Penang Int_ Print2007

8/7/2019 Penang Int_ Print2007

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Penang International Art Festival 2007

Rentas SempadanInternational Print Exhibition

Balai Seni Lukis Pulau Pinang3 - 31 July 2007


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Rentas Sempadan/ Border Crossing

An International Print Exhibition

Published byPenang State Museum & Art Gallery

Ground Floor, Dewan Sri PinangLight Street, 10200 Penang,MalaysiaTel/Fax 604-261 3144Email:[email protected]

CuratorA.Rahman Mohamed

Copyright 2007 Penang State Museum & Art Gallery

No part of this publication may be reproduced or transmittedor published in any form or by any means,electronic ormechanical, including photocopy, recording, or any informationstorage and retrieval system,without permission in writing fromthe copyright owner


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Kata Aluan Pengerusi Balai Seni Lukis Pulau Pinang

Lembaga Muzium dan Balai Seni Lukis Pulau Pinang dengankerjasama Majlis Tindak an Pe lancong an Ne geri Pulau Pinangdengan bangganya mempersembahkan Pameran Rentas Sempadanyang merupakan pameran seni cetak antarabangsa dalam siriPenang International Art Festival 2007.

Sesuai dengan semangat Tahun Melawat Malaysia 2007, satupameran yang bercorak antarabangsa begini diharap dapat

memperkenalkan Pulau Pinang di mata dunia. Saya difahamkanseramai 59 pelukis dari dua puluh buah negara mengambilbahagian dalam pameran ini. Setidak-tidaknya pelukis-pelukis iniakan sedar bahawa karya mereka kini dipamerkan di sebuah negeriyang bernama Pulau Pinang di Malaysia. Kalau tidak sempatmelawat Malaysia pun, tentulah mereka akan mula melayariinternet untuk mengetahui serba sedikit tentang negeri ini.

Bagi penduduk-penduduk Pulau Pinang pula, pameran inimerupakan kesempatan bagi mereka untuk menjelajah ke seluruhpelusuk dunia dengan menikmati karya-karya yang didatangkandari 20 buah negara ini.

Bagi pencinta seni khususnya, inilah peluang untuk menatap 90buah karya seni cetak yang bukan sahaja pelbagai dari segi bahandan tekniknya malah juga mempamerkan inspirasi, pemikiran danpengolahan idea yang beragam. Ini tentunya berkait rapat denganbudaya dan persekitaran dari negara mana datangnya karya-karyatersebut.

Saya mengambil kesempatan ini untuk mengucapkan tahniah kepa-da semua pelukis yang terlibat dalam pameran yang hebat ini.

Dato Tang Hon YinPengerusiBalai Seni Lukis Pulau Pinang


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Seni Cetak merupakan satu medium seni visual yang amatdemokratik. Sifat karya itu sendiri yang mempunyai gandaan mem-bolehkan ianya ditunjukkan dan dipamerkan di beberapa tempatdalam satu masa yang serentak. Begitu juga dengan sifat mudalih-nya memungkinkan karya itu dihantar dan bergerak dari satu desti-nasi ke destinasi lain yang biasanya merentasi berbagai sempadangeografi. Sifat sebegini menjadikan seni cetak ini satu medium yangboleh dan telah menjalinkan satu komunikasi di peringkat antara

bangsa.

Ini memang sepadanan dan kembali semula kepada asal usulciptaan cetakan itu sendiri yang merupakan satu usaha untukmemerdekakan komunikasi visual supaya ia boleh dikecapi olehmasyarakat massa. Inovasi cetakan serta pembuatan kertas dinegeri China sekitar kurun ke 6 dan kemudiannya perkembangancetakan di Eropah dalam abad ke 15 semuanya telah menyebabkansatu revolusi. Bahan bercetak banyak diterbitkan, mudah diagihdan diedar seluas-luasnya ke seluruh pelusuk dunia.

Rentas Sempadan meghidangan sejumlah 90 karya oleh 58

seniman dari 20 buah negara. Pameran ini menghimpunkan sejum-lah karya yang besar bilangannya serta diwakili oleh seniman darisegenap penjuru dunia. Secara lahiriahnya karya-karya yang dapatditonton dalam pameran ini sememangnya telah menepati temaatau tajuk pameran kali ini " Rentas Sempadan". Kesemua karyayang terpamer kali ini telah menempuhi dan melampaui batas sem-padan geografi. Kebanyakan karya dari luar negara telahdidatangkan ke sini sama ada melalui pos atau perkhidmatan kuri-er yang pastinya telah merentasi sempadan. Manakala karya seni-man tempatan juga bukan sahaja telah merentasi sempadan daerahdan negeri tetapi telah juga dibawa menjelajah ke pameran di luarnegara termasuk International Print Exhibition yang berlangsungdi Hatyai Art Gallery, Thailand baru-baru ini.

II.Perubahan dan kemajuan dalam teknologi cetakan sentiasa mem-beri inspirasi dan membuatkan seniman teruja untuk melakukancubaan dan penerokaan bahan. Secara tradisinya seniman cetakmenggunakan teknologi cetak yang telah ditinggalkan oleh industri

RentasSempadan


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cetakan komersial seperti cetakan kayu, gurisan asid, litografi danletterpress, ini mungkin kerana terdapatnya limpahan alat danbahan yang tidak lagi digunakan oleh industri. Tetapi dalam beber-apa kemajuan teknologi percetakan yang mudah diperolehi seni-man, penggunaannya didapati seiring dengan penemuan teknologicetakan itu sendiri. Hal ini didapati benar bagi cetakan sutera sar-ing pada awalnya. Kerana sifatnya yang mudah dan relatif murah,teknologi tersebut segera dimanfaatkan oleh seniman tanpamenunggu lebih lama lagi, sehinggakan dunia seni lukis sendiriyang tergamam dan teragak-agak untuk menerima hasilnya sebagaimempunyai nilai karya seni atau tidak berbanding medium ter-

dahulu seperti gurisan (etching) dan cetakan kayu yang telah diter-ima dengan selesa. Awal daripada itu, tidak ketinggalan dicemburuipenerimaanya sebagai karya seni adalah karya-karya yangdihasilkan dengan proses cetakan litografi. Perdebatan demi perde-batan berlaku sehinggalah hasil karya kedua-dua proses tersebutditerima sebagai karya seni.

Sejak tahun lapan puluhan pula datang lagi satu arus gelombangyang melanda teknologi percetakan komersial. Munculnya ledakanpengkomputeran dan teknologi digital. Gelombang ini benar-benarmemberi kesan yang besar terhadap teknologi percetakan. Cetakanbukan lagi menjadi satu bidang yang dikawal secara ekslusif olehpedagang khusus dalam bidang tersebut. Cetakan telah benar-benar menjadi demokratik. Sesiapa saja boleh memiliki mesinpencetak. Percetakan telah menjadi satu perkara biasa dan tidaklagi dilindungi dengan segala macam misteri. Generasi baru yangada sekarang tidak memandang cetakan sebagai satu perkara yangasaing lagi. Walau pun pada awal ledakan komputer dan digital,ada yang menjangkakan bahawa ledakan itu akan menyebabkanterkuburnya percetakan, dunia kan menjadi dunia tanpa kertas(paperless), tetapi jangkaan tersebut meleset. Malah percetakansemakin menjadi segar dengan suntikan pengkomputeran tersebut.

