tim Abdallah

Allan Dabscheck

Trudy Rice

Yvonne Watson

The Firestation Committee

The Studio Artists

Anthony Taylor

Sarah Amos

Sue Top

Yolanda Matlakowski

Leigh-Anne Seale

Danielle Clarke

Fire Services Museum

Edith May

Site Suite

David Baxter

All the best for the holidays, see you in 2011.

Best wishes

Coralie Stow

President, FPS Committee

Bronwyn Rees, 'Nanango the Long Paddock', 2010 Salon Prize Winner

Summer Salon Exhibition and Open Day, 11th December 2010, 11.00am to 4.00pm

2010-12-04T16:48:00.001+11:00

Our annual members' exhibition, the 'Summer Salon' opens next weekend, coinciding with the Open Day.

Artists-in-residence will be on hand to show you around their studios, there will be demonstrations of various forms of printmaking, and some children's activities too. And this year we're having a visit from an historic fire engine from the Fire Services Museum!

See our new website for the full timetable of events......and come and step inside Melbourne's friendliest community printmaking studio.

New Website is Launched

2010-12-01T09:12:00.000+11:00

The new Firestation website is now up and running! Thanks to Bendigo Bank, East Malvern Community Bank Branch, for the grant that made it all possible. Thanks to Coralie and Edith and the team for all their hard work, and to the folks at SiteSuite for making it look so good.

Classes and membership fees can be paid for through the site, and there'll be up to date workshop, exhibition and gallery news too. There's a great new online gallery for members' print sales which will be expanded over the next few months. Have a look and explore all the new features.

'Plain Air' - Works from Broken Hill by Judy Schrever, Phil Kreveld and Colin Palethorpe

2010-11-20T19:02:00.001+11:00

Come along and see the current exhibition in the Firestation Gallery. Interpretations in oils, gouache, watercolour and drawings from three very different artists, working in and moved by the arid landscape surrounding Broken Hill.

All the works were completed in the 'Plain Air', with an obvious respect and love for this landscape. The show is a beautiful record of a trip by three friends.

The exhibition continues until the 27th of November 2010. Congratulations Judy, Phil and Colin.

Colin Palethorpe, 'Mount Gipps', 2009, Artist's Book

Phil Kreveld, 'Broken Hill (26th of August to 2nd of September 2009)', oil on board,
30cm x 22.5cm each

Judy Schrever, 'Barrier Ranges Repose', 2009, oil on linen, 44.5cm x 15cm (image size)

"That's Life 2010", The Annual Firestation Life Drawing Exhibition

2010-11-06T15:13:00.000+11:00

Artwork by (left to right)
Elizabeth James and Eva Volny.

Last night was the opening celebration for the annual life drawing exhibition. Life drawing classes have been conducted at the Firestation pretty much since the beginning, and are still held weekly in the workshop room. Yolanda Matlakowski has been running the Tuesday night class for the last eight years, currently assisted by Sue Top.

There are more than 80 works in the show by over 20 artists. Thank you to everyone who entered their work and to the organisers. If you're interested in joining the class, please contact Edith in the office.

Enjoy the photos and come along and see the exhibition which continues until November the 14th 2010.

Conte drawing by Coralie Stow

Charcoal drawing by David Terry.

Sarah Amos Master Class at the Firestation in 2011

2010-10-20T14:34:00.001+11:00

Sarah Amos will be conducting a 3 day master class during the Impact 7 'Month of Print', mid September 2011. Have a look at her website to get a taste of the incredible work she does. She'll also be having a show in Melbourne at that time.

More details will be put up on our new website as soon possible (and we promise the new site won't be too much longer, it's nearly ready!), but it's great news that Sarah can come back to Melbourne during the busy printmaking month of September 2011.

More updates as they come to hand.

Paul McIntyre, VCA 2009 Graduate Prize Winner - The Great Explorer

2010-10-02T20:18:00.000+10:00

Paul McIntyre - 'Moving House' - Concertina Book

Paul McIntyre's exhibition of linocuts, books and paper stages opened on Thursday night. The intriguing works evoke the title of the show in their images of men carrying great weights, such as monoliths or tall ships, while journeying towards a far and unknown horizon. The viewers in the gallery on the night talked of the way the work reminded them of the epic journeys of literature, such as "Gulliver's Travels" and "Moby Dick".

Paul McIntyre - 'Into the Sunset' - Paper Stage

The paper stages (where a box has been made from the woodblock itself after printing and cutting out the scene contained within it) included their subjects contemplating the enormity of their journeys and explorations, or fighting the elements or each other.

Paul McIntyre - 'War on the High Seas' - Linocut

Come along to the Firestation Gallery, the show will run for two weeks. The Gallery is open Wednesday to Saturday 11-5.
Congratulations Paul on a show of Great Explorers.

Film Night Fundraiser - 'Eat Pray Love'.

2010-10-01T21:08:00.002+10:00

The Firestation is having another Film Fundraiser evening on Sunday 24th of October at the Classic Cinema in Elsternwick. This was an extremely successful event last year, and this year we hope to raise enough funds for a much needed new computer for the office.

Tickets are available through the office at the Firestation (members have tickets to sell too). There'll be a coffee and product stall on the night, and if we sell enough tickets, we'll have the whole cinema to ourselves! There'll be a print raffle too!

Thanks to Myra and Judy for organising the event again this year. Come along and see a film with a cinema full of like-minded people and raise money for our favourite community arts organisation!

RAFFLE PRIZE - Elizabeth Banfield 'Leaves Left (Together)' Hand Printed Linocut Applique 2009, 56 x26cm

Eva Volny, Firestation Artist, has a video on YouTube.

2010-10-01T20:49:00.002+10:00

Have a look at this short video that was made during Eva's recent exhibition at the Firestation Gallery.

John Domjan, 2009 RMIT Student Prizewinner.

2010-09-22T12:34:00.000+10:00

John's exhibition was opened on Friday night by Richard Harding, Senior Lecturer in Printmaking at RMIT. The show includes lithographs, digital prints and mixed media.

The beautifully interactive Transhuman Kits were accompanied by a 'Bio Enhancement Chart', containing much to be thought about. I particularly liked the Prosthetic Cognitive Enhancer which "increases major cognitive functions of the brain including telepathy, empathetic abilities and greater cybernetic interfacing with direct ability to transfer consciousness to mainframe".

Congratulations to John, for winning one of the Firestation student prizes and for bringing us this amazing and thought provoking show.

Enjoy the photos below, and come and see the work at the Firestation Print Gallery until the 26th of September.

