Wednesday, November 22, 2017

Douglas Art Group (D.A.B.) - Carborundum Collagraph Workshop 18,19,20 Nov 2017

D.A.B. - Carborundum Collagraph Workshop 

Ellen Terrell, a potter living in the Mossman region recently invited me to submit a workshop proposal for a 3-day Carborundum Collagraph Workshop as part of a RADF funding application for the local arts group D.A.B. Douglas Art Group

D.A.B. Studio Gallery Mossman FNQ

I had an enjoyable 6-hour drive north of Townsville arriving early on Friday evening to a very warm welcome by Ellen and D.A.B’s outgoing treasurer Liz Showniruk, and her family. We enjoyed a lovely evening at the Exchange Hotel Mossman including a dance with the locals to a rock band in the front bar before heading to her property at Whyanbeel Valley situated in the rainforest 10 minutes north of Mossman. 

Saturday Markets - Mossman FNQ

On a Saturday morning in Mossman, there is a local market full of fresh fruit and veg, a hairdresser amongst other professional’s, handcrafted wares including hand-printed tea towels and aprons. I purchased a lovely apron for the workshop designed and printed by Mary.

Day 1 - Introduction to materials, image design, and plate creation
D.A.B. have an etching press 40 x 70 cm. fitted with a good thick blanket suited to Collagraph printing. The press size determined the maximum size of the plates for use, 25 x 51cm.  We were using full sheets of strawboard 101 x 76cm. We were able to get 6 cut plates from one full sheet with no wastage.

We covered all the basics of studio practice included setting the press, clean paper areas, messy plate creation areas, demonstrations on sealing the plates and making your own textured mediums, composition and mark making.

D.A.B members applying Shellac 

Plate creation

Ellen working with PVA

Lea applying Carborundum grit
Britta tearing back the surface of the plate for texture

Lil exploring mark making

Day 2 – Plate creation & printing
The D.A.B. group purchased 3 different weight Hahnemuhle papers, 300 gsm, 230 gsm, and 150 gsm to use for printing. The lightweight paper, 150 gsm, was used for image transfer as part of multi-plate registration. The 230gsm for proofing and 300gsm for printing final prints. I gave a demonstration on inking up with a stipple brush or plastic card. We discussed when best to use transparency and how to mix it into your inks. I demonstrated different ways of wiping back using paper and or tarlatan.
The group really enjoyed these activities, especially pulling their first print, and making ghost prints for further overprinting at a later date.

Inga printing plate 2 of 3 colours/3 plate collagraph print

Inga & Ellen marvelling at Inga's print 

Gail working on a design

Test plates printed with varying blacks and transparency ink

Day 3 – Printing
Everyone seemed to get straight into it displaying confidence and enthusiasm. All the prints coming off the press were terrific and bold.
Inking and wiping the collagraph plates

Lea's 4 colour/3 plate collagraph print

Britta's 3 colour/3 plate collagraph print

Gail's 2 plate/2 colour collagraph print

Britta & Inga

Lil printing a textured plate made using a textured medium

Lea reflecting on her collagraph prints

Inga experimenting with colour and transparency ink

Lil's 2 colour/3 plate collagraph print

In summary, the workshop explored multi-plate colour printing using textured collagraph plates. Workshop participants worked to create a series of plates that were printed in succession producing multi-colour prints. Engaging with a diverse range of materials, plate creation, monoprinting techniques, including the use of transparent ink.

Carborundum Collagraph: Carborundum grits (silicon carbide, lithography graining grit) are mixed with glue and applied to the surface of strawboard, perspex or plastic etching plates to produce rich tonal areas, often in a very painterly manner. The plates may also be incised, abraded, or attacked with various sharp hand and/or electric tools to create velvety linear marks, and/or combined with monotype.

I’d like to say a very big thank you to the D.A.B management committee, and artists for the invitation to facilitate a workshop in their very friendly gallery and studio. Including the outgoing president Liz Showniruk and her family for welcoming me into their home. Liz runs her own Studio & gallery, Whyanbeel Valley Studio & Art Gallery  which includes and the most stunning Artists Residence accommodation available for hire.