Pengunaan teknologi digital bukan lagi digunakan sebagai alatmembantu untuk menghasilkan imej, tetapi kini ianya telah menja-

di medium penghasilan imej. Teknologi digital bukan lagi sebagaialat tetapi juga sebagai medium. Cemburu masyarakat seni ter-hadap teknologi digital masih tebal. Ada kalangan yang telah lamamengamalkan cara-cara tradisional terus mempertahankan bidangseni halus dari dicerobohi oleh cetakan digital, namun ada di antaramereka yang menerima kemasukan teknologi baru ini asal sajaianya digabungkan dengan medium-medium terdahulu yang telah


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dapat diterima dengan selesa. Tidak kurang juga golongan yangsedia menerima cetak digital seadanya sebagai karya seni. Di mana-mana forum pun isu ini masih popular dan sering menjadi topikperbincangan.

Kelpelbagaian teknik dalam seni cetak ada kalanya telah menye-babkan seniman menjadi terpisah atas kelainan medium yang dia-malkan. Terdapat banyak juga persatuan dan pertubuhan yangkeahliannya hanya terbuka kepada pengamal satu-satu jenis atauteknik cetakan sahaja. Kalau persatuan pencetak setakan kayu,maka hanya pencetak cetakan kayu sahajalah yang boleh mengang-

gotainya. Begitu juga dengan lain-lain medium cetakan. Tidakkurang pula pameran dan pertandingan yang terkhusus kepadasatu-satu medium cetakan sahaja dengan memencilkan mediumcetakan lain.

Berbeza pula dalam satu wadah yang lain, kelpelbagaian dalammedium cetakan dan keterbukaan penerimaan dalam eksperimen-tasi dan penerokaan berani menyeberangi garisan telah menye-babkan terhasilnya karya-karya yang terkeluar dari biasaan. Karya-karya yang sebegini agak payah untuk masukkan ke dalam agihan-agihan sempadan sempit seni cetak tradisional. Karya-karya yangbersifat merentas sempadan ini juga perlu dibawa ke satu pelantaryang lebih terbuka. Pameran ini merupakan salah satu dari pelan-tar tersebut.

III

Pada pameran kali ini kurator telah membuka sempadan seberapaluas yang boleh, membenarkan sempadan-sempadan direntassesuai dengan wawasan globalisasi. Bukan sahaja dengan pem-bukaan sempadan negara dan geografi yang dibuktikan denganpenyertaan karya-karya dari 20 buah negara, malah yang lebihpenting lagi ialah terbukanya sempadan penerimaan karya sebagaikarya seni cetak. Pameran ini menghimpunkan karya-karya yang

datangnya dari pelbagai teknik dan bahan. Dari teknik dan bahanyang sedia diterima sebagai karya cetakan sehinggalah karya-karyayang terhasil dari medium hybrid, juga lain-lain medium yangmasih samar batasannya. Memang sudah menjadi kemestian bilamembicarakan karya seni cetak, perkara yang disentuh tentunyateknik dan medium disamping hal benda yang diutarakan olehpelukis. Rencana ini juga tidak lari dari hal yang sedemikian.


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Endi Poskovic, memanfaatkan kerjatangan yang halus dan telitimelalui karya karya cetakan kayu beliau. Dengan penggunaanteknologi rendah, beliau menghasilakn karya grafik yang memukaudan tidak kurang menghiburkan. Begitu juga degan karya cetakankayu dengan warna berasaskan air cara Jepun oleh pelukis HarukaFurusaka menerusi karya beliau, Intuition. Fauzan Omar pulamemanfaatkan cetakan lino berwarna dalam karya-karya dari siriDiversity and Unity. Begitu juga dengan karya berebagai teknikcetakan relif yang asas dan mudah telah dimanfaatkan oleh pelukisbagi menghasilkan karya-karya yang segar dan memukau.

Mengketengahkan gambaran kehidupan harian suri rumah,Wednesday Face, karya Heli Kurunsaari menonjolkan mediumcetakan kayu berwarna dengan teknik luakan.

Tentunya teknik-teknik tradisional yang telah lama diamalkanmasih dianuti dan dipraktikkan oleh seniman di dalam pamerankali ini. Cetakan gurisan merupakan teknik yang amat popular danterus oleh beberapa seniman pada kali ini. Loo Foh Sang dan RitaMarhaug masih kukuh dengan cetakan gurisan. Walaupun meng-gunakan teknik asas yang sama, terdapat dua pola yang berlainanantara mereka. Loo Foh Sang dalam karyanya, Sunset Series :Festival Dance, begitu ashyik memanipulasikan platnya dengangurisan garis serta lapisan-lapisan tona yang terhasil dari titik-titikhalus aquatint. Manakala Rita Marhaung pula menggunakan ban-tuan fotografi dan komputer bagi menghasilkan plat, yang kemudi-annya masih dicetak dengan cetakan gurisan secara tradisional itu.Sarah Edmonds juga masih menggunakan teknik intaglio yang pel-bagai pada cetakan beliau yang bertajuk Lucerna - Beheading ofSt.Denis. Beliau memanfaatkan cetakan timbul, gurisan kering dancetakan viscocity yang dicetak di atas kertas buatan tangan. BagiBill Horsterman, dalam karya beliau, Emission, beliau menggu-nakan gurisan garis serta aquatint tetapi mencetak platnya dengancara menggabungkan cetakan intaglio serta juga cetakan relif.Emily Wilson lewat karya beliau Greed or Need, seniman CereseVadent melalui karyanya Western Pivot, Koichi Yamamoto dengan

karya beliau Site Untouched, semuanya terus memanfaatkan ruangpengolahan yang luas yang diberikan oleh medium gurisan. Begituramai seniman dalam pameran ini yang mengambil kesempatanpada medium gurisan yang tiada batasan dan kekangan ini.Seniman-seniman Katarzyna Cepek, Lidija Antanasujevic, OscarJay Gillespie, Rahman Mohamed, Heather Muise, dan SaekoFurukata semuanya begitu selesa dengan karya-karya yang dihasi-


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lakn dengan medium gurisan. Enrique Leal dalam karyanyaEnfoldment memanipulasi teknik aquatint sehingga menghasilkankarya yang bersinar, seolah-olah terpancar cahaya dari dalamnya.

Seni cetak litografi berjaya memikat ramai seniman untuk mencu-ba dan terus menggunakannya sebagai medium ekspresi mereka.Ini adalah kerana sifat medium tersebut yang begitu hampir den-gan medium-medium tradisional yang sering digunakan olehpelukis. Penghasilan imej pada plat batu mahupun plat logam laindibuat dengan secara spontan samada dengan cara sapuan berus,penggunaan pensel litografi ataupun konte crayon. Kesemua alat

perlukisan pada plat tersebut memang amat serupa dengan perala-tan dan bahan yang sering digunakan pelukis. Ini menyebabkanramai pelukis yang tertarik dan selesa untuk menghasilkan imejpada plet litografi. Proses-proses teknikal selepas penghasilan imejatas plet itu sahaja yang rumit dan memyebabkan tidak ramai penc-etak ingin menceburi atau berpeluang menceburi cetakan mediumlitografi ini. Usaha menghidupkan semuala serta mempopularkancetakan litografi dilakukan pada tahun 60an melalui TamarindLithography Workshop di Los Angeles Amerika Syarikat.