Images:

'Transhuman Kit (with LED lighting)' - Digital and Mixed Media

'Transhuman Kit' - Digital and Mixed Media

'Reflection 1' - Lithograph with Digital Additions

City of Stonnington - Arts and Cultural Strategy Survey

2010-09-18T17:47:00.001+10:00

All artists, volunteers and students at the Firestation should have their say about the City of Stonnington Arts and Cultural Strategy 2011-2015. We all know that the Firestation is an important and relevant part of the local community, and the arts/printmaking community in general. So please follow the link below and have your say and help the council "develop new priorities and methods to address the arts and cultural needs and aspirations of our community."

It will take under 15 minutes, a small amount of time when you consider what the Firestation and the City of Stonnington have given all of us!

http://www.asr5.com/Community/se.ashx?s=10ADC38422FF4F59

Firestation Artists help raise funds for Lasallian Foundation

2010-09-16T14:51:00.004+10:00

Firestation artists Bronwyn Rees and Yolanda Matlakowksi both donated works to a charity auction held at Menzies Fine Art Auctioneers which raised over $190,000. The funds raised all go to the Lasallian Foundation whose projects support disadvantaged children and their communities in the Asia Pacific region. See www.lasallianfoundation.org. In a collection that was remarkable for the generousity of the artists, other notable printmakers who donated works were Roger Kemp, Robert Jacks, Graham Fransella, Martin Smith, Heather Shimmen, Murray Walker, Martin King, Pamela Irving, Aaron Bailey, John Neeson, Jim Pavlidis and Justin Andrews.

International Postal Art Exhibition Update

2010-09-08T16:58:00.000+10:00

A beautiful new website has been created about the International Postal Art Exhibition in Bristol earlier this year. Have a look at the photos of the show and all the hard work that went into the preparation.

http://www.wix.com/Allsebrook/InternationalPostalArtProject

Congratulations everyone, and thanks to Helen Allsebrook and the team!

2010 Silk Cut Award Exhibition

2010-09-04T11:49:00.004+10:00

Elizabeth Banfield, 'The Sword Drawn From Life' (detail) - Linocut applique in 3 colours from 3 blocks (silver, black, white) 76x24cm. Finalist in the Silk Cut Award 2010.

Last night was the opening of the Silk Cut Award for Linocut Prints, congratulations to Bridget Hillebrand for taking home the Grand Prize.

It's a wonderful and varied show that demonstrates, as one of the speakers stated, the 'democratic nature of the medium'.

The exhibition continues until the 19th of September at the Glen Eira City Council Gallery, Caulfield, Monday to Friday 10-5, Saturday and Sunday 1-5.

Annual General Meeting & Volunteers Thank you Afternoon Tea

2010-08-31T15:50:00.006+10:00

Last week we held our AGM and elected the committee for 10/11. Fortunately our existing committee members are staying on, and we are being joined by Roderick McDonald.

Presidents' report

We have faced a few challenges recently what with Leigh-Anne leaving, Danielle only staying 3 months, some recent press break downs, and the painting of the Firestation building. Anyone running a small business will sympathise! Alan Dabscheck kindly got our red press running again and we have appointed a new workshop manager Edith May, who comes to us with a wealth of experience in arts management.

This year has been a good one overall, with lots of achievements:

- Receiving ongoing support from the City of Stonnington, via their Community and Arts and Cultural Sponsorships

- Securing sponsorship from the Bendigo Bank for our community arts room and new website (yes, it is coming shortly!)

- Receiving and acquitting a volunteers grant from the Department of Planning and Community Development

- Holding a succesful movie night fundraiser "Coco avant Chanel", and a stall at "Spring in to Gardening" which was a big hit especially with kids who got to try out printmaking (especial thanks to our committee members Myra, Elizabeth and Judy for organising these events, which are on again in October)

- Our turnover is continuing to grow (more than $90,000 for 2009-2010), proof that the Firestation is increasingly relevant to the printmaking and art loving community. We anticipate more growth in 2011 via our online gallery which will feature Firestation artists' and members works exclusively; a great incentive to get involved if you are not a current member

- The Firestation Gallery this year held many great shows and much of the credit for this must go to Yvonne Watson's curatorial input.

- Yvonne Watson also re-launched the Firestation Print Portfolio for us, and we are proud to be donating the resulting outstanding portfolio to the NGV, the Print Council and City of Stonnington for their permanent collections.

This coming year is also shaping up well:

Our new website will be up and running in September.

We are participating in the Impact 7 conference in 2011 with a Print Portfolio and other activities around the conference

and... we have a target to have the office open 5 days a week to provide better service to our members.

Lastly, on behalf of the Firestation Print Studio I thanked all our volunteers, without whom we would simply not survive. There are lots, and unfortunately I couldn't mention them all, but we hope that by having an annual thank you event we draw attention to and acknowledge everyone's help.

Many thanks,

Coralie Stow

President, FPS Committee 2009-2010

2010-08-21T11:53:00.000+10:00

Bronwyn Rees "Selected Works" at the Firestation Gallery 20th July to 17th August 2010

2010-07-17T13:25:00.002+10:00

Bronwyn’s Exhibition Opening is on Saturday the 24^th of July 2010 at 2pm.

Bronwyn and I visited the You Yangs, west of Melbourne, for a drawing and walking daytrip in January of this year and she’s brought to this show a lot of work that was begun on the day or inspired by that beautiful part of the Australian bush. Included is a large installation of the You Yangs that was also inspired by her hero Fred Williams. Another print, ‘In a Dark Wood’, was started on the day by drawing straight onto the copper plate, which was prepared in the studio with a hard ground.

One wall is dedicated to a black and white collage and artist’s books, all derived from one print and based on the idea of the ‘long paddock’, where farmers graze their animals in times of drought.

There is also a set of prints depicting the whales off the coast of Lorne. This set of collagraph/monoprints was begun when Bronwyn took part in the Firestation master classes with Sarah Amos and is rich with Bronwyn’s trademark density of colour and texture.

But the iconic print of the show is ‘The Crow of Optimism’ (below). Ironically, the crow is rarely a harbinger of good but in Australia everything is back to front and our clever crow has discovered a way to kill and eat cane toads. Bronwyn says the print is a kind of portrait of her brother (not that he eats cane toads!) as the crow’s hairdo reminds her of her brother’s funny little army haircut.

Come and see another beautiful show of prints and paintings by one of our artists-in-residence. And make sure you check out the next issue of ‘Australian Book Arts Journal’ as there is an article by Julie Kearney about Bronwyn's art practice; the magazine is due out on the 1st of August.

She also has some work in the charity auction run by Menzies Fine Art Auctioneers, the Lasallian Foundation for Third World Children, to be held on Sunday the 29th of August.

