Commission: Aria Property Group 2023, Facilitated by Onespace Gallery, Brisbane

 Aria Property Group Commission 2023: Jo Lankester. Facilitated by Onespace Gallery, Brisbane

I've been privileged to work with Onespace Gallery since 2019, when I asked to participate in an exhibition titled Pivot, showing artists' work who predominately work in 2D to create an artist book to accompany a framed work on paper. Our relationship has extended to a formal representation arrangement with the showing of two solo shows, 2020 Accression: Mapping the Landscape and 2022 Illiminous Microhabitats. 

The Aria Property Group Precinct Coordinator attended my 2022 exhibition at Onespace Gallery and commissioned two 3 panel unique state prints for the Upper House build.

Photosynthesis – Anthraquinone V, 2023, Multi-colour plate intaglio with hand stitching, 99.5 x 223.5 cm

Photosynthesis – Anthraquinone Vl, 2023, Multi-colour plate intaglio with hand stitching, 98.5 x 223 cm

Upper House Art Collection

Megan Cope

Sarah Daly

Emily Devers

Norton Fredericks

Ian Friend

Jo Lankester

Dane Lovett

Dylan Mark Bolger

Julian Meagher

Lara Merrett

TC Overson

Ai Shah

Lisa Sorbie Martin

Tyza Hart

Judy Watson

  

Australian Print Workshop: 1 Week Residency 2024

 Australian Print Workshop: jo Lankester, 1 Week Residency 2024

I feel so privileged to recently be invited by the Director of the Australian Print Workshop to work with a Senior Printer and two apprentices to produce two editions of three colour lithographs printed on the FAG Offset Press over three and half days to arrive at two BAT states by the end of the residency. It was a wild three days of drawing, laying touche washes and making quick decisions. 

I prepared as much as possible for an artist who works spontaneously to mark-making once the first colour is laid on the paper. I had clear ideas about the colours and tones I wanted to achieve. My limited knowledge of colour and lithography resulted in reverting to my reactive method of colour choice and mark-making.

I reacted to bold colours the same way as my first residency, confusing the experienced printer with what direction I was heading in. I realised I was no longer certain of my colour choices and chose a safe colour palate with which I was familiar. We only printed one version of the print, with the second colour being a bold red, and in hindsight, it was a banger. I'll take note of this for the next opportunity that may come my way to work with professional printers to produce my work. 

Working in collaboration with a printer benefits my growth as an artist. On this occasion, I learned what a technically well-printed image looks like and my desire to push it beyond the excellent state of the printer's work to fit my aesthetic of ink sitting heavy on the image rather than beautifully integrated with multitudes of tones and subtlety. It shows my level of skills is much lower than that of the professional printers at APW. *wow, what an experience. I'm really proud of the two editions we produced in collaboration. 

The images I'm showing are the touche washes and line drawings of six plates. I'm not sharing the BAT or trial proofs as the image has not yet been published by the APW.

I worked on the two sets of prints simultaneously. They can be read as single prints or a diptych.

Jo Lankester - Fundraising for the Australian Print Workshop

Impressions 2018 - APW

Supporting the fundraising efforts of the Australian Print Workshop is something I take pleasure in. Being a part of the biennial fundraising exhibition Impressions is a great feeling and something I look forward to. Working small is a challenge but I always manage to create something I'm happy with. I have been invited to contribute a print to the fundraising event over the past few years.

Impressions 2018 was a record-breaking fundraising success for APW. There were 182 artists from around Australia, over 750 prints were sold during the exhibition, and 27 editions fully sold out.

The money raised will enable the APW to continue to offer access to the APW's printmaking facilities at affordable rates.

This is the print that I contributed to Impression 2018.

Jo Lankester, Cortex - Wulguru, 2018

The pictures I make explore ideas of aesthetics, experience, and elements of the landscape; colour, line, texture, and form. My work is inspired by the unique combination of the regions’ dry and wet tropical landscape extending west of Townsville to Charters Towers, Magnetic Island, and as far North as Weipa.

SOLD OUT

Click here to purchase your copy through APW

Jo Lankester PCA Print Commission 2018

PCA Print Commission 2018

Cortex – Balding Bay Walking Track

A highlight in 2018 was to be shortlisted for the Print Council of Australia’s Print Commission.

The Print Commission is held annually and is one of the key programs run by the Print Council of Australia Inc. (PCA). Every year the PCA sends out a Call for Artists and receives applications from printmakers around Australia and New Zealand for the Commission program. 

The program has been running in one form or another since 1967.  Canson Australia is the major sponsor of the program. The Print Commission is a major fundraiser for the PCA and prints from the commission are offered to subscribers at very reasonable prices to ensure the ongoing success of the program. As a not-for-profit organisation the PCA relies on membership fees and its fundraising programs for its survival. 

Since the 1960s the commissioning process has evolved so that independent artists, curators and academics are now appointed to assist and judge the selection process. Having kept one print from each edition since 1967, and two prints from each edition since 1990, the PCA’s Print Collection Archive reflects the depth and diversity of Australian printmaking from the 1960s to today. As such the collection is of national significance.

I'm proud to report my print Cortex – Balding Bay Walking Track is held in the following collections as well as private collections.

Print Council of Australia Archive

State Library of Victoria

Canson

Camberwell Grammar School

Artspace Mackay

Shelford Girls Grammar

Westbourne Grammar

Presbyterian Ladies College

Toowoomba Regional Art Gallery

Wagga Wagga Art Gallery

Grafton Regional Gallery

Lake Macquarie Art Gallery

City of Yarra

Artwork Details 

Jo Lankester

Born 1972, Vic. Now lives in QLD.