Monday, November 13, 2017

Jo Lankester Recipiant - APW Regional Artist-in-Residence Project 2017

Australian Print Workshop Regional Artist-in-Residency project

I’m please to write of a recent professional development opportunity in Melbourne at the Australian Print Workshop (APW) as a recipient of the Regional Artist-in-Residence project between 16 November to 5 December 2017.
Australian Print Workshop 210 Gertrude St, Fitzroy, Vic 3065
Proposed Print Project: To make experimental studies of textured surfaces of the given environment in the form of Unique State Prints.

During this time, I enjoyed early morning walks to parks and gardens located close to the APW including the Fitzroy Gardens, Yarra Park and the Botanical Gardens. Stopping to make small drawings of the surface of gum trees then return to the studio and draw in my journal from memory of the observational drawing made in the park. Then in the APW Access Print Studio working from memory, I printed a series of monotype prints on Hahnemuhle 78 x 53cm, using etching ink and a copper plate 90 x 60 cm. Each memory exercise is a process that removes my mark making from the literal and becomes an intuitive process to making prints. The Monotypes were printed with up to 4 layers of colour using a subtractive approach to create the image.

Subtractive Monotype printing, printed by Jo Lankester in the APW Access Print Workshop
4 layered subtractive Monotypes, printed by Jo Lankester in the APW Access Print Workshop
In week two I was presented with a generous opportunity to create a Limited Edition Print with APW Senior Printer Simon White. We worked together to create a 4-colour plate lithograph printed on the FAG offset press, I drew on the prepared plates, which Simon then processed and printed. This was an amazing experience to work in a medium that I don’t have access to in Townsville or the skills to work in this medium unassisted. The technical guidance and skills provided by Simon White realised a beautifully printed edition of prints containing intricate marks and a subtle colour palette that tells a story of my physical, and artistic journey whilst in residence at the APW. 

Plate 1 of 4, Tusche Wash & crayon

3 layers of colour of 4 plate/4 colour Lithograph. Printed by Simon White, APW Senior printer. 
Key plate for Lithograph print (4 plate/4 colour)
Cortex-Botanic Gardens, Melbourne
Plate lithograph (4 plates/4 colour)
76 x 55cm | BFK 250gsm
Drawn by Jo Lankester and printed by Simon White, APW Senior printer.
This work resulted from an Artist-in-Residency project supported by Australian Print Workshop in 2017
This Unique State print can be purchased through the Australian Print Workshop.
The key Lithography plate was also printed on the dry surface of the 7 monotypes created in week one, in the APW Access Studio. The monoprints were then further worked on by myself in week 3 to created 3 x unique state diptych prints and I x APW unique state single sheet print.

Key Lithographic Plate printed on Monotypes to become Monoprints.
Drawn by Jo Lankester and printed by Simon White, APW Senior printer.
This work resulted from an Artist-in-Residency project supported by Australian Print Workshop in 2017.

Applying the final lines of colour in the APW Access Print Workshop
Cortex-Parliament Gardens, Melbourne
Drawn by Jo Lankester, printed by Jo Lankester & Simon White, APW Senior printer.
This work resulted from an Artist-in-Residency project supported by Australian Print Workshop in 2017.
This Unique State print can be viewed at the Australian Print Workshop.

Cortex-Botanic Gardens II, Melbourne
Drawn by Jo Lankester, printed by Jo Lankester & Simon White, APW Senior printer.
This work resulted from an Artist-in-Residency project supported by Australian Print Workshop in 2017
This Unique State print can be purchased through the Australian Print Workshop.
Cortex-Yarra park, Melbourne
Drawn by Jo Lankester, printed by Jo Lankester & Simon White, APW Senior printer.
This work resulted from an Artist-in-Residency project supported by Australian Print Workshop in 2017.

Cortex-Fitzroy Gardens, Melbourne
Drawn by Jo Lankester, printed by Jo Lankester & Simon White, APW Senior printer.
This work resulted from an Artist-in-Residency project supported by Australian Print Workshop in 2017.
In between printing the monoprints and working on the limited edition print, Cortex - Botanic Gardens, Melbourne, I produced 3 x small editions and a couple of trial proofs. These prints are what I call my drawing prints. I use only one element of the subject to focus on, usually the outer layer of textured bark and stains on a tree.
Additional small editions made and printed by Jo Lankester in the APW Access Print Workshop
This incredibly generous opportunity offered by the Australian Print Workshop also enabled me to make contact with professional practicing printmakers living, and working in Melbourne. The inner city location of the APW situated near commercial and state/national galleries allowed easy access for me to see exhibitions, attend exhibition openings, artist talks, and print studio launches. During my stay I built new connections and working relationships resulting in a true sense of connectedness with printmaking artists in Victoria reducing the sense of physical isolation through distance of living in regional North Queensland.