Paul Schumann lewat karya beliau Drawing vs Painting benar-benar melihat dan meneliti kemungkinan-kemungkinan mediumlitografi yang boleh memindahkan lukisan dan lakaran dan tidaksedikit pun kurangnya kebolehan medium ini menghasilkan visualyang menyerupai catan. Manee Meemak seorang lagi pengkaryayang menggunakan medium litografi, memilh penggunaan warnayang suram dengan sekali sekala diberi percikan cahaya pada karyabeliau yang bertajukFirefly. Mathew J. Egan pula menggunakanmedium offset litografi dalam menghasilkan karya yang bertajukThe Draped Divide. Litografi menggunakan plat aluminium menja-di medium pilihan oleh Naomi Hashimoto dalam karya beliauProfound. Tongchai Yukantapornpong dari Thailand pula bermaindengan garis-garis berwarna dalam karya litografi beliau bertajukOn the Edge.

Saring sutera dan serigrafi melonjak ke dalam arena seni halus biladipelopori antaranya oleh pelukis pop Andy Warhol. Satu lagimedium cetak yang sangat fleksibel, boleh dicetak pada semua jenispermukaan dengan pilihan pelbagai jenis dakwat. Beberapa pelukisdalam pameran ini memperagakan karya mereka yang dihasilkandengan medium serba boleh ini. Jamil Mohd. Isa memperagakankarya saring sutera beliau Pisang Emas Dibawa Belayar. Said Aniff


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Hossanee membawa semangat Afrika dalam karya stensil beliau,Orange Safari. Artis dari portfolio antarabangsa Emission, MyrtleClark Bremer dan Melissa Gill masing-masing menghidangkankarya serigrafi mereka bertajukCanes Venatici dan Interchange.

Cetakan monotaip dan monoprint dihasilkan oleh banyak pelukisatas sebab-sebab yang beerlainan. Cetakan monotaip sebenarnyaberbeza dengan monoprint. Cetakan monoprint punyai plat yangterukir yang boleh diulang kesan yang sama berkali-kali manakalamonotaip hanya boleh menghasilkan satu keping karya tanpa edisi.Ada pelukis yang inginkan kebebasan dan inginkan kesan yang

khusus akan menggunakan salah satu atau kedua-dua teknik dalamsatu karya mereka. Malah tidak kurang pulang yang meng-gabungkan kedua-dua teknik ini dengan lain-lain teknik yang telahdibincakna terlebih dahulu. Karya Todd Christensen, Detached andUncaring, mengabungkan pelbagai teknik termasuk cetakan copgetah. Mary Robinson melalui karya beliau Portal variation I-XXVImenggabungkan pelbagai teknik di samping monotaip dan mono-print. Lain-lain seniman yang menghasilkan cetakan monotaip danmonoprint termasuklah Mohamad Rojana, Satawat Chuaynumdam Kamol Kongthang.

Teknologi komputer dan digital menjadikan keresahan bagi berba-gai pihak dalam arena seni cetak. Satu pihak begitu resah dan tidaksanggup menjauhkan diri dari arus gelombang yang melanda lang-sung mengambil dan menggunakannya sebagai satu cara penguca-pan baru dalam karya cetakan mereka. Cetakan digital, inkjet,giclee dan pelbagai lagi telah dan sedang memasuki arena senicetak. Benjamin Vasserman yang begitu kental dengan karya-karyaetching gaya tradisionalnya kini beralih memanfaatkan teknologibaru. Karya digital beliau berjudul Diagnosis VI bersama kitadalam pameran kali ini. Steve Lovett yang memang terpukau den-gan teknologi bukan sahaja menghasilkan karya dengan menggu-nakan cetakan digital, malah hal benda yang digarap juga meru-pakan pola-pola yang terpamer pada permukaan skrin dan video.Ini dapat dilihat melalui karya beliau, Down and Up. Lain-lain

pelukis yang tangkas menggunakan medium baru ini termasuklahKathryn Reeves.

Begitu juga dengan karya xerography Chong Hip Seng. Hip Senggemar membuat lapisan pada permukaan karyanya. Karya-karyafigura dan landskap beliau sering berlatarkan taip dan teks dariakhbar, malah dari buku panduan telefon. Untuk mendapatkan


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kesan ini beliau membuat cetakan berganda dengan melalukanbahantaranya berulang kali kedalam mesin fotokopi, yang beliausamakan dengan percetakan plat berganda ( multiple plates print-ing ). Dalam menghasilkan siri karya ini, Chong Hip Seng tidak per-nah memikirkan dan memperdulikan ke dalam kategori manakahkaryanya akan diletakan, samada sebagai lukisan atau pun cetakan.Apa yang lebih penting kepada beliau ialah kesan akhir yang hanyaterserlah dengan proses yang dipilih itu.

Seni cetak sangat berkait rapat dengan penggunaan kertas.Seniman cetak begitu teliti dalam pemilihan kertas yang digunakan.

Semua sifat kertas diambil kira, dari ciri-ciri fizikalnya hinggalahkandungan kimia kertas diselidiki agar cetakan yang dihasilkanbukan sahaja cantik untuk pandangan mata malah hayatnya jugadapat dijaga. Ciri-ciri keasidan kertas sangat dititik beratkansupaya kertas yang digunakan itu akan bersifat tahan lama(archival). Dalam keadaan begini ada di antara seniman yang telahmemberi penumpuan yang lebih kepada kertas itu sendiri berband-ing proses cetakan. Dr. Chew Teng Beng merupakan salah seorangdaripada seniman dalam pameran ini yang telah mengkaji danmemberi penumpuan kepada jasad kertas itu sendiri dalam meng-hasilkan karya seni beliau. Karya-karya kertas buatan tangan beliauberada di satu dimensi yang unik. Ianya di antara karya dua dimen-si dengan karya dua dimensi. Dalam pameran ini dua karya beliaudari siri TBCGMP diperagakan. Manakala Dr. Mohamed Najib pulabermain dengan gabungan kertas yang diperbuat dari batangpisang dengan kain yang bercetak. Karya Dr. Mohamed Najib men-gadunkan unsur-unsur dan motif tradisional dengan kertas buatantangan.

Beberapa karya mungkin dianggap janggal berada dalam pameranseni cetak ini. Mungkin mendatangkan tanda tanya kepada sebaha-gian penonton nanti. Sebenarnya sengaja pemilihan dibuat bagimembolehkan terujudnya satu wacana tentang apakah sebenarnyabatasan atau sempadan yang memisahkan satu karya itu sebagaikarya cetak atau bukan.

