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Positioned within the fine arts practice of printmaking, The Printer’s Grey is an investigation of the liminal, in-between processes of printmaking in terms of alchemy and ritual through the figure of the printmaker. In drawing attention to the in-between processes during the act of making I assert both its instrumental role in the creation of the print as well as the importance of the process as a site of thinking through the visual. The Printer’s Grey is therefore a remediation and reaffirmation of the aura of the printed artwork by drawing attention to the labour, skill and complex thinking processes vested in the making of a print as an autonomous creative act.  In this cathedral and laboratory of printmaking, both as sites of homage to and inquiry of the discipline, it is the act of journeying between moments of contemplation, as well as the interconnectedness of individual experiences, which underpins the thinking process of the project.

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Not Yet, Maybe Never

White apron with gold embroidery and video installation

85 x 134cm

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Working

Plaster cast leather roller, paper and wooden tipping table

73 x 58 x 120cm

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Uniform

Black aprons with grey embroidery

Edition of 10 85 x 134 each

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Offering I

Etching installation (copper basin, burette, retort stand and Dutch Mordant)

58 x 58 x 135cm

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The Viewing Room

Print Cabinet and Erased Chalk Boards

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Exposition of Etching

Digital print on Inova Edition of 5

72 x 44cm

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Exposition of Lithography

Digital print on Inova Edition of 5

72 x 44cm

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Exposition of Photolithography

Digital print on Inova Edition of 5

72 x 44cm

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Offering II

Monotype, pencil and red oxide on Fabriano

89 x 60.5cm

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Procedure I and II

Monotype, pencil and red oxide on Fabriano

96 x 63.5cm

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Mordant and Metal I-VI and Notations I-VI

Oxidised Copper Prints on Arches and Moleskine Chine-Collé on Arches 

Solander box of 10 prints 42 x 40cm each

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The Permanence of Chalk I-III

Chalk lithograph on Arches

63 x 56cm each