The profile of Mount Kembla features regularly in some of my landscape drawings. Last weekend I saw it from a different perspective, up close and reversed. Liz Jeneid’s eclectic studio where we had a hands-on workshop on waterless lithography, is nestled comfortably into the mountain.
Julie Krone, whose work I had seen in an exhibition at Wollongong Gallery some years ago had stuck with me and when I saw she was running the class, I thought it would be interesting to see how she works and the technique. She was fresh from an Argentinian Ace Residency and keen to pass on the intricacies learned from her investigations and experience with other artists.
Unlike stone based lithography, this method uses everything from silicon, acetone, brake fluid, photo-sensitive plates to print press. Julie was generous with sharing her knowledge and excited by new marks made in different ways. It was learning experience for us all.
After completing our drawings and eventually a range of prints, it was obvious that although it was a technical process, individual sensitivities came through from the particpants.
Julie rocking the image in developer
For myself, I had made two plates, one more successful than the other, but it was the investigation of mark-making through both drawing and printing on transparent papers that has led me to go back to Rauschenberg for some more inspiration. Starting on a large drawing on Monday, I’m keen to scratch, transfer and rub, a little like Liz’s chooks and horses roaming the hillside. A fabulous shared lunch debating the value of arts education, topped off a wonderfully indulgent weekend.
Taking off the silicon
The siliconed plate ready for ink