Bronwyn and the rest of us at the Firestation would love to see you there on the 24th at 2pm. The exhibition continues until the 17th of August. But if you’re only able to follow us on the internet, have a look at Bronwyn’s website and her page on the Artist Book network, links in the sidebar of this blog.

Some reflections on my entry in the Members Exchange Portfolio Exhibition

2010-07-04T17:59:00.006+10:00

It was with great trepidation that I submitted my entry form for the Members Exchange Portfolio exhibition. The brief for the portfolio stated an edition of 25. However my main printmaking practice for the last few years has been collographic monoprints. My only previous experience of editioning was back in 2004, at college, when I was required to produce a couple of small etching plates, as an edition of 5 !
Rather naively, I had my heart set on editioning a triple plate etching in spite of the fact that several of my fellow print makers at the studio tried to warn me about the complexity of such a choice. With a fair bit of trial and error, I managed to produce a proof that I was quite happy with and I was thrilled when I received acknowledgement that my entry had been accepted for the Portfolio.
That was when the really hard work began. Printing my base plate, a textured collograph plate, was simple. The second layer, which needed to be printed straight onto the first layer was a piece of stiffened lace, inked up and then carefully wiped back. The lace was so fiddly to handle and tended to stretch slightly if mishandled, often ruining my attempts to register this second layer accurately. Many of those ended up in the bin! The final plate, a beautifully etched copper plate, was quite temperamental. On a number of occasions, if the first two layers had too high oil consistency from inking up (using oil paints), the third plate would print unevenly. Those too, ended up in the reject pile.
I lost count of the number of hours I spent completing the edition. During that time, I developed a very painful foot condition caused by standing for hours on the unforgiving workshop concrete floors. When I finally finished the edition I swore I would never do another edition of that size again. But now that I have viewed the portfolio exhibition at the gallery, and been handed my set of members’ prints, I feel proud of what I have done and privileged to be in the company of the other 19 printmakers represented. And so…. I have informed Elizabeth Banfield that I want to take part in the members portfolio for IMPACT 7 next year. I doubt that I will choose to edition a triple plate etching for this portfolio. But then again… maybe I will!

Myra Kaufman July 4th 2010

2010 Firestation Members' Portfolio

2010-07-04T13:44:00.004+10:00

Here are some photos from the Portfolio opening on Thursday night. With 20 prints included in the portfolio, using a wide variety of techniques and styles, it is a wonderful showcase of the current art practice of our members. (The second photo shows work by, from left to right, Bridget Hillebrand and Gwen Scott).

Thanks must go to all twenty artists for all their hard work in producing such beautiful prints for the portfolio, and their precision and patience in completing an edition of 26. Thanks also to Yvonne Watson for curating the folio and hanging the work in the gallery, and to the folk at the Print Council of Australia for judging the works and providing the prize that was awarded on the night to Elizabeth Banfield for her linocut 'Transcription (Mansfield Red Box)'.

A set of the prints was presented to the City of Stonnington as a small token of thanks for their continued support.

The Firestation Print Studio Members' Portfolio of 2010 contains work by the following artists:

Myra Kaufman
Marisa Corral
Pam Fenwick
Marie Watt
Rhett Kilner
David Frazer
Bronwyn Rees
Eva Volny
Silvi Glattauer
John Domjan
Elizabeth Banfield
Rachel Delmenico
Paul McIntyre
Margaret Manchee
John Marshall
Judith Sackville-O'Donnell
Bridget Hillebrand
Gwen Scott
David Williamson
Beata Slifierz

And next year we are planning another portfolio to coincide with the Impact 7 International Printmaking Conference.
Great work everyone, and thank you.

Banned Books in Australia - art and book exhibition

2010-06-29T11:51:00.009+10:00

Event: a Baillieu Library Exhibition at Leigh Scott Gallery, 1st floor and ground floor, Baillieu Library, University of Melbourne, 7 June to 17 August 2010.
This exhibition incorporates books from the University of Melbourne and private collections as well as artists’ representations of this theme.
Sex, religion, and politics are umbrella themes I am using in my artwork that is now hanging at the Baillieu Library exhibition on Banned Books in Australia, University of Melbourne. Developed in conjunction with a forthcoming conference being held in Melbourne on censorship, Baillieu Library is co-exhibiting artwork and artist books on this theme, and is presenting a diverse and exciting visual display from contributing artists in Australia and overseas.
My response is a drawing, in diptych, using pencil on gesso prepared paper. The artwork is figurative and textual. I regarded the subject as divisive, hence the diptych - dividing the pair of drawings and separating male and female figures, who are generic “Eve and Adam” and representative both of humanity and of society. Keeping to the dualistic approach, the text incorporating the unity of the image gives a didactic treatise in single words on why societies discriminate between what is acceptable and what is not acceptable in the conduct of human relations. That also involves the ideal and the abstract. It implies the conflicting or collaborative interests and beliefs of generations of people, thinkers, and philosophers. Such a broad subject can hardly be contained in one document, or in one penstroke; arguments and causes are strewn across the ages seeking ultimate balances between freedom, the common good and personal morality. I have neglected the humour and the absurdities thrown up in questions of censorship, but I believe everyone will have their own contributions to make to this and other satirical sources of censorship and society.
My artistic reaction gives ground for discussion and dispute. I particularly would like people to look at this question with deep thought and consider what it is meant by humanity and how the eternal quest of societies for the ideal of humanity contracts and expands within the bounds of individual knowledge, conscience and social behaviour. My belief is that that all can be scooped up into three elementary topics: “sex, religion, and politics”.
Website link: http://www.lib.unimelb.edu.au/collections/special/exhibitions/bannedbooks/
Cindy Mann

Escher at Helsinki, Finland

2010-06-29T11:42:00.011+10:00

When in Helsinki, Finland, recently, I saw that the Amos Anderson Gallery was exhibiting prints by Maurits Cornelis Escher (1898-1972), which presented me with the opportunity of seeing works at close quarters of one of the greatest printmakers in art history, known universally as “Escher”.
A trained graphic artist, his intricately detailed and astonishing studies meticulously hand-drawn and sketched, engraved or cut into wood, or worked on stone for lithographic printing, span several decades of revolution and evolution in recent art history; yet he is uniquely an artist of personal quintessential style that reflects his own modern generation and previous generations of dedicated traditional artists and printmakers.
Narrative is the essential element; architectural and natural forms of solids such as buildings or landscape, humanity, nature in sea, sky and land, animals, creatures from imagination, as well as heraldry and bestiary, and the mathematical constructs of symmetry, tessellation and dimension form every other singular element of his art. His work is detailed, often produced under magnification, or using magnified images, and deeply descriptive of the world around him, of history, of society, of politics, frailties and follies. The execution of his work is sharp, clear, and clean. It has the power to cause wonder, to disorientate, and to marvel. Illustration - Images: M R Escher: Eight Heads 1922 woodcut, printed once from the whole block (first image) and eight times from different parts (second image): http://www.mcescher.com/Gallery/gallery-earlywork.htm
The website of Amos Anderson Gallery gives a good biography of this artist’s work and his place as an artist of genius in visual history:

M.C. Escher, during his lifetime, made 448 lithographs, woodcuts and wood engravings and over 2000 drawings and sketches. Like some of his famous predecessors, Michelangelo, Leonardo da Vinci, Dürer and Holbein, M.C. Escher was left-handed.

