Series: Notable commentary on common species of the rocky seashore of Eastern warm temperate biogeographic zone of Australia - Photo etching 2009
At the end of my first year BFA undergraduate studies, my fellow students and I put on a photographic exhibition. We managed to get a few hundred dollars sponsorship, borrowed frames from a local photographer, and mustered up the tools and equipment to install the works. When our shoestring budget did not allow us to produce glossy colour flyers and posters, we turned to the university’s printmaking room to make monographs onto photocopies.
Printmaking is one of the fundamental skills taught in art schools and universities. For a student, the tangibility and immediacy of the craft provide solid steps along a steep learning curve; whilst the tactility of the labour and its methodological processes remain very gratifying.
Engaging with more nascent technologies creates a curiosity for their possible origins, precursors and other evolved forms that open up our vista to alternative present and futures. In many fields that involve image-making, the euphoric embrace of digital technologies is met with an equally passionate inquisitiveness for analogue machines and processes.
Having moved between photography, film, video and newer media forms in my practice, I have recently returned to printmaking as an avenue to explore the image in the context of its reproductive technologies. It is my intention to integrate my photo-etching experiments with my time-based and installation works. One of the aims is to re-discover in the hybridity of modern experience the tactile qualities of the analogue.
Copyright Jo Law.