Thank you to the Australian Print Workshop Board, APW Directors and staff for this incredible opportunity to make new connections, and extend my knowledge of the print medium.

Thursday, August 10, 2017

Peebles Print Prize - Highly Commended Jo Lankester

Watch the official announcement of the Peebles Print Prize at Queenscliff Gallery & Workshop by Hertha Gluge-Pot.
Congratulations to Olivia Mazzone, winner of the inaugural Peebles Print Prize.
High commendations by Hertha Kluge-Pott to Michele Kershaw for Re:Sown and Jo Lankester for Rhytidome Viscaceae – Townsville II.

Friday, June 30, 2017

PUNQ: Pop Up North Queensland Arts Festival 28 July - 6 August 2017

PUNQ: Pop Up North Queensland Arts Festival 28 July - 6 August 2017

Brush & Press Studio is participating in this unique 9day arts festival in Townsville, North Queensland.
Screen Shot of Umbrella Studio Webstie

Brush & Press

In Artists in Action, Pop-Up Shop  April 5, 2017
261 Flinders Street

Brush & Press is a print focused studio showcasing works on paper & linen by local and interstate artists Laura Castell, Mini Graff, Jo Lankester, and Janet Parker-Smith.
At this pop-up, you will see artists in action showcasing the process of printmaking and you will be given the opportunity to purchase a piece of work!

Laura Castell

Laura is originally from Venezuela and a trained biologist – a practice that has given her close contact with nature. Castell became a full-time artist in 2014 and her interests revolve around two main topics- often treated separately, nature and the human condition. She works in a variety of media, with printmaking a major focus, especially relief printmaking, but more recently exploring the combination of techniques.

Laura Castell,Nine treasures, 19.5×18 cm, Reduction linocut, Edition 10.

Mini Graff

Mini is a New Zealand born, Sydney-based street artist who works in and around the city’s urban fringe. The streets and inhabitants of the area provide the content and impetus for her work. Mini Graff stencils and prints images onto a variety of media (walls, boards, vinyl, paper, rarely canvas) which strongly relate to the given environment and community, transforming an anonymous repetitive urban landscape into a unique and personal aesthetic experience.
Mini Graff, (l-r), Play that card again (multi stencil).

Jo Lankester

Jo is a passionate printmaker living and working in Townsville, North Queensland. The natural environment informs her uniquely printed fine art prints. Mark-making and experimentation is the process behind the work. Her focus in the medium of Collagraph is an ongoing enquiry resulting in the extension of the parameters of both the medium and her own visual language.

Jo Lankester, On the Surface, 2014, Intaglio 88.5 x 75cm

Janet Parker-Smith

Janet is a Sydney based artist who works with Printmedia, Sculpture and Altered books. She has been exhibiting nationally and internationally for 20 years.
Parker-Snith is represented by Van Rensberg Gallery, Hong Kong and supported by May Space, Sydney where she has had several solo exhibitions, and M Contemporary Gallery, Sydney.

Janet Parker-Smith, (l-r), Aberrant, One screen print

To visit the Umbrella Studio of Contemporary Arts website to find out more click here: PUNQ Arts Festival

Tuesday, April 4, 2017

Jo Lankester - Printmaking Artist. Produced by Eyeswide Imaging and Alex Christopher

I was recently invited to participate in a Townsville Artists Digital Storytelling Project organised by Eyeswide Imaging and Alex Christopher who received RADF funding for the production of ten short films featuring local artists and their conceptual development

The project was a pleasure to be a part of and the filming was a lot of fun also.

Thank you Eyeswide Imaging and Alex Christopher for the invitation to participate and producing a great website to go with it.

Website: Townsville Artists stories about practice, process and concept

Impressions 2016 at The G.R.A.I.N. Store, Nathalia, Victoria

I am pleased to let you know that my work Cellulose - Anderson Park featured in IMPRESSIONS 2016 at the Australian Print Workshop has been selected for and exhibition to be held at The G.R.A.I.N. Store, Nathalia, Victoria.

This exhibition includes a selection of 52 IMPRESSIONS works curated by the staff and committee of The G.R.A.I.N. Store and will be on display from 9 April until 20 May 2017.

