Printmaking is alive and well, and thriving, at London’s Jerwood Space. Surface Noise is a new exhibition in the Jerwood Encounters series, curated by Gill Saunders & John MacKechnie, and featuring the work of seven artists: Claire Barclay, Claire Bayliss, Carolyn Bunt, Dorothy Cross, Michael Fullerton, Janne Malmros and Scott Myles.
Artist’s whose practice is predominantly drawing, like mine, sometimes approach printmaking with a feeling of missing the actual mark of the artist’s hand, and a vague notion of the printmaker being somehow detached from their subject due to the nature of the process. However, not only was this not the case but Gill Saunders’s catalogue essay actually addresses the question of how print is often discriminated against due to the ‘ongoing confusion between those vexed categories, ‘original’ and ‘reproduction’; finally concluding that it ‘is now embedded in contemporary fine art practice’, continues to thrive’ and ‘defies definition.’ This was helpful in setting recent print-making history and debate in context.
In fact, rather mischievously, Surface Noise showed how the artist’s hand can be present in many different and unexpected ways as the viewer discovered prints that had been physically cut in to [Janne Malmros]; prints that had been hand-pasted onto the wall like billboard posters [Michael Fullerton]; and even a series of prints [Dororthy Cross] that featured a pair of entwined hands at the heart of them.
Read more of Annabel Tilley's review by clicking on the image