This website has a comprehensive picture gallery of Escher, and I can recommend it to anyone who wants to experience the fascination of viewing work that grips mind, eye and heart at one glance. For printmakers, there is the added satisfaction of looking at work that is exquisitely rendered in detail, tone, and exacting quality.
Just one of his works, “the Puddle”, encapsulates the clarity of pictorial context, symmetry, tone, imagination and portraiture in nature. It is printed in 3 blocks, using brown, green black, giving earth brown, dark brown, green, black, and mirror-grey colouration. You will understand, should you view it personally, that it is unlike anything else I have ever tried to describe. The basic scene is the muddied ground after rain, the central feature a puddle with mirror-polish reflection of the branches, berries, leaves and trees above it; the impact of man on nature is encapsulated in this natural scene which has bootprints left in the mud and deeply imprinted tyre tracks, artfully arranged, showing as diagonals across the landscape of the print. The narrative of man, soil, nourishment, nature, and intrusion of man and machine in jeopardy of nature is self-contained within a concentrated print. Image: Puddle 1952 woodcut in black, green and brown, printed from 3 blocks: M.C. Escher official website
This is one example of Escher. He is a man of many dimensions, literally. He is a master of mathematical and dimensional drawing, of miniature, and of compressed narrative. Major European influences are his Dutch heritage and birthplace, Italy, where he lived at one time, and Spain, where he found Moorish designs in architecture and discovered the impact of geometry in art. Netherlands 15th century artist Hieronymus Bosch, whose works he admired, the 17th and 18th century Dutch still life masters, his European travels and his Italian lifestyle provided him with centuries of artistic and architectural twists, turrets and turns in pictorial art, and in magnificently ornate palaces, public buildings, churches and cathedrals.
It can be disorientating to view some of his works that are optically illusive, and I give warning here that anyone who is affected by hearing imbalance (tinnitus), or other optically sensitive conditions, should abstain. Happily for me, I was unaffected by disorientation. Rather, being able to view nearly 80 separate works that span a lifetime of Escher’s output and optical range I found to be an extraordinary experience. I am lucky to have had the opportunity, and I would really relish seeing an exhibition like this in Australia.
Links: Amos Anderson Gallery, Helsinki, Finland; the official Escher site: www.mcescher.com/; and Wikipedia, Escher, for further research.

Farewell Leigh-Anne / Welcome Danielle

2010-05-05T18:08:00.006+10:00

Some of you may have noticed that the Firestation has a new Print Studio Manager, Danielle Clarke, who recently took over from Leigh-Anne Seale. Leigh-Anne's contribution to the Firestation over the last year has been very valued by the committee and we are sorry to lose her. However, she will be returning to Australia after a short break in Ireland and hopefully will be staying in contact with us and contributing to the Firestation activities.

If you are a user of the Firestation facilities, take the opportunity to say hi to Danielle who's maintaining the same office hours as usual, Wednesday through Friday. If you only connect with us online, watch out for the relaunch of our website in June which will have some exciting new features and LOTS more information on it......

Coralie

ABC Arts Online at the Firestation

2010-04-10T16:03:00.001+10:00

Last Monday ABC Arts Online visited our Gallery to interview Racheal Delmenico and Marie Watt about their exhibition 'Palimpsest' (the photo above is a sample of some of Rachael's work). Both artists talk about their photographs in a short video, introduced by our Gallery Co-ordinator Yvonne Watson.

Myra was in the workshop at the time, so in the first section of the video there is a lovely little sequence of her printing at the 'baby' press.

The video can be viewed on the website - here's a link - and also check out the other wonderful things our Aunty ABC has to offer on its Arts Online site.

Thanks and congratulations to all concerned; a great job!

The exhibition continues until the 11th of April 2010.

Beata Slifierz 'Reflections' 17th February to 7th of March 2010

2010-03-03T14:14:00.001+11:00

Here are some photos of Beata's opening. Her beautiful colourful and layered relief prints fill the gallery, the workshop and the community room.

The exhibition continues until Saturday, when Beata will be in the workshop, as she has done every Saturday of the show, for a 'meet the artist' session.

Meet the artist: Saturday 6th of March 11am to 5pm.

And congratulations Beata!

Exhibition by Brooke Ainscow, 2009 Monash Student Prizewinner, Opens on Friday 5th February 2010.

2010-01-31T14:13:00.002+11:00

Brooke Ainscow is the recipient of the 2009 Firestation Monash Graduate Prize and her show entitled '27/07 - 28/10' will open on Friday.

Each year the Firestation awards prizes to six graduating printmaking students: two each from RMIT, VCA and Monash University. The first prize is a free two-week solo exhibition at the Firestation Print Gallery, the second prize is $200 worth of workshop access.

This is a programme of great importance to us as we are able to foster and support new and emerging printmakers. And to the students too; they can experience first hand the social, cultural and personal benefits of belonging to a community of printmakers.

Join us in congratulating Brooke; her exhibition opens on Friday 5th of February with drinks from 6pm to 8pm, and continues to the 14th of February 2010.

See our website for more details.

International Postal Art Project, Bristol U.K. 2010

2009-12-19T12:34:00.012+11:00

I received the set of 3 postcards last week, and started work on mine. The first card had been done by Melbourne printmaker Deborah Williams. What an honour to be in the same set as her! And what a great opportunity to see one of her beautiful etchings up close!

I decided to use the black 'letter' from my artist's book 'At Jupiter Creek', trimming it only a little, and adding the small gum leaves to the front and back.

I chose three colours of embroidery thread and started making the holes for the stitching, probably more than I would normally make, due to it having to travel some more before being returned to Bristol.

All the packaging was beautifully presented. Each brown English envelope was printed with a 'postmark' logo, and each set had captions from old postcards printed on the back. Deborah had written a message on hers as if her dog were looking for the Scottish castle of the caption.