The G.R.A.I.N Store stands for Growing Rural Arts in Nathalia, and is a not-for-profit rural arts center with a history of exhibitions, performances and workshops. It fosters art which furthers the community, the environment, rural health, reconciliation and education while contributing to the economic development of the area.

The exhibition is a fantastic opportunity to broaden the exposure of contemporary Australian printmaking to regional audiences.

Thank you to the Australian Print Workshop and The G.R.A.I.N. Store, Nathalia, Victoria

To read more click on this link to an article published by the Riverine Herald on April 03 2017

Jo Lankester, Cellulose - Anderson Park, 2016, Etching, Drypoint with Relief Roll 20 x 15cm

Thursday, September 22, 2016

Wallflower - Collaborative Print Exhibition, Townsville 2016

Wallflower was an Access and Vault Space exhibition at Umbrella Studio of Contemporary Arts, Townsville, 8 July - 14 August 2016 by Jo Lankester and Hannah Murray. The exhibition featured print collaborations that explore the symbolic and aesthetic qualities of abstracted patterns found on the outer layer of a tree trunk or the surface of rocks, and floral imagery.

 Wallflower is an extension of an ongoing print collaboration that explores the symbolic and aesthetic qualities of abstracted patterns found on the outer layer of a tree trunk or the surface of rocks, and floral imagery. As with any collaboration a symbiotic relationship must exist to coexist. Trees and rocks share a symbol of antiquity, immense and enduring strength, and protection. In contrast a flower is fugacious and fleeting. Wallflower will aim to present a seductive and resolved body of work that explores this contradiction. 

Imprint Editor Emily Kiddell invited us to participate in a Q&A for the Imprint Blog, you can read this interview here Imprint Blog Q&A Jo Lankester & Hannah Murray

Field of Dreams #2, Jo Lanketser & Hannah Murray 2016

Feild of Dreams #1, Jo Lankester & Hannah Murray 2016

Cymbidium - Purple Rain of Fire, Jo Lankester & Hannah Murray 2016
To View more images of prints exhibited in the exhibition Wallflower click on this link to go to my website

Thursday, December 10, 2015

The Australian Print Triennial: Sustaining Art Practice as a Non- Conventional Route – namely teaching

Incised Collagraph Plate

I recently presented a thematic overview of my practice at the inaugural Australian Print Triennial, Mildura, as part of a panel discussing Sustaining art practice as a non- conventional route – namely teaching, highlighting some of the challenges I faced since leaving art school, the things I have done to maintain the momentum essential to a vital creative career, and reflect the organic evolvement of my arts practice.

In my first two years of art school I focused on drawing and learning the techniques of printmaking.
Life drawing, self-portraits, cityscapes, landscapes and found objects making up much of my subject matter. In third year I started to develop a visual language Inspired by a visit to Jamieson in north-east Victoria.
Jo Lankester, Jamieson, 1994, Multi-colour plate collagraph, 100 x 75cm, Artist Proof, Printed at VCA by Jo Lankester
I observed the natural beauty of the patterning of lichens living symbiotically on the surface of rocks. I was inspired to translate the colours, shapes and texture into my prints abandoning the literalness of depiction. On my return to the art school studio, Neil Malone encouraged me to explore the process of Carborundum Collagraph printmaking.

