This exhibition brings together three Sydney-based female printmakers who are drawn to exploration of shadow and light in their works on paper. Katika Schultz, Isabella Kennedy and Charlotte Fetherston consider the shadow as its own entity, working with its ability to construct illusion and visual play, as well as the personal and psychological introspection of the self. Various print mediums are employed including etching, collage, woodcut and watercolour monoprints.
Join Katika, Charlotte and Isabella for a free printmaking demonstration on the Tiliqua Tiliqua etching press. Using mediums ranging from Etching, Monotype, Eucalyptus transfer and Woodcut, each artist will take you through the steps of inking up and printing their plates. Then you can have a turn with some origami hand printing and take home your own little creation.
ABOUT THE ARTISTS
Katika Schultz incorporates elements from her surroundings like fallen bark and considers negative space between the objects that surround her and the shadows cast in daily life. Redrawing their shapes and using multiple textured materials, the artist turns them into abstracted landscapes, shrines and motifs in monoprint form. This abstraction of the personal is playful and light, allowing heavy states of mood to shift and the ability to see daily life in a whimsical state of flux.
Charlotte Fetherston explores how architectural spaces both literal and of the mind relate to direct and diffused light. To the artist, the play of light in our surroundings evokes a sense of nostalgia, and aiming to capture this personal and often fleeting sensation visually is the motivation behind much of her work. Charlotte’s recent works are explorations into multi-plate printing and collage to create secondary, ambiguous architectural spaces with an element of shadow and memory. The viewer’s eye tries to make sense of each image individually, but must settle on one complex, variegated, composition.
Drawing from a constellation of photographic languages, Isabella Kennedy explores shifting registers of motion through the motif of falling, to consider processes of perception and spatial relationships. We fall together, in love, apart and out of touch – falling is at its heart a relational dialogue. Contrasting strategies of suspension and inversion resist traditional spatial trajectories, while porous and interwoven surfaces seek to activate a sense of haptic, embodied visuality. Dialectical tensions of presence and absence, movement and stasis, separation and interdependence echo through the work, as boundaries soften and edges of the self blur.