Mine was from a garden in Singapore, but I chose to write a reference to Jupiter Creek. I wrote a little ode to that much-explored bushland of my childhood, the old South Australian gold-mining area in the Adelaide Hills that originally inspired my book.

Hoping that our postal workers are again happily delivering, and justly paid for all their hard work, I posted the set of cards on to the third artist in the chain, in Florida U.S.A.

The International Postal Art Project is the work of Helen Allsebrook of the University of the West of England, Bristol. It was advertised on the Artist Books 3.0 network site, and within a short space of time, Helen had 240 participants from more than 13 countries.

All works will be documented and posted online on the CFPR (Centre of Fine Print Research, University of the West of England) with a list of participants. An exhibition is scheduled, from the 30th of April to the 7th of May 2010, at the F Block Gallery at the University, with a possible exhibition in Rochester, New York.

It's a wonderful idea, and makes me feel a part of a large and loving community! See below for links to other blogs about the project, and links to the official site to look out for the online posting.

Thanks must go to Helen, as well as the other artists on my set of cards (Deborah and Laura), and to all the postal workers of the world for making it all possible!

http://aprintmakersblog.blogspot.com/2009/11/bristol-interntional-postal-art-project.html

http://dampflat.blogspot.com/2009_11_01_archive.html

http://steveaitch.wordpress.com/category/book-arts/

Andrea Przygonski and Marian Crawford

Centre for Fine Print Research

Announcement of Salon Show Prizes

2009-12-12T20:47:00.009+11:00

Today we held our annual Open Day, coinciding with the Annual Summer Salon Show and the announcement of the 4 Firestation Print prize winners. It was a very enjoyable day and thank you to the artists who opened their studios and did demonstrations, as well as Yvonne for co-ordinating another excellent show.

The entries were judged and the winning works personally chosen by Murray White of Murray White Print Room:-

1st Prize

Marisa Corral "Mr Rabbit"

2nd Prize

Aileen Brown "Swifts"

3rd Prize

Neil Richards "Archaeological Feeling"

4th Prize

Deb Taylor "Sea Undersea"

These works, together with all the entries can be viewed at the Gallery until the 17th January (we will be closed from 23rd Dec - 5th Jan) and it's a wonderfully diverse exhibition.

Prizes were very kindly donated by 'Melbourne Office Express', 'Neil's Art Store' & 'Do Your Own Picture Framing Co.' and we are very grateful for their generosity. We also acknowledge the ongoing support of the City of Stonnington who help us keep the doors open.

There are lots of people who have helped to make this a successful year for the Firestation.

Here are the people that I thanked today for their special contributions:

Sarah Amos - for agreeing to become our Patron

Katherine Speller & Leigh-Anne Seale - our workshop managers

Margaret Manchee - for taking supervised access

Cherie Winter & Damon Kowarsky - for teaching workshops

Yolanda Matlakowski- for taking life drawing

Myra Kaufman, Judy Schrever, Cindy Mann, Elizabeth Banfield & Marisa Corral - for being a great committee

Sumie - for Volunteering in the office

Yvonne Watson - for co-ordinating the Gallery

Elizabeth Banfield - for starting the Firestation Blog (and blogging!)

Murray White - for being our guest judge

and last but not least, our outgoing President Bronwyn Rees whose contribution can't be over-stated.

Next year promises to be even better, with plans for a re-vamped website and a full-time manager. Stay in touch through the blog or join our email database for regular updates.

Best wishes for the holidays and have a happy & safe start to 2010.

Coralie

Cindy Mann 'White Ribbons Red Pearls' 18th to 28th November 2009

2009-12-02T12:06:00.008+11:00

Accompanied by literature on the history of the White Ribbon Movement, this exhibition by Firestation Artist-in-Residence Cindy Mann, shows us that delicate lines can still convey a very strong message.

White Ribbon Day, November the 25th, is also known as the International Day for the Elimination of Violence Against Women. It was first created in 1991 by a group of Canadian men on the second anniversary of one man's massacre of 14 women in Montreal. The movement, which encourages all to speak out against violence against women, grows each year, and currently has 230 White Ribbon Ambassadors in Australia alone.

Using the symbols of ribbons, bows, pearls and stones, Cindy has created images of fine and subtle lines that gently tell of a theme that conjures up a far more bleak and violent reality. The images themselves do not depict violence, but through the use of symbols of purity and beauty alongside those representing the violent executions by stoning, they form a profound contrast that strengthens the message.

Cindy's delicacy of touch and strength of message is most evident in the drawings, especially the large 'Stones and Pearls' (above); depicting blood stained pearls amongst sharp and jagged grey stones, arranged like specimens on pure white paper.

Many of the dry-points and monoprints, printed from acrylic plates, are exhibited in a variety of colours. Thus the viewer can choose which one best conveys the message to them.

A close look at each print and drawing is well rewarded. The Solo White Ribbon Suite of monoprints, with their marks made in the ink on the plate just before printing, make you feel as if you're there with the artist as she lifts the paper from the press bed. And the Rose Brocade Ensemble shows Cindy experimenting with multi-colour etching to enhance the brocade effect.

I will sum up by borrowing Cindy's words from her catalogue:

This exhibition contrasts physical and abstract qualities of ribbons, bows, pearls and stones in a theme of women and domestic violence.

Congratulations Cindy, and thank you for bringing this cause to our attention in such a subtle and tastefully delicate way.

David Frazer Wood Engraving Workshop

2009-11-30T20:23:00.004+11:00

A couple of weeks ago Marisa attended the day-long workshop given by David Frazer. David has agreed to make this a yearly event, which is wonderful news in itself, but has also promised an extra session in the Autumn of 2010. I'm sure they will fill fast, so check our website for details.

Marisa had this to say:

On Sunday the 15th of November, David Frazer travelled from his studio in Castlemaine to conduct a workshop in wood engraving at the Firestation Print Studio. David presented the traditional technique of wood engraving that began during the 1800s as illustrations for books. Still a traditional method, but practised by many contemporary artists inspired by modern themes.

We were introduced to the various Australian precious woods that we would be engraving intricate and detailed marks in to. Engraving, unlike linocutting, is the process of engraving into the wood rather than cutting away.

David displayed his own unique and marvellous blocks of engraved wood pieces, and the resulting prints.

Our class of eight ladies had a challenge ahead of us; we all took it in our stride and enjoyed a wonderful day of engraving and printing.

Thanks to David Frazer for sharing his knowledge and technique, and to Marisa for her review and photos.

Have a look at David's amazing website. Follow the link in the sidebar of this blog.

Annual 'Summer Salon' Exhibition and Open Day Coming Soon

2009-11-04T15:17:00.010+11:00

Coming up in December is the annual 'Summer Salon', an exhibition of works by Firestation members, teachers and artists-in-residence.