Sebagai seorang pengarca Tengku Azahari ada kalanya berusahamenghasilkan karya-karya yang boleh diperbanyakan dengan peng-gunaan acuan. Proses penduan ini sebenarnya menghasilkan satuedisi. Satu proses yang tiada bezanya dengan penghasilan karyaseni cetak. Satu karya yang diperbanyakkan dan menhasilkan edisiyang kesemuanya adalah karya asli. Mohamad Khizal Saat menggu-


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nakan teknik cetakan yang pelbagai dan karya beliau dipersem-bahkan dalam bentuk instalasi.

Kemungkinan-kemungkinan kelainan dalam persembahan senicetak menjadi semakin luas. Mungkin untuk pameran mendatangsempadannya menjadi lebih kabur dan tipis sehingga memu-ngkinkan segala.

A.Rahman MohamedKurator Jemputan


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Crossing Borders: The Penang International Print Exhibition.

Translated from the Malay by Dr. Zakaria Ali

Print is the most versatile of the visual mediums. Because of its

multiple editions, a print can be shown at different locations simul-

taneously. It is easily transportable, a vehicle to establish communi-

cations worldwide.

Print helped the masses to communicate. The invention of paper in

the 6th century in China spreading to Europe in the 15th centuryrevolutionized the art of printmaking. Printed material could then

be distributed everywhere.

This show gathers fifty-nine international artists who produced

ninety works, all of which, overtly or otherwise, touched upon the

theme of "Border Crossings". In a sense, these artworks have liter-

ally transcended geographical boundaries. Works from overseas

reached Penang through the mail or currier services: crossing bor-

ders. Local works crossed the Thai border to the Hatyai Art Gallery,

Thailand, made a U-turn and re-entered Penang..

11.

Technological advances inspire the printmakers to try out new

things, new ideas, and new materials. Traditionally printmakers

produced woodcuts, lithography, letterpress, and etchings. One of

the early advances of printmaking is the silk screen. Silkscreen is

relatively so easy to do and cheap that the art world was initially

reluctant to accept it as an art form in the same category as the

woodcut or the etching. Lithography, on the other hand, was more

readily accepted. After extensive debates, however, the making of

silk-screens and lithographic prints gained entrance into the main-

stream.

In the 1980s, the wave of computer and digital printing hit the

shores of commercial printing. Now printmaking is no longer

under the exclusive control of printmakers. Anyone with a printing


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machine can print. Soon printmaking became commonplace,

devoid of any mystery. Younger printmakers look at printmaking

as a given. At first people thought that with digital technology the

world would turn paperless. However, printmaking has become

even more extensive with the aid of the computer.

Digital technology not only creates images but also has become the

very medium itself; the means and the medium are one. The artcommunity is still suspicious of the digitals. Entrenched practition-

ers of the traditional medium defend their territory from the

assaults of the digits; others grudgingly accept them if they bend to

suit traditional demands. Still others accept digits as an art form.

Discussions persist on whether the digits are art.

The multiple techniques in printmaking have separated the print-

makers according to mediums. Hence, numerous associations and

societies have sprung up accepting members who practice one

medium or another. The society of wood-printers caters only to the

wood-printers. Exhibitions and competitions call for artworks ofspecific medium.

Other medium encourages multiplicity of techniques and mediums.

Such works are difficult to categorize into the narrow confines of

traditional printmaking. These cross borders need to be more

exposed, as in this show.

111.

In this exhibition, the curator has widened the horizons, consistent

with the vision of globalization. The opening up of borders to print-

makers from twenty nations signals that the public is ready to

accept their print-works as art. The multiplicity of hybrid prints

delineates its own boundaries. As is often the practice, that when

we discuss printmaking we touch on the technique, medium, and

subject matter, which is what I shall do.


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Endi Poskovic shows an exquisite handy work in his woodcuts.

Using a low technology, he produces a stunning piece of work.

Equally stunning is the work of Haruka Furusaka with his

"Intuition". Fauzan Omar uses colored lino-print from the series

"Unity in Diversity". Print relieves in numerous techniques have

been produced by various artists. Depicting the mundane everyday

life in "Wednesday's Face" Heli Kurunsaari also uses the reliefwoodcut with color.

Traditional techniques are still widely used in this exhibition.

Etching still has its lure, as can be seen in the prints by Loo Foh

Sang and Rita Marhaung. The difference between these two is that

Loo Foh Sang in his "Sunset Series: Festival Dance" is absorbed in

manipulating his plates with fine tonal lines rendered by tiny drops

of aquatint. Rita Marhaung, on the other hand, uses photography

and the computer to aid her with the plate put through the press in

the traditional way. Sarah Edmonds uses multiple intaglios in her

"Lucerna - The Beheading of St. Denis", that employs relief print,dry etching, and viscosity prints on hand-made paper. In

"Emission" Bill Horsterman utilizes line etching, aquatint, and pro-

cessing his plate in intaglio and relief. Emily Wilson with

"Greed/Need", Cerese Cadent with "Western Pivot", Koichi

Yamamoto with her "Site Untouched" takes advantage of the vast

possibilities provided by etching. Other participants, too, see the

advantages of etching, including Katarzyna Cepek, Lidija

Antanasujevic, Oscar Jay Gillespie, Rahman Mohamed, Heather

Muise, and Saeki Furukata. Enrique Leal in his "Enfoldment"

manipulates the aquatint in such a way that his work seems to

shine, as though emitting light.

Lithography attracts quite a number of printmakers who staunchly

defend it as a traditional medium. The image on the stone or metal

plate is drawn with brush strokes, litho pencil or konte crayon.

Painters also use these drawing materials. It is not surprising, then,

that many painters are keen to try their hands on lithography. The


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Tamarind Lithography Workshop in Los Angles revives the dying

art of lithography in the 1960s.

Seeing the possibilities of lithography, Paul Schumann in his

"Drawing vs. Painting" transfers his drawings and sketches that

resemble an actual painting. Another lithographer Manee Meemak

in her "Firefly" uses sober color with occasional sparkles. In "The

Draped Divide" Mathew J. Egan takes advantage of the offsetlithography. Naomi Hashimoto in her "Profound" makes use of alu-

minum plate. Thailand's Tongchai Yukantapornpong plays with col-

ored lines in "Chaotic and Order".

Andy Warhol popularizes the silkscreen and serigraphy as medi-

ums. Silkscreen is very flexible which means an image is readily be

printed on whatever surfaces with whatever ink. Several artists in

his exhibition use this medium, including Jamil Mohd. Isa in his

"Pisang Emas Dibawa Belayar", Said Aniff Hossanee delivers the

African spirit in his stencil-work "Orange Safari". Myrtle Clark

Brenner and Melissa Gill present us with their serigraph works enti-tled "Canes Venatici" and "Interchange".

For different reasons many printmakers use the monotype and the

mono print. With mono print, the plate can be reprinted; with

monotype, only a single print. There are those who use both tech-

niques in a single work. Still others have used these and other tech-

niques. Todd Christensen in his "Detached and Uncaring" uses

multiple techniques, including the rubber stamp. Besides using the

monotype and the mono print, Mary Robinson in her "Portal

Variation I-XXXVI" combines other means as well. Other mono-

type and mono print practitioners include Mohamad Rojana,

Satawat Chuaynum and Kamol Kongthang.

