The past few years have seen an emergence of printmakers motivated by moving-image technology to use print as performative creative practice; in film and animation, as installation and in various processes of thinking and production. Notions of movement and change that could be said to identify much of our contemporary world reflect the interests of a number of printmakers who utilize printmaking characteristics of multiplicity and reproduction by integrating the digital and the handmade within the moving-image. There seems to be a restlessness by some artists who wish to explore an unbounded, experimental approach to printmaking; perhaps it is a natural progression for printmakers to relate their processes of thinking and production to concepts of frame-by-frame production – to additive and subtractive methods, multiple imagery and the reproduced or copy. But what happens when printmaking that has entered the realm of multimedia technology returns to the physical, material print? This paper presents and discusses printmaking as moving image, and in particular the practice of printmaking that utilizes the copy and multiplicity while exploiting qualities of change through, for example, organic non-archival materials. Drawing from my own print projects and practice as well as the work of other Australian printmakers, the paper asks: can the physical print convincingly perform, not only represent, movement and change as analog experience through its materiality, and how is it to be valued within printmaking conventions concerned with longevity and permanence?
展开▼