There are four prizes; including a generous voucher donated by Neil Wallace Printmaking Supplies, a pass to a master class at the Firestation, and free framing workshop. But this year we have a special first prize, donated by our gallery co-ordinator Yvonne, of two weeks free accommodation in Bali.

An independent judge from the Melbourne arts community judges the competition. Past judges have included Marian Crawford and Sarah Amos.

I asked Digby Smyth about his experience of winning the 'Christmas Salon' First Prize in 2007 for his woodcut 'Warriors and The Angel':

"The print is quite large (60x90cm) and could only be printed on a large press.

I was introduced to the idea of printing at the Firestation by John Madsen. I really like the casual atmosphere there; it reminds me of being at Art School (Prahran Tech.) in the 70s.

Winning the prize was a great encouragement; it is nice to feel my work is valued by another artist. I was also able to sell one of the prints."

This year we are also holding an Open Day on the 12th of December. This will be a wonderful opportunity to come and see the exhibition, check out the workshop, and for the first time, the artist studios upstairs.

More details on our website.

City of Stonnington 'Spring Into Gardening'

2009-10-14T14:52:00.005+11:00

The Firestation Print Studio had a stall last weekend at Stonnington's annual 'Spring Into Gardening' day in Victoria Gardens, Prahran.

Our stall looked terrific. We had larger prints on display to catch the eye of passing garden enthusiasts, as well as smaller prints, cards and books on the table. People enjoyed seeing what goes on behind the big red doors!

We made some sales, as well as passing on our love of printmaking by talking about our wonderful classes for beginners. Many were interested in our plans to do more children's classes, particularly after the success of the Dali Inspired workshops run by Marisa.

But our main drawcard of the day was an activity table to introduce the wonders of printmaking to the local children!

Much fun was had by all. Perhaps next year we should give a small prize for the best backwards writing, as many of the children saw it as a challenge to have their names readable in print!

Thanks to Judy and her friend Terri for helping on the day, and to all the members who contributed prints. We'll see you all next year!

The Silk Cut Award 2009

2009-09-05T13:03:00.007+10:00

Last night was the opening of the Silk Cut Award at the Glen Eira City Council Gallery. As always, it was a wonderfully diverse and inspiring show, the student section remaining a highlight. It is the only award exhibition in Australia that offers a student section, which is an amazing and nurturing commitment from Silk Cut, sending invitations to enter to every primary and high school in the country.

This is my work, 'Leaves left (swordplay)', a hand-printed linocut applique on Kozo Igusa paper, stitched with cotton embroidery thread to Arches BFK.

The shapes of the grasses and leaves are traced from Long Mat Rush and Eucalyptus regnans. Each piece of lino is printed separately, then the detailed outlines are cut. I follow the lines of asymmetry that are inherent in eucalyptus leaves, as well as the deformities that are the aftermath of insect attack, or the result of progressing decay. The paper swords are then assembled just as the play-swords were in my childhood, by cutting a slit along the main vein of the leaf and threading the sword blade through. The eight swords are then stitched to the BFK paper with cotton thread.

The exhibition is open until the 20th of September. Click here for a link to their site for details of opening hours etc.

Diary of a print "Inspired by Dali" Part 3

2009-09-03T17:29:00.004+10:00

ARTIST’S PROOF – My intention is to experiment with colour and to produce a narrative from the four elements on which I have decided from the beginning of this project - Sun, water, journey, and time. The thumbprint of my first drawing remains the basis of composition. As a printmaker I have come to enjoy making colour monoprints from several plates, using techniques that I was introduced to in master classes with Sarah Amos, an Australian Master Printer and printmaker practising in America, whose work is large scale, abstract and has continuous rhythmic beauty. [The Firestation Print Studio has hosted several Sarah Amos workshops, and Sarah is a very generous artist in teaching and demonstrating her techniques. In Australia, her work is exhibited at Gallery 101, Collins Street, Melbourne.]
My work in monoprint is domestic size, and I am still familiarising myself with this method.
For the first proof I intend to use three plates – a base colour; major narrative in the next plate; final narrative and line drawing in the third plate to put it all together. I want to know in the first proof whether my ideas work – what is intended may not always happen, and sometimes an unintended result is a happy outcome. In this instance I tested my ideas and was not happy with the final plate. This plate was the drypoint etching of the horizon and diagonal lines that I wished to finish the perspective in the manner of Dali, and also the minor narrative of the boat and a floating rose stem. As the plates used are acrylic, I have not acid etched, of course; and this is what would be required to give a deep line that I did not obtain in drypoint on acrylic. The line work faded into the rich colouring of the previous two plates. This meant a major re-thinking of how I could present the final print. I also took a dislike to some heavy colouring I had done – over-inked, too. The colours I liked and their print on white rag paper gave a luminous depth that I was seeking. A good proof, but not yet what I wanted as a finished product: the next print that I would be doing within a few days would be worked on this basis, with refinements. The question of the black lines would be satisfied not in printing but afterwards, in drawing in defined lines with pencil.
PRINT #1 – The second session of the printmaking process to produce a monoprint “inspired by Dali” is underway. It is based on the previous proof version. This time, the monoprint will be completed with four plates, and the hand-drawn lines of horizon and perspective that I envisage in the manner of Dali will be the final visual layer, thus resolving the image. I worked the four plates using yellow on the first plate, well wiped down, to provide the back colour; the next three plates laid and reinforced the colour definition of sky, setting sun, reflections across water horizon, and sea. Finally, I used pencil to mark the lines and accentuate the reflections.
Working into a print is a traditional method of continuing the image within the framework of the print, and is popular in hand painted watercolour versions; gouache and crayons are suitable media, and collage is another method of extending images in prints. I’m happy with the finished version of this print, so proceed with hand drawing in pencil to integrate colouring and image, and to sign off on this work.
What to call it? Dali had enormously vague and complicated titles, as good surrealists do; how am I to address this? It would be almost comical for me to launch into a long description of metaphors, allusions, which is over-doing Dali, of course; so, I am staying simple and leaving viewers with the choice of making their own freely interpretive narrative through sun, water, journey and time. “Sinking sun, melting waters” it is. Best wishes to all who are exhibiting and seeing the “Inspired by Dali” print and drawing exhibition at the Firestation Print Studio – it should be a very interesting response.