There are those who are less than easy with the computer and the

digits. Some follow the trends by adopting them, printing using

inkjet, giclee. Benjamin Vasserman, a master etcher, moves on to

using the new technology, as can be seen in his digital work


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"Diagnosis VI", shown here. Steve Lovett is engrossed in the new

technology, using the digital print, and the video, as can be seen in

his "Down and Up". Likewise, Kathryn Reeves, too. In his xerogra-

phy work, Chong Hip Seng adds layers to the print surface, which

features figures and texts torn from the daily papers and telephone

directory. By printing in multiples, Hip Seng produces a series of

the same work, caring less whether it is a painting or a print. What

is crucial to him is the process of making.

Linked to printmaking is the use of paper. Printmakers are most

particular about the paper they use. The texture, the feel, the acid

contents go into determining how the image looks and how long the

paper will last. Some printmakers devote more time to checking on

the quality of paper than to doing the actual printing. Dr. Chew

Teng Beng is one participant who has done an extensive study on

paper. His two-dimensional work, "TBCGMP" is made of hand-

made paper. Dr. Mohamad Najib plays around with handmade

paper derived from banana trunks and cloth, printed with tradi-

tional motifs.

A few works may seem out of place, shown here to give an idea of

what constitutes a print. Sculptor Tengku Azahari often produces

pieces replicated in molds, whose numbers amount to an edition,

no different from the run-of-the-mail print, each as original as the

last. Mohamad Khizal uses multiple printings in his installation.

Printmaking permits a whole range of possibilities. In future exhi-

bitions the blurred boundaries may render divisions pointless.

A. Rahman Mohamad, Guest Curator.


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Rentas Sempadan


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RentasSempadan

Benjamin Vasserman | Diagnosis VI | Digital Print | 2006


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RentasSempadan

Chew Teng Beng, Dr. | Coralscape Series 2 | Handmade Paper | 1991


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RentasSempadan

Chong Hip Seng | Countryside #3 | Xeroxgraphy | 2006


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RentasSempadan

Dariusz Kaca | The last meeting | Colour Linocut | 2006


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RentasSempadan

Endi Poskovic | Rhino in Red Shoes | Colour Woodcut | 2004


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RentasSempadan

Fauzan Omar| Unity in Diversity | Colour Linocut | 2000/2001


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RentasSempadan

Haruka Furusaka | Intuition | Watercolour woodblock| 2006


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RentasSempadan

Kamol Kongthang | Natural Phemenon # 2 | Lino, Silkscreen, Mono | 2006


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RentasSempadan

Loo Foh Sang | Sunset Series : Festival Dance | Etching & Aquatint | 2006


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RentasSempadan

Lou Qi | 53-80- Brush | Woodcut | 2006


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RentasSempadan

Mohd Jamil Mohd Isa | Pisang Emas Dibawa Belayar | Silkscreen | 2006


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RentasSempadan

Manee Meemak| Fireflies | Lithography | 1999


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RentasSempadan

Mohammad Khizal Mohd. Saad | Dejavunik| Print Installation | 2004


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RentasSempadan

Mohamed Najib Dawa,Dr. | Fussion | Embaded Handmade Paper | 2006


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RentasSempadan

Muhammad Rojana | Flower | Monoprint | 2007


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RentasSempadan

Padungsak Panichtrakulsi | Space & Flower No.1| Silkscreen | 2007


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RentasSempadan

Rahman Mohamed | Conversation | Lithography | 2006


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RentasSempadan

Rita Marhaug | West coast 2000 Series Variation # 1 | Photobased intaglio | 2004


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RentasSempadan

Said Aniff Hossanee | Orange Safari | Silkscreen | 2001


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RentasSempadan

Satawat Chuaynum | Trace of Civilazation I | Monoprint on handmade paper | 2007


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RentasSempadan

Steve Lovett | Down and Up | Digital Print | 2006


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RentasSempadan

Tengku Azahari | Merentap Apa Terkandung Di dalam | Fiber Glass Casating | 2006


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RentasSempadan

Ying Tianqi | City Village Series # 10 | Colour Woodcut | 1989


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The twenty participants in this portfolio

were asked to contemplate and respond

to the idea that an emission by one

person, group or nation affects others

Project organized by

Mary RobinsonSouth Carolina, USA

Emission International Portfolio Exchange


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The twenty international artists

participating in the portfolio are invited

to reflect on their own interpretations of

the theme and asked to consider the

formal, artistic, personal, social and/or

political aspects of the word "edge". How

can artists integrate the edges of theprinting surface/paper to inform the

concept of the image? What does it mean

for printmaking students to be on the

verge of their professional careers?

What is the significance of globalization

and the disap pea ranc e of borders

between countries, cultures and ideas?

All participants are also encouraged to

show "On the Edge" in their respective

countries to promote contact between

cultures on a global scale.

Project organized by

Katarzyna Cepek and

Emily Wilson

Arizona, USA

On the Edge International Portfolio Exchange


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Emission Portfolio Participants

Myrtle Clark Bremer (UK), Myrtle Clark Bremer is an artist living in Portsmouth, United Kingdom.Her work has been shown in national and international exhibitions.

S a ra h E dm onds (USA), Sarah Edmonds received an MFA in printmaking from Indiana University in2003 and a BFA from Kutztown University in 1999. In addition to her formal education, Sarah has pursuedart experiences and exhibitions in the Czech Republic, Canada, Italy, the Netherlands, and throughout theU.S. Edmonds is currently teaching visual culture and foundations courses at Kutztown University.

Ka te Ferrucc i (USA), Kate Ferrucci received her undergraduate degree in printmaking from theUniversity of Notre Dame and her MFA in Graphic Design from Indiana University. In 2002 she foundedPeople to People Press. Ferrucci is the author, designer and producer of two books "Limestone Lives: Voicesfrom the Indiana Stone Belt", and "Soundings: Collected Stories from Bloomington's Music Community."She currently lives and works in Rome, Italy.

Jill Allen (USA), born 1971 in Neenah, WI, received a BFA from the University of Illinois inChampaign/Urbana, IL, and an MFA from the University of South Carolina in Columbia, SC. Allen was anArtist in Residence at the Odyssey Center for the Ceramic Arts in Asheville, NC and has shown her work inmany exhibitions across the country.,. Allen's work has been featured in the Ceramic Glaze Handbook byMark Burleson, as well as in Handbuilt Tableware by Kathy Triplett.

Melissa Gill (USA), Melissa Gill studied art at University of Arizona for her BFA degree in Printmaking.Attended graduate studies at Purdue University and Indiana University, Bloomington and received MA andMFA in Printmaking respectively. She is a member of MAPC, Southern Graphics Council, and College ArtAssociation. Her art involves many media including printmaking, drawing, painting, photography, book-making, installation, and video. She has exhibited her works in solo art show as well as group exhibitionsboth in the states and internationally. Currently, she is an Assistant Professor of Art at Rockport College,Illinois.