Jo Lankester, Jamieson lll, 1994, Multi-colour plate collagraph, 100 x 75cm, Artist Proof, Printed at VCA by Jo Lankester
I was naturally moving towards working on a large scale and excited to be introducing colour. My new work retained a figurative quality while exploring abstraction to convey a sense of place.
John Scurry head of printmaking, encouraged me to submit a triptych 100 x 230cm to the Canson Student Print Award in 1994.
Jo Lankester, Far Northern Colours, 1995, Multi-colour plate Collagraph, 100 x 75cm, Edition: 5, Printed at APW by Jo Lankester
I was awarded the prize and this had a massive impact on my transition from student to young emerging artist. The prize was 6 months free access to the Australian Print Workshop Access Studio (APW), and 2 weeks working in the custom print studio with Martin King as an artist in residence.
Jo Lankester, Dingya, 1995, Collagraph with hand coloured paper with Ochre, 56 x 76cm, Edition 5, Printed at APW by Jo Lankester
This opportunity catapulted my entry as a young emerging artist into a professional printmaking studio. I found myself surrounded by new mentors, directly and indirectly. The challenges I faced working in the custom studio with Martin King was a lack of experience as an artist in residence. I remember it being quite overwhelming.
Jo Lankester, Etched Environment, 1995, Etching, 88 x 75cm, Edition: 5, Printed at APW by Jo Lankester
I was given a number a large pieces of copper to work with and I struggled with knowing how to create the textural marks of the collargraph in etching. Martin recognized this and generously shared his skills and ideas, suggesting what techniques to use. During this time the APW supported me with the opportunity to exhibit, and participate in commissioned projects.
Jo Lankester, Weathered Rockface, 1995, Etching & spitbite, 76 x 56cm, Edition APW 1/1, Printed at APW by Martin King
I made a decision to have children at a relatively early age and at the start of my career as a printmaking artist. Shortly after starting a family we relocated to Townsville, Far North Queensland. I was determined to keep drawing and printing, so I purchased a small etching press to take with me.
In the early days, this decision had a big impact on the direction of my arts practice.
Jo Lankester, Cape Pallerenda from Kissing Point, 2000, Etching, Aquatint, 28.5 x 59.5cm, Edition: 25, Exchange folio curated by Rona Green, Printed at JCU by Jo Lankester
The lovely and charismatic printmaker, Fed Genis was staying with my mum in Melbourne while collaborating with Daniel Moynihan, and being a close friend of Ron McBurnie’s, Daniel encouraged me to introduce myself to Ron at James Cook University. I was ecstatic to be back in contact with printmaking artists and discovered I had found a new mentor. Not long after meeting Ron came the invitation to teach in the printmaking department a few hours a week. I was living the dream, teaching, sharing my passion, skills and experiences, and I had access to a large press to produce prints for exhibitions.
Jo Lankester, Wulguru, 2002, Multi-colour plate, Collagraph, 56 x 76 cm, Edition 5, Printed at JCU by Jo Lankester
 It’s been important and essential to my creative career to maintain connections to the Melbourne and National print scene. Including participating in exchange folios. Attending the National Gallery o Australia Print Symposiums and keeping up to date with my peers nationally through Imprint magazine. Volunteering and working in the arts, being an active board member for artist run initiatives, and Incorporated art spaces.

Volunteering at Perc Tucker Regional Gallery, led to an 8 year appointment in exhibitions and collections. My intentions in taking the position was to work for 2 year’s full time, gaining industry knowledge and a new set of skills. Early on in my appointment my long term relationship broke down influencing my decision to remain in full time employment.During this period I produced relatively little work until 2008.
Jo Lankester, Midday, 2008, Multi-colour plate dremel drypoint, 30 x 20cm, Edition: 5, Printed in home studio by Jo Lankester
In 2010 I chose to leave my position and return to my practice full time.
The next couple of years were spent like my journeyman years at University, concentrating on drawing and mastering the techniques of printmaking again.

An ongoing challenge I faced over the years is the lack of constructive criticism that I had become accustomed to during critique sessions at Art School.

Through experience, I knew of the energy and effort required to succeed as a professional artist in a regional centre. Without gallery representation I knew I had to gain a new set of skills, including business, marketing, and internet marketing and social media. My career has evolved organically through hard work and determination, I apply integrity, honesty and a strong work ethic to everything I do. I am an opportunist, I say yes to everything, and I feel the fear and do it anyway.
Brush & Press Studio, Townsville, Dec 2010 – Dec 2013
Renew Townsville allowed me the opportunity to open my own gallery and print studio. Brush and Press was open 7 days a week, and appealed to the general public, artists, and visitors to Townsville.
It was a unique concept and vision for Townsville, it was innovative and progressive, contributing to urban revitalization through public appeal and engagement and adding life to the CBD.
Supervillains, All male print exhibition, Curated by Kathy Cornwall, Brush & Press Studio, 30 March – 20 May 2012
The studio was professional, and successful on many different levels. We engaged new audiences, provided opportunity and created income for many printmaking artists in the community. Emerging curators and artists explored their ideas through exhibitions, accessing the equipment or hiring my services to assist with printing.
Laura Castell, Brush & Press Studio, August 2011, Printing for Neoteric print exhibition
It became a hangout for many artists, a meeting place, and a place to be inspired.
A comment left in the visitor’s book. “Brush & Press is one of the best additions to the Townsville art scene in years – high quality work, beautiful gallery and genuine artisan workshop. If this great quality can be maintained and replicated the new mall will become once again the true centre of Townsville.”