Diary of a print inspired by Dali Part 2

2009-08-27T15:11:00.004+10:00

AUGUST 7, 2009
EXHIBITION – DALI: LIQUID DESIRE – This is my first visit to NGVI to see the Dali wintermasterpieces exhibition, and I am keen to see Dali “in the flesh”, so to speak. I have already seen many Dali paintings, sculpture and prints, starting with an exhibition on Surrealism in Melbourne many years ago, when there was only one Victorian art gallery, and amongst others I first saw Dali without the distortion of image size conforming to magazine format or enlarged reproduced versions. This is quite a revelation when most of what Australians see of Dali’s work is reproduced images either in magazines or film or posters. For instance, the famous “sleep” painting is actually quite small and intimate, in domestic proportions. Immediately the adjustment is made, it is seen as an exquisite artwork, as Dali intended it. I never want to see an outsize “sleep” reproduction again! I digress, because this painting, which I saw in Europe, is not part of the NGVI exhibition. Liquid desire is sourced mainly from the St Petersburg Florida USA collection, one of the largest Dali collections outside Spain. It is spectacular.
I return to my digression. Looking at this exhibition in Melbourne, Victoria, Australia, I am again overwhelmed by the real meaning of the “tyranny of distance” applied to the isolation of Australia from “the rest of the world”, and in it own borders. It is not just the miles or kilometres separating Australia from Europe, the Americas, and Asia. The distance is larger in the volumes of Western history, literature, art, intellectual development, and historic civilising evolution that is in full view in every step of the way across the settlements and cities of Western and Eastern continents. This is not intellectual snobbery; it is factual.
Australia has, of course, a vast historic record and legacy of art that is indigenous; this goes back thousands upon thousands of years, and we are only just beginning to see it as an homogoneous country. But neither the Western nor Eastern heritage of Australia in modern history since white settlement can match the enormous richness of their progenitor cultures. My point of wonder is that these riches are constantly in front of the eyes of these current cultures, in great antiquity, historicity and abundance, not only in galleries, but also in buildings, streetscapes, and lifestyles. For this reason alone, the Dali: Liquid Desire exhibitiion - of one artist’s work - currently on display at the NGVI is staggering. It is something Australians would not ordinarily see anywhere in their own country. It is an opportunity not available to them at any time otherwise, except by travelling overseas. Anyone who has not yet seen the exhibition will need to put all aside to make the time and experience this amazing collection. Dali is a classicist, a surrealist, a man of spectacle, painterly to the most lyrical extremes of light and colour, disciplined drawing and execution of work covering diverse media with immense imagination and sensitivity. His output of work was tremendous, too, and everyone will choose what they like and dismiss what they don’t – the choice of the viewer is a powerful choice.
Phew! So what does this mean for my print and me? My resolution is to do nothing for a week, and then to reclaim who I am, and where my artistic senses dwell, on more humbler planes in the much smaller, less extraordinary world that I inhabit physically and mentally. And allow myself to be inspired. I redirect my steps to the techniques and language of Dali that give me most affinity with my artistic interpretation – line, horizon, philosophy, an obsession with time and natural forces. My thumbprint stays, and I’m on course.

Diary of a print "inspired by Dali"

2009-07-23T16:47:00.003+10:00

CONCEPT – at the beginning I looked at Dali’s work from the artist’s perspective of image, at what Dali has to say in an artistic narrative, his colour, his emotive projection. This is no small task when looking at the immensity of Dali’s work and subject matter – a life time’s study. No matter. Get down to what interests me in Dali’s art, first; second, look at what techniques or practices in Dali’s work interest me most; third, look at how I respond to these images in relation to the way I produce my own work – my own interests. Finally, decide what I can produce, with my own signature, from these inspirations.
It helps to know that Dali used many inspirations himself which enriched his own art. I thought of some of the major influences, such as European art since the Renaissance, particularly the rich layers of Spanish traditional art, the heavy iconic and symbolic influences of imagery in Roman Catholic churches and religious beliefs, and the influential heritage of literature and history of Spain and Dali’s local Catalan ancestry. Then there were modern influences of his time - Cubism, Surrealism, martial conflict, sociology and parochialism. The most essential element of Dali, of course, is the man himself – his makeup, his artistic precocity which he fulfilled to the maximum degree, in an astonishing diversity of talent, and excelled in an era of many other astonishingly talented artists.
That is enough to put the fear of a paintbrush in any aspiring artist! But, Dali never produced fear in his work, at least not to any extreme negative extent. So it is safe to say that what I can gain of inspiration from Dali will be in the spirit of endeavour, and it will be my own journey through my own mind, with my respects to Dali apparent.
IMAGE – I tossed around my own influences, as they have nothing at all in common with Dali’s influences. I am not Roman Catholic and until recently had never been in a Roman Catholic church, where the richness of imagery and symbolism is utterly astonishing to an alien eye. I am Australian; Australia is a vast country of many artistic and diverse natural images, symbolism, and artistic inspiration. But I am not indigenous, so my connection with the wealth of indigenous mythology and heritage is sympathetic, not inherent in my makeup. So, what can be said about me? More than anything is that I live in my own mind, intellectually and aesthetically. I have all the cultural influences of a Westerner living in the East in a unique land, in a multicultural society, at a time of peace and affluence, in a world era of communication and global dependencies. The concept of space, the span of time, the elemental and spiritual shaping of earth and humanity are drivers in my artwork and the way I view my relative surroundings. I like it stripped to simplicity – space, opportunity, distance, and the fundamental forces of nature – and their association with humanity.
FIRST DRAWING – I love Dali’s melting watch symbolism, his beautifully painted images – clearly delineated – and his highly disciplined “sketchy” drawings - stripped to essential lines and showing space, time and topography of landscapes physical and mental. The narratives behind them are human – whether bizarre, historic, alienating or conjectural. My mind is simpler than Dali’s extraordinary visions, but I love narrative. The elements of Sun, Water, Journey, and Time come easily to my mind. The Ship of Fools is an antique literary source that has historic significance as a metaphor of life. A boat appears – tossed by the sea. The Sun – dominant, elemental to survival – melts as it sinks into the horizon of the sea and its glistening waves. Linear – this defines the shape of what I will do. I love Dali’s use of line for horizon and distance and volume – this is where his narrative is placed. This is my first “thumbnail” sketch.

Dali Inspires - Begin Your Creation Now!

2009-07-15T08:10:00.005+10:00

2009 brings the 'Liquid Desire' of Salvador Dali to Melbourne in a spectacular Winter Masterpieces exhibition at the National Gallery of Victoria International: 13th June to 4th October.

Taking our lead from the NGVI, the Firestation Print Studio exhibition and competition of prints and drawings - 'Inspired by Dali' - is being held at the Firestation Print Studio Gallery: 23rd September - 3rd October 2009.

Be inspired by Dali, create your own print or drawing, and enter your work in a fantastic exhibition and competition! There will be prizes for works on paper "inspired by Dali".