Cortex – Balding Bay Walking Track

Five colour plate intaglio and relief

Edition of 35

Image and paper size: 70 x 50 cm

The pictures I make explore ideas of aesthetics, experience, and elements of the landscape; colour, line, texture, and form. My work is inspired by the unique combination of my local regions’ dry and wet tropical landscape extending west of Townsville to Charters Towers, Magnetic Island, and as far North as Weipa.

To purchase a copy of this print click here 

Review: Australian Print Triennial 2018

Australian Print Triennial 2018, Mildura

31st Oct – 4th Nov 2018

“The Australian Print Triennial is a major international art event spearheaded by The Art Vault that will bring together artists, academics, arts ambassadors and practising printmakers from Australia and overseas to engage in a celebration of art printmaking and its significance in modern Australia’s Art’s culture.” To read more of Robyn Archers forward for the event click here 

This 2018 world-class event ran over five days. The first 2.5 days comprised of Community Workshops, Artist workshops, Presentations and Demonstrations. A fabulous Meet and Greet at Stefanos Café, one of the event sponsors, kicked off one of three opening launches in venues on Deakin St, the Young Emerging Artists Exhibition, Exhibition by La Trobe students from Mungo, and the Exhibition of Indigenous works. Congratulation to all the artists who had prints showing in these exhibitions including Hannah Caprice, Lauren Carter, Annalise Mayer, and Olivia Wilson who’s work I thoroughly enjoyed hanging in the Young Emerging Artists Exhibition.

Olivia Wilson, Lauren Carter, Annalise Mayer Young Emerging Artists Exhibition

Hannah Caprice at the Young Emerging Artists Exhibition. Photo sourced from Instagram hannah.capice

I attended a Mokulito workshop facilitated by Barbie Kjar along with other printmaking friends, Catherine Pilgrim, Julie Holmes, and Cat Rogers to name a few. It was a lovely introduction to the APT and a great opportunity to get to know other APT registrants. I found the Mokulito process to be very immediate, we used a drawing approach to mark making and had our plates prepped, drawn and gummed within a 3hr session. The printing went well for everyone on day two, each creating a small edition of three prints. I’m looking forward to spending more time exploring this process in my studio, I can see how the immediacy of the process will compliment my printmaking practice.

Drawing along the Murray River

Julie Holmes, Barbie Kjar & Catherine Pilgrim - Mokulito Workshop

Mokulito Prints

From midday Friday 2nd of Nov – midday Sunday 4th Nov the events were held at the Mildura Arts Centre (MAC) except for the Triennial Dinner, an exquisite dining experience held at Ampelon Gardens, featuring local foods and wines accompanied by singer Nicky Crayson and her group.

A highlight, among many, was the Opening Keynote by Robyn Archer AO, singer, writer, Artistic Director and public advocate for the arts - The Tenth Mildura Art Vault Address: Do We Care About Craft? Robyn spoke with such passion that I was left feeling inspired, and in total awe of this incredible woman, not to mention that I was covered in goose bumps. To read Robyn Archer’s Opening Keynote click here 

It was lovely to see Ron McBurnie up on the stage flying the flag for Townsville printmakers. He gave a short presentation on The Process (psychological and physical) that he goes through to making his prints, and he also took part in numerous discussion panels throughout the whole event.

Ron McBurnie, Mark Dustin, Michael Kempson, Emeritus Professor Sasha Grishin, Wendy Murray, Jazmina Cininas & Simon Cooper

The Australian Print Triennial Prize winners were announced by the judges, Emeritus Professor Sasha Grishin and Akky van Ogtrop President of the Print Council of Australia. Congratulations to all the entrants and prize winners!    Click here to read of the winners.

Center Print: Janet Parker-Smith

Wendy Murray, Joshua Season, and Rona Green gave engaging, informative and humorous short talks on How do you get seen as a printmaker? I particularly loved Wendy Murray’s subliminal marketing campaign to be seen throughout the event, she handed out stickers that fitted into the back of our lanyard name tags hanging around our necks. Either due to the weight or its size, all our lanyard tags were facing backward with her sticker shinning through. Brilliant! Rona Green generously gave out packs of goodies during her talk containing book marks, temporary tattoos, badges, fridge magnets and a catalogue, including an arsenal of easy to do marketing tips for all printmaking artists.

Press Gang Original Reproductions Handbook, Wendy Murray sticker, and Rona Green Tats and Benigo Art Gallery touring exhibition catalogue

The event closed with the Long Lunch on the banks of the Murray River with food by Steffano de Pieri and Ryan Casey, this was for all the registrants, VIP guests, volunteers and event partners. In addition, we were entertained by a band called the Press Gang and found ourselves laughing uncontrollably and singing along with the band to humorous and witty parodies written by Jazmina Cininas to well know rock songs. The Press Gang gave out hand stitched limited edition of 40 original lyrics handbooks to sing along to. The Press Gang comprised of Adrian Kellett on drums, Julie Forrester on vocals, Martin King on lead guitar and vocals, Graeme Drendel on lead guitar and vocals, and Jazmina Cininas on vocals and wrote the original lyrics to all the songs. GOLD! You can download a pdf file of the booklet and lyrics by clicking here 

I am incredibly grateful and thankful for the amazing hard work by all the staff at the Art Vault, the sponsors and everyone who attended. I can’t wait for the next Australian Print Triennial in 2021.

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.