Lou J os eph (USA), born in 1975 in Youngstown, Ohio. Now he lives and works in Durham, NorthCarolina, USA. Received his BFA degree from Ohio Wesleyan University, Delaware, Ohio, USA, and anMFA from Indiana University, Bloomington, Indiana. He has shown his work in many exhibitions in theUSA and abroad including Italy, England, Ireland, Poland and Germany.

Bil l Hosterm an (USA), is an Assistant Professor of Art at Grand Valley State University in Allendale,Michigan, where he has taught printmaking, drawing and foundations since 1999. He has degrees in print-making from The Pennsylvania State University and Indiana University. During the summer of 1993, Billapprenticed at the K. Caraccio Printmaking Studio and Bob Blackburn's Printmaking Workshop, both inNew York City. In 1995, Bill went to South Africa on a Fulbright scholarship to study printmaking.

S a ek o Furuk a ta (France), Born and brought up in Tokyo, studied BA visual communication (mainlyillustration) at Kent Institute of Art and Design in England.She's always interested in childhood thoughts

and memories. Her univers is constructed by little girl and her toys in twisted wonderland.Working as anillustrator for children's books and some magazine.Recently she is designing toys, also sometimes updatingher web-site with degital finished works. She has resumed etching in Paris.


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Rahman Mohamed (Malaysia), was born in Johor, Malaysia. He has a BA degree from Universiti SainsMalaysia (USM), MSc degree from Pratt Institute in New York, USA and MFA degree from UW-Milwaukee, USA. Currently he is a lecturer at the School of Arts, USM. Rahman works mainly in intaglioand woodcut. He has participated in numerous art exhibitions in Malaysia, Thailand, Singapore,Bangladesh, France , USA, Germany, Italy, Turkey, Canada and Poland. Besides printmaking, he also pro-duces works in digital art and interactive multimedia.

Michael Markwick(The Netherlands), is a painter and printmaker who lives and works in Dordrecht,the Netherlands, and Berlin, Germany. He was born on Apri l 3, 1974, in Grand Rapids, Michigan, theUnited States, to first- generation Dutch and Sri Lankan immigrants. He received a Bachelor of Fine Artsdegree in printmaking and painting in 1998 from Calvin College. He was awarded a Master of Fine Artsdegree in 2002 in printmaking and mixed-media installations from Indiana University, Bloomington,Indiana, U.S.A.In 2002 he moved to the Netherlands to explore his Dutch roots.

Daniel Leathersich (USA), is a painter and printmaker based in Berks County Pennsylvania, USA. Hiswork is informed by a firm connection to history, a relationship with nature, and a strong community ofpeople. Leathersich has shown with the Boston Printmakers, the Printmaking Council of New Jersey, andthe New Arts Program (Kutztown, PA) as well as many other group exhibitions throughout the UnitedStates. He has received grants from Kutztown University, and the Indiana Arts Commission with fundingfrom the National Endowment for the Arts (USA).

Haran Kim (Korea), lives and works in Seoul, Korea. Studied BFA,with major in printmaking at Hong-IkUniversity, Seoul. Korea. She received her MFA in Printmaking from Indiana University, Bloomington,USA. She has shown her work in numerous art exhibitions both in Korea and abroad, including The ThirdSeoul International Book Arts Fair and Frankfurt Book Fair, Germany. Participated in artist in residenceprogram at the Kimmel Herding Center for the Arts, Nebraska in March and April 2007.

Mary Phelan (USA), an Associate Professor received BS in Art Education, College of Saint Rose; MAfrom, UW-Madison. Currently Coordinator of the Fine Arts, Printmaking/Book Arts undergraduate depart-ment. She frequently lectures and offers workshops on letterpress printing and book arts and has curatednumerous exhibitions related to artists' books. She is known for both her prints and letterpress printing andhas collaborated with many other artists to create books and various art projects.

Kathryn Reeves (USA), Professor of Art. Her area of specialization is print media: digital, intaglio, lithog-raphy, screen, relief, and hybrid forms. BFA, 1974, painting/printmaking, Miami University of Ohio; postbaccalaureate studies, 1975, Harvard University; MFA, 1981, printmaking/drawing, Drake University. Shealso taught at Drake University and Iowa State University, and worked at Harvard's Fogg Art Museum.Reeves has shown over 200 international, national, and regional exhibitions - including in 2005, solo showat the Scuola Internazionale di Grafica, Italy and group shows in New Zealand, Germany, and Poland. Herwork has also been shown in Taiwan, UK, Australia, and throughout North America. Her prints are includ-ed in The Best of Printmaking: An International Collection by Allen and McGibbon.

Mary Robinson (USA), is currently an Assistant Professor and Head of Printmaking in the Department ofArt at the University of South Carolina-Columbia. Her work, which takes the form of drawing, painting,printmaking and installation, has been shown in nine solo exhibitions, and has been included in over fortygroup exhibitions, including shows throughout the United States, as well as in England, Germany, Italy andAustralia. Robinson has received numerous grants and awards, including a Fulbright-Hayes Study AbroadProject in Korea in 2004. In 2005, she initiated and coordinated the international print exchange Emission.


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On The Edge Portfolio Participants

B ri a n W. C url i ng (USA) is from Cadiz, Kentucky and has received his BFA from the University ofKentucky-Lexington, Kentucky in the year 2000. He received his MFA in Printmaking, Book Arts andDrawing from the University of Nebraska-Lincoln, Nebraska in 2004. In 2005, he participated in exhibi-tions such as the Open Expression, Contemporary American Art American University in Cairo Egypt and EsWaren Zwei Konigskinder (Once Were Two King's Children) at the Eackladen Altwachwitz Gallery inDresden, Germany. He also achieved awards such as the Finnish Graphics Council, Artist ResidencyRecipient, Helsinki, Finland and also the Vreeland Award for distinguished MFA Candidate, University ofNebraska.

Emily Wilson (USA). She is from Sacramento, California. She received her BFA from the Utah StateUniversity, and her MFA from the University of Arizona, Tuscan, Arizona. She has participated in severalexhibitions such as the Street Collections at The Place Gallery St. Loius, MO and also Half and Half at theCurrisCenter Gallery, Murray State University, KY. Her awards included 30th International Print andDrawing Exhibition, Public Choice Award in 2005 and the Professional Development Grant, ArizonaCommission of the Arts in 2004. She initiated and coordinated the international print exchange On theEdge.

Enrique Leal (Spain) is from Madrid, Spain and is an Associate Professor of Art, Facultad de Bellas ArtesCuenca, Universidad de Castilla La Mancha, Spain. He has received his BFA in Drawing and Printmaking atthe Politechnical University Valencia in 1996 and his MFA in Drawing and Printmaking at the Universidadde Castilla La Mancha in 1998. Also, he took his PhD. Fine Arts at the University of Castilla La Mancha in2003. He has participated in numerous group exhibitions such as in 2004 at the Tribes Gallery, New Yorkand also in 2005 at the RCIPP, Mason Gross School of Arts, Rutgers University in New Brunswick, NewJersey.