I am passionate about my personal commitment to printmaking and the development of its profile in our community. I maintain a linkage to number of artist run initiatives, an arts organisations in Townsville, through exhibiting and curating exhibitions.
Jo Lankester & Douglas Arana, Brush & Press Studio, August 2011, Printing for Neoteric print exhibition
 I instigated a program, with the support of Umbrella Studio, to curate an exhibition featuring local printmakers and to run a number of workshops focused on various printmaking processes to coincide with Impact 7, for the Month of Print. The exhibition examined contemporary print practice of emerging and mid-career printmakers living in Townsville, while supporting the transfer of skills within the community.
Karen Fiorito & Jo Lankester, International Artist in Residence, Brush & Press Studio, August 2011, Printing for Neoteric print exhibition
Brush & Press studio closed at the end of the Renew Townsville project in late 2013.

My passion is shared with other printmaking artists in our region, including Ron McBurnie, who mentored and encouraged local printmaking artists to form a group, meet regularly, share knowledge and skills, exchange prints, exhibit, engaging with local, national and international communities.

Peter Lancaster & Eliza Turnbull, Residency & Workshop, PressNorth Printmakers, Professional Development Project, Umbrella Studio of Contemporary Arts, 11 – 18 November 2013
PressNorth Printmakers was formed in 2009. The accomplishment of our initiatives relies entirely on the voluntary efforts and dedicated hard work of the management committee and members.
Through connecting and maintaining friendships with my contemporaries nationally, I developed a program that received funding to bring leading technicians and printmaking artists to Townsville to further our education.
G.W. Bot, Residency & Workshop, PressNorth Printmakers, Professional Development Project, Umbrella Studio of Contemporary Arts, 2 – 9 March 2014
This program provided new mentors for me personally and for the artists who attended the workshops.
Trent Walter, Residency & Workshop, PressNorth Printmakers, Professional Development Project, Umbrella Studio of Contemporary Arts, 19 – 27 April 2014
Investing my time, energy and passion in PressNorth Printmakers not only helps me maintain the momentum so essential in a vital creative career but contributes directly to all the artists, and members of the community involved.
PressNorth Printmakers, Professional Development Project, Judy Watson, Residency & Workshop, Umbrella Studio of Contemporary Arts, 2 – 9 June 2014
Currently my energy and focus is primarily concentrated on developing new audiences for my prints and maintaining the momentum of printmaking in my local community. With the support of the Perc Tucker Regional Gallery, Townsville, I held my first major solo exhibition last year, titled Cornerstone.
Published on the occasion of, Cornerstone by Jo Lankester, Perc Tucker Regional Gallery, 18 July – 24 August 2014, Publication Design and Development, Rob Donaldson / Eric Nash / Shane Fitzgerald
Gallery director, Shane Fitzgerald, and curator, Eric Nash, worked with their team of staff to produce a publication of a high standard to accompany the exhibition. This publication has been a valuable tool in furthering my career, whilst demonstrating the gallery’s dedication to promoting Townsville artists. 
Julie Chambers & Shane Fitzgerald, Cornerstone exhibition opening, 18 July 2014
Julie Chamber was invited to Townsville to open Conerstone and give a public presentation about the wonderful achievements of The Art Vault, and what it offers artists, while contributing to cultural tourism.

Symbiosis, Jo Lankester, The Art Vault, 16 Sept– 5 Oct 2015
An invitation from Julie came earlier this year to participate in the exhibition and residency program at The Art Vault. And a few weeks later and invitation to participate in the first Australian Print Triennial.
Andrew Svrta, Emily Kiddell, Trent Walter, & Wendy Murray at The Australian Print Triennial
I feel incredibly blessed to have so many mentors, past and present, who believe in me and support my arts practice. 
Jo Lankester, Rew Hanks, & Wendy Murray at The Australian Print Triennial
Thank you, Dr Sasha Grishin, Julie & Kevin Chambers, the staff at The Art Vault, and all the presenters and participants for making the inaugural Australian Print Triennial such a fantastic and memorable event. I look forward to the next one in 2018.
Mandy Gunn, Heather Shimmen & Arone Meeks, The Art Vault, The Australian Print Triennial