The Mind Creative March 2014
TMC: You are a specialist printmaker and also work with etchings, linocuts
and woodblock printing. Does this involve more complex work and
processing as compared to, say, traditional water colour and oil painting?
ANGUS: Making an etching is a fairly technical art process that requires
a complex work process and substantial equipment to complete. Etching
is quite an old and traditional art form but the fairly elaborate process that
this encompasses, is more of an inspiration to me than a hindrance. I very
much enjoy the technical and physical side of etching and printmaking and
find when making an image I can often be driven on through particular
processes as well as just subject matter. Since printmaking needs a large,
specialized studio or permanent printing press and also sometimes entails
the use of fairly dangerous and toxic chemicals, I find myself commonly
reliant on hiring spaces and equipment to practice my art, which can be
frustrating.
TMC: In what way are you involved
with the Aboriginal communities in
Australia?Have
you
had
any
difficulties in getting artists from
these communities involved in
modern techniques, given that they
have fewer resources?
ANGUS: For the past few years I
have been making regular trips to
the remote indigenous community
of Titjikala in Australia’s Northern
Territory. During these visits I spend
time running printmaking workshops
with local artists as well as helping
them to edition prints for subsequent
sale. While I spend most of my time at the art centre working as a
printmaker, I also try to help initiate other artistic projects such as
community murals and exhibitions. The artists, who are mostly primarily
painters and sculptors, enjoy etching and printmaking and it seems to
provide a nice variety to their practice. Since the art centre is certainly not
limited in terms of equipment and supplies, it is my hope that through
instruction, practice and enjoyment, printmaking will become a permanent
medium commonly used at all year round.
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