Spacecraft ✿ A future from what remains-Stewart Russell at Spacecraft recovers robust colours from the debris of human activity, envisaging a sustainable future.
Fresh and salt waters meet in black and white-Claire Grant writes about Brian Robinson and Tamika Grant-Iramu of Zenadth Kes (Torres Strait Islands) heritage, who unite their practices in a confluence of freshwater and saltwater country for the dual exhibition A Carved Landscape: Stories of Connection and Culture.
The ladybird garden of Chen Ping-Jan Hogan writes about a Tasmanian printmaker of Chinese origin whose work expresses a universal idiom of flowers.
An ink route from Oaxaca city to Phnom Penh 🇲🇽-Fernando Aceves writes about the collective energy of printmaking in Oaxaca, which has reached out to Cambodia to help a devastated country recover its artistic capacity.
Warp & Weft – a selection of textile-ish NZ artists-Garland was launched in Ōtautahi Christchurch with the exhibition Warp & Weft, which featured extraordinary textile-related works from artists in Aotearoa New Zealand. We'd like to share a selection of those works with you.
Waterfall in a box-Scientific illustrator Rhyll Plant and bookbinder Ann Baxter collaborated to produce a concertina print in a box depicting a Japanese-inspired scene of fish descending in water.
Balnhdnhurr: a mark for others to follow-Will Stubbs and Annie Studd present Balnhdhurr, a survey of printmaking in the Yirrkala Print Space, at the Buku-Larrŋgay Mulka Art Centre.
Workshops of the World: Editions Tremblay-As part of our quest to go behind the scenes, we asked Theo Tremblay to list the ten most important rules in running in printmaking workshop. Editions Tremblay Print Workshop is located in Canopy Arts, Cairns, and collaborates with major artists in North Queensland.
Making marks on paper in the tropics-Sonja Anderson enters the world of InkFest, a biennial celebration of printmaking in Cairns. She ponders on the seemingly inescapable drive, the one that compels artists to make marks on paper.