Cerese Vaden (USA) She was raised on a ranch in rural central Idaho, Cerese Vaden established early herinterest in constructions and natural forms. Often incorporating the juxtaposition of three-dimensionalobjects with what have traditionally been two-dimensional works; paintings, prints and drawings, Vaden'sartwork merges and presents these elements within three dimensional formats and structures. An assistantprofessor of art at the University of Arizona since 2000, Vaden teaches printmaking, watercolour, drawingand book art courses. In 2001, she took a hiatus serve as Director of Landfall Press in Chicago, Illinois. Herprints and mixed media works have been shown throughout the United States as well as many locationsabroad.

Heli Kurunsaari (Finland) was born in 1971 in Lapua, Finland. Graduated from the Art Institute of LahtiPolytechnic in 1996. She has had many solo and group exhibitions in Finland and abroad. Her work hasbeen shown internationally in such exhibiton as A Century of the Woodcut Print in Finland, SheldonMemorial Art Gallery and Eisentrager/ Howard Gallery, Lincoln in Nebraska USA, Finnish Institute inMadrid, Mois de l'Estampe-Finnish Institute in France, 4th Print Triennial Kochi in Japan, 11th PrintTriennial of Tallinn in Estonia and World Award Winners Gallery in Katowice, Poland. Her work is includ-ed in essential collections in Finland. She is also a member of the board Association of Graphic Arts inFinland.


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Jan Pamula (Poland). A professor of the Academy of Fine Arts in Krakow.He was born in 1944 in Poland.1961-68 he studied painting and graphic art at the Academy of Fine Arts in Krakow, and in 1967 at the EcoleNationale Superieure des Beaux Arts in Paris. . Pamula has had over 50 solo exhibitions in Poland andabroad. He has taken part in several hundred collective, international exhibitions. He received numerous

prizes on international and domestic exhibitions. In 2003, he was awarded the annual prize of WitoldWojtkiewicz ZPAP in Krakow . His works of art can be found in the collections of the National Museum inWarsaw and Krakow; Victoria and Albert Museum, London; Albertina in Vienna; Portland Art Museum inOregon.

Jean Maddison (Canada) Professor at the University of Guelph, Canada. She has been a printmaker forover 25 years and taught at many universities, including University of Victoria, B.C., University of WesternOntario, Mount Allison U., N.B., York University and McMaster University in Ontario, Canada. She migrat-ed to Canada in 1977 from England. During the years 1972-1977, she set up and managed the LithographicPrint Workshop in London, England where she printed editions for and collaborated as Master Printer withmany artists from all over the world. Her Lithography Print Workshop was mentioned in the Thames andHudson Manual of Advanced Lithography by Richard Vicary, published in London in 1977.

Heather Muise (United Arab Emirates) received her B.F.A. from the University of Windsor, Canada, and

her M.F.A in studio art (printmaking) from the University of Tennessee. Her work has been exhibited inover 80 shows across four continents. She has been teaching printmaking and foundations courses atZayed University in the United Arab Emirates for the past five years where one of her main areas of researchis creating bridges between Arab and Western artists and cultures through the printmaking media. She hasrecently moved to Greenville, North Carolina with her partner Matthew Egan. Her work has been exhibitedacross North America, in Europe, the Middle East and Australia.Kathryn Reeves (USA). Please see her bio in the Emission portfolio.

Koi ch i Ya m a m oto (USA) is the Assistant Professor in Printmaking at the Department of Art in UtahState University. He received his Bachelor of Fine Arts Degree at the Pacific Northwest College of Art,Portland, Oregon and received his Masters of Fine Arts Degree at the University of Alberta, Edmonton,Alberta Canada.

Lidija Antanasujevic (UK). She was born in 1961 in Belgrade, Serbia and Montenegro. She received her

MA in printmaking at the Faculty of Fine Arts, University of Arts in Belgrade. She had done numerous soloexhibitions like The Easiness of Mere Being at Gallery Dvorni Trg, Ljubljana, Slovenia in 2000 and also atthe London Print Workshop Gallery in London. She has also participated in group exhibitions such as theContinental Breakfast Belgrade and May Exhibitions of Prints in Belgrade.

Katarzyna Cepek(USA). She received her BFA in Drawing and Printmaking from Boise State Universityin 2003. MFA in Printmaking at the University of Arizona. Participated in exhibitions in the USA, and NewZealand. Cepek was born in Poland and left her native country at the age of ten. Since her arrival in theUnited States, she has existed between two cultures. Her art work examines the concept of construction ofself through the reconstruction of memory. She draws on childhood recollections as well as family historiesto create work that explores her identity as a Polish citizen living indefinitely in America.

Marta Wakula (Ireland). She was born in 1979 in Poland. Graduated from Institute of Art, PedagogicalUniversity in Cracow (1988-2003) Department of Linocut. Dealing with woodcut and linocut technique and

painting. Graduated from School of Icon's painting in Cracow (2000) and School of Computer Design inCracow (2002). Participated in a Competition of Bietigheim-Bissingen Linocut Today, Germany, 2004 andVIII International Engraving Biennial Caixnova, Spain, 2004.


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Na om i Ha s h i m oto (Japan) was born in Tokyo, Japan. Graduated from Tama Art University, Japan,studied graphic design and lithography and took BA. Participated in a Workshop on Reduction WoodcutPrintmaking with Professor Karen Kunc, University of Nebraska, Lincoln, U.S.A at St. Reparata, Florence,Italy, summer 1999. Have personal exhibitons several times mostly in Tokyo, Japan. Participated in inter-national exhibitions such as Grafinnova '98 (Vaasa, Finland), Mini print International CADAQUES (Spain),International Biennale of Miniature Art (Serbia and Montenegro) and others.

Oscar Jay Gillespie (USA). Professor of Art at Bradley University, Illinois. BFA from Northern ArizonaUniversity. MFA in Printmaking from Arizona State University. Founding Coordinator and Printer ofCradle Oak Press, University of Bradley. Participated in numerous exhibitions in the USA and abroad.

Matthew J. Egan ( United Arab Emirates). He was born in Canada, and recently taught printmaking forseveral years in the United Arab Emirates where he was an Assistant Professor of Foundations and Designat American University of Sharjah. He earned a MFA from the University of South Dakota and a BFA fromthe University of Windsor. One of his main areas of interest and research is forging opportunities and linksbetween Eastern and Western image-making traditions and practices through an attempt to identify withcultural and social issues relating to both individual nations and the wider narratives of the eastern andwestern hemispheres.

Rahman Mohamed (Malaysia). Please see his bio in Emission Portfolio.

Tongchai Yukantapornpo ng (Thailand). He was born in Bangkok in 1960. In the year 1981, Thongchaigraduated in the College of Fine Arts in Bangkok. Received B.F.A. in Graphic Arts in 1985 and M.F.A inGraphic Arts in 2002 both in Silpakorn University, Bangkok. As the Art Instructor in Printmaking,Department of Printmaking Painting and Sculpture in the Faculty of Arts, Chiang Mai University,Thongchai has participated in many exhibitions like the 48th and 49th National Exhibition of Arts at theNational Gallery in Bangkok as well as plenty solo exhibitions such as exhibitions in the A.C.S GalleryNagoya, Japan and in the Twain Tippetts Exhibition Hall, Utah State University, USA. Also, is the awardwinner of the 13th Toshiba "Brings Good Things to Life" Art Competition.

