My printmaking practice has always been more experimental than disciplined. I enjoy combining the more traditional techniques of collagraph with fabric printing, lino over monoprinting and relief printing with stenciling. I've always been interested in constructing collagraphs, starting by gluing pressed plants onto cardboard plates and then printing them using intaglio, but now I’m working more with multiplate and viscosity printing. I'm yet to successfully edition a reduction print! When I don't have to be too serious, I explore my love of designing repeat lino prints for fabric using shaped blocks.
Simone Hale started learning to print with Black Gully Printmakers in 2014. Initially as an attempt to find an illustration style that would improve her ability to illustrate narrative, printmaking has opened her eyes to a huge range of techniques to explore as an artist. She values the support of a group environment and is constantly inspired by the other printmakers to keep discovering and learning.
Lizzie Horne is a foundation member of the Black Gully Printmakers and the inaugural winner of the Helen Dangar Memorial Art Bursary, with which she travelled to Florence to further her printmaking studies in 2018. This project was further assisted by a Quick Response Grant provided by Regional Arts NSW through the Regional Arts Fund, an Australian Government initiative supporting the arts in regional, remote and very remote Australia.
Lizzie has exhibited her intaglio and relief prints at galleries including NERAM, the Brisbane Institute of Art, Impress Printmakers Gallery in Brisbane, the Uralla Print Gallery, Gallery 126 in Armidale, and has had works selected for the Inkmasters 2018 and 2016 Print Exhibitions in Cairns and the 2018 Stanthorpe Art Prize exhibition. She will also have two works in Sydney Contemporary at Carriageworks in Sydney in September, with the Impress Printmakers.
Lizzie holds regular classes and workshops in linocut and drypoint etching at her home studio in Armidale, and in the Museum of Printing.
The road over the mountains
2 plate etching with aquatint and à la poupée.
First shown at NERAM in the “Kangaroos in my blood” group exhibition, this etching is a finalist in the 2018 Stanthorpe Art Prize.
Look! A wombat!
Dry point etching with debossing.
First exhibited at NERAM in the group show “If you go down to the woods,” this print has been selected for the Inkmasters 2018 Print Exhibition and Awards.
Ex Libris Lizzie Horne
This lithographic book plate was created by adapting the art work from Lizzie’s original black and white linocut “The hand that I love.”
Printed at Il Bisonte studio in Florence.
I majored in relief printing at Alexander Mackie CAE and it's always been my first love. My second is monotype, which combines drawing and printmaking. I print on paper and fabric.
My work tends to be laden with meaning so, for a little light relief, I throw the colours around from time to time on fabric using templates.
Beth Macraild O'Loughlin
My printmaking practice has always been informed with my love of analogue photography. Through a recent exposure to Letterpress the love of both has began to overlap more and more.
I like doing a variety of printing techniques, depending on the subject matter.
These include saline etching, drypoint, monotypes, linocuts and lithography (on aluminium plates). Adding letterpress to these adds another dimension which I am enjoying. I have also been making some artist books, which changes the presentation of my work.
My subject matter is mainly inspired by travel and landscape, both urban and natural.
Relief print from soft viynl. Caligo safe wash on Ho Sho paper.
Lace on lace
Etching using Charbonel oil ink on Hahnemuhle paper
Maze book made from drypoint printed with Charbonel oil ink on Stonehenge paper
Letterpress on acrylic painted background, on Arches watercolour paper.
I am a printer, and have been printing since my early twenties. In 1980 /81 I trained in fabric design and have printed in some form since then.
Fabric printing was my first love and I only started printing on paper in 2003 when I attended a MacGregor Summer school. This was followed up when I moved to Armidale and had access to a press through NERAM Packsaddle classes with Jonathon Larsen. I use screen printing, lino block printing, etching and mono type printing. Colour is a number one motivation for any work and layering of colour, pattern and image is how the works are created.
I always plan what I’m going to print but follow the process intuitively which sometimes means it turns out completely differently, and I love the flexibility of this approach.