A pdf entry form is available here. And click here for the link to the Dali page on the NGVI website.

Entries close at 5pm Wednesday the 9th of September 2009.

Bronwyn Rees 'Selected Works' at the Firestation

2009-07-09T10:44:00.004+10:00

Bronwyn's exhibition opened at the weekend. An inspiring display of etchings, artist's books, drawings and paintings.

Follow this link to an interview I did with Bronwyn on the Artabase blog.

Photos from the opening of Myra Kaufman's exhibition.

2009-06-30T23:09:00.007+10:00

It is several weeks since I closed my first solo exhibition "Another Link in the Chain" and I must say I was thrilled with how the exhibition went. I sold over half my collographs and a couple of small paintings. Apart from all the positive feedback from family and friends, I was lucky to get a couple of articles in local papers, which turned out to be the best publicity and at no cost to me!! I got a better response from those articles than the paid ad in the Art Almanac. I have learnt a lot from my first attempt at organising my solo and feel sufficiently encouraged to have another one in a year or so.

Fundraiser Film Event

2009-06-30T22:51:00.003+10:00

On Sunday June 28th, the Firestation Print Studio committee members organised a showing of the film "Coco Avant Chanel", the new french movie starring Audrey Tautou as a fund raiser for the studio. The event was almost a total sell-out! We also held a raffle, the prize, of a lovely linocut donated by Judy Schrever, raising some extra funds for the studio. The movie was generally well received by the audience. Thank you to all the members who sold tickets to support the event. We will present the final total money raised at the next committee meeting and discuss how best to spend that money for the studio. We hope to make this an annual event.
Myra Kaufman

bronwyn rees exhibition at the firestation

2009-06-08T16:19:00.016+10:00

This is an exhibition in two parts. In the front gallery I have placed all black and white etchings and in the press area are all paintings [colour.]
All the images are derived from the Australian landscape, all from either South East Queensland or Wilson's Promontory.
The image to the right "Motherland" was the starting point for all the black and white prints as it was one of those pictures that affected me deeply at the time and has continued to do so.
I actually made the print in Scotland in 2003, homesick and feeling like I'd stepped through the looking glass as life in Europe did seem like a reflection of our lives in Australia.

The painting section of the show is the result of a road trip I took in 2005 with some friends from college. It's called "Out West" because we went directly west of Brisbane and things get pretty dry and dusty quickly. The colours are intense and at Easter time in Roma the bagpipes were playing, the goats racing and the religious country music festival was in full swing. There's a lot of culture out there.

I hope you can join me for the exhibition opening on July 4th, 2pm at the Firestation.

It runs from July 1st to 31st, gallery hours are 11-5, Wednesday to Saturday.

From Jupiter Creek to Tweed River

2009-05-17T18:39:00.003+10:00

The CPM National Print Awards opened yesterday at the Tweed River Art Gallery, Murwillumbah. I was fortunate to have my little book 'At Jupiter Creek (letters 9-12)' selected for the exhibition.

I printed the linocuts by hand using an old, large, silver spoon. The letters were printed on Japanese Kozo Igusa paper, trimmed, folded, and then stitched into the concertina book; which was made from a single piece of Arches BFK paper. The applique leaves were printed and stitched in the same manner. The shapes for the leaves were traced directly from fallen leaves of Mountain Ash trees.

I should also say that the title owes something to Annie Dillard's book 'Pilgrim at Tinker Creek' which I was joyously rereading at the time.

2009-05-13T17:35:00.002+10:00

Welcome Leigh-Anne
The Firestation Print Studio has someone new in the office! Leigh-Anne Seale has just joined us. Leigh-Anne has worked at londonprintstudio, and helped found Lorg printmakers in Ireland. Leigh-Anne's experience will be invaluable in helping us to continue to grow and develop. Please, everyone, make her feel welcome!
Cheers,
Coralie

Bronwyn Rees at the CPM

2009-05-02T16:11:00.000+10:00

I am always entering competitions in the hope of being seen, winning something, selling something. If the work is selected, it's something to put on the CV.

I've always had a proprietorial feeling about this one as it is held at the Tweed Regional Gallery and is near Brisbane. I used to visit whenever it was on and always knew lots of people who had entered. However, I never thought to enter myself until now. Why? I just didn't enter any competitions back then.

Anyway, here is a picture of my "Boxed Set", which is a set of eleven pamphlet books, all made from heavily overprinted etchings and relief prints. It was a huge amount of work, and there's only one. It's a mad way to work, but I really enjoyed making it, and felt a lot of satisfaction upon its completion.

Farewell Katherine

2009-05-02T16:08:00.000+10:00

Katherine, we’re really sorry to see you go, you’ve done so many great things while you’ve been here.

You stepped into a challenging situation and instituted systems of exchange that work well in the virtually moneyless society that is the Firestation Print Studio.

You are always welcoming to visitors and they are rarely allowed to leave without enrolling in a class or buying some art.

Your mind seems to overflow with creative ideas. You’ve helped push us through to the next level of development. You’ve certainly taught me a lot about novel ways to solve problems.

On a personal note you often stopped to help me with my work, always encouraging me to try things I would have been too fainthearted to attempt otherwise. Thankyou for your cheerleading.

In conclusion, we wish you all the best in your next endeavour and in the immortal words of anonymous ‘don’t be a stranger’.

Maybe now you can come back and make your own work!

Bronwyn Rees, president of the Firestation committee, upon Katherine Speller’s leaving the job of manager after two years.

"Another Link in the Chain" exhibition opening April25th

2009-04-26T23:44:00.000+10:00

Dear fellow Bloggers,
This is my first entry as a blogger. I hope I follow all the right protocols. I've just had the opening to my first solo show at the Firestation and I was really thrilled with the number of friends, family and fellow artists who showed up for the opening. I've sold 12 out of 28 images so i am thrilled particularly since this week it was officially announced that Australia is in recession. The works, 25 collographs and 3 mixed media works in canvas represent 9 months work. It's wonderful to see a completed body of work properly hung in a gallery space. Sarah Tomasetti gave a wonderful opening speech. I also enjoyed the diverse compliments about my work from friends and family. I will attempt to post a few images/photos from the exhibition for your perusal.
Myra K

2009-04-26T16:36:00.000+10:00

Welcome to the Firestation Print Studio blog.

2009-04-26T16:07:00.000+10:00

Welcome to our blogspot! This is our place to share the joys of printmaking!

I went to the opening of Myra Kaufman's exhibition in the gallery yesterday. It was good to see so many people there! Myra's collagraph/monotypes are beautiful and sensitive. And I loved seeing the old suitcase of treasures that was her inspiration.