Todd Christensen (USA). He is from Las Vegas, USA attended Utah State University from 1999-2001. Healso has attended University of Arizona to do his MFA. He has worked as a Graduate Teaching Assistantand Adjunct Faculty both in the University of Arizona. In 2005, he had participated in three exhibitionswhich is the Hereditary Anxieties (solo show) in Burris Hall Gallery, Las Vegas, the '18th Annual El AnconShow' in Ribera and the 'Wild West Sideshow Adventure', Mangere Community Arts Outreach GalleryManukau, New Zealand. He has participated with many invitational portfolio exchange such as theFrogman Press 2001 Portfolio and Second Intermountain Invitational Print Portfolio.

Stefania Missio (Italy)


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Rentas Sempadan Participants

Benjamin Vasserman (Estonia)Born 1949.Studied at Estonian Academy of Art (graphic art) 1973 - 1979.Began to exhibit in 1978. Member of the Estonian Artists'Association since1989.At present free-lance artist in Tallinn. Participated in hundreds ofprint exhibition worldwide, including solo exhibitions in Estonia, Germany,Finland and Denmark. International print exhibition in Romania, USA,Poland, Italy, Canada, Norway, Macedonia, India, Korea, Thailand andincluding the Universiti Sains Malaysia International Print Exhibition 2007,Malaysia. He has won several major awards and special prizes including the10th. Tallinn Print Triennale and gold prize in Beijing, China.

Chew Teng Beng, Dr. (Malaysia)Born in Trengganu, Malaysia. Studied at Cranbrook Academy, Michigan.Received BFA and MFA from University of Michigan, PhD from New YorkUniversity, USA in 1986.Established painting and printmaking departmentin the Seina Height University, Andrian in 1970. Established fine arts pro-gram in the School of Humanities, Universiti Sains Malaysia in 1972.Participated in many art exhibitions nationally and internationally. He had18 solo shows and many group shows in the USA, China, Australia, Europe,Brazil, Taiwan, and ASEAN countries.

Chong Hip Seng (Malaysia)Born 1950 in Penang, Malaysia. A full time artist. Studied lithography underSandoz Claude, Switzerland. He has participated in various exhibitions inMalaysia, Thailand, Singapore, and China. Held a number of solo art exhibi-tions including - 1st. 7 2nd. Solo Exhibition, Penang 1977; and 1983. A soloshow at Takashimaya, Singapore in 1995. His works are in the collection ofNational Art Gallery, Malaysia; Singapore Art Museum; Universiti UtaraMalaysia and Siam Art Museum, Thailand.

Dariusz Kaca (Poland)

Born in Kutno in 1960. He is presently working as a tutor in the Studio ofWoodcut Techniques at the Department of Graphics and Paintings atStrzeminski's Academy of Fine Arts in Lodz. Poland.He earned his M.F.Afrom the High School of Fine Arts in Lodz in 1994. He pursues artistic anddesign graphic, artistic book, drawing and painting.He has 17 solo exhibi-tions and participated in 130 group exhibitions in Poland and abroad.Including the Universiti Sains Malaysia International Print Exhibition 2007.


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Endi Poskovic (USA)Born in 1969 in Sarajevo, Bosnia. Lives inthe United States since 1991. Agraduate of Sarajevo School of Applied Arts (Diploma in Fine Arts) 1986,Sarajevo Principal School of Music (Music Diploma) 1987, SarajevoAcademy of Fine Arts/University of Sarajevo (B.F.A.) 1990, studied atMinnet Fondet in Norway 1990-91, State University of New York at Buffalo(M.F.A.) He has over 300 individual and group exhibitions, including allmajor international annual, biannual and triennial exhibitions of printsthroughout the United States, Europe, Australia, Canada, China, Cuba,Ecuador, Japan, Korea, South Africa, Thailand and Malaysia. His works arein the collection in over 100 public and universities collections.

Faizan @ Fauzan bin Omar (Malaysia)Associate Professor of Art at the School of Arts, Universiti Sains Malaysia.Graduated with Diploma in Art and Design (Fine Art),ITM Shah Alam,Obtained Art Teachers' Diploma from ITM Shah Alam,MFA (Painting)Maryland Institute College of Arts , U.S.A. Participated in many art exhibi-tion in Malaysia, ASEAN countries, Australia and Thailand. He has won sev-eral art awards including Australian Cultural Award 1995; Major AwardPhilip Morris Art Competition, Joint Winner in Printmaking Category SalonMalaysia 1992.

Haruka Furusaka (Japan)She was born in 1976, Osaka, Japan. Now an independent artist working inwatercolor, woodblock printmaking and painting. She lives in Osaka, Japan.Awarded BFA from Musashino Art University, Tokyo. Studied JapaneseWoodblock Printmaking at Nagasawa Art Park in 2001. She has conductedworkshops on Japanese Woodblock Printing in the USA and Germany.Furusaka stayed at the residence Atelj Stundars maintained by the Councilof Swedish Education and Culture in Ostrobothnia, Finland. Shows herprints in many art exhibitions including the Universiti Sains MalaysiaInternational Print Exhibition 2007.

Kamol K ongthong (Thailand)

He was born in Nakhon Sri Thammarat, Thailand. Participated in many artexhibition in China, Thailand and Malaysia including the 3rd Exhibition ofNew Expression of Asian Art in Kuala Lumpur 2006; Artists Heart forTsunami Art Exhibition, Bangkok2005; the 14th. Watercolour Exhibition ofAsia, China 2000.


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Loo Foh Sang (Malaysia)Born in 1944 in Kuantan, Pahang. He studied at Nanyang Academy of FineArts, Singapore 1963-65; further his studies at theEcole National Superieuredes Beaux Arts and Atelier 17 (under Stanley William Hayter) in Paris,France. Returned to Malaysia in 1988 and taught print-making at theMalaysian Institute of Art until 1993. Head of the Fine Art Department ofCentral Academy. Helped organise the First International Annual Print-making Exhibition at Central Art Gallery in KL, in 1996. This exhibitiondeveloped into the Annual Exhibition of International Contemporary Prints,which showed 70 works from 39 countries.

Lou Qi (China)He was born in Hangzhou, China in 1960. He is a chief editor of Art RichesMagazine, China. He has been invited as a guest lecturer at Milan Academyof Fine Arts, Italy and Seattle Communication College, Washington, USA.Has exhibited in many art exhibition in China, France, Japan, Malaysia,Taiwan, Germany, Sweeden, Denmark, Austria, and Thailand. His worksare in many public collections including Yale University Art Gallery; MalmModern Art Museum, Sweeden; eastern Art Museum, Japan; FBVAFoundation for Humanities, France.

Mohd Jamil Mohd Isa (Malaysia)He was born in 1967 in Penang, Malaysia. earned in Diploma in Art & Designfrom ITM, Shah Alam. Awarded MA in Fine Art from University of CentralEngland, Birmingham. Now a lecturer at Universiti Teknologi MARA, ShahAlam. Had his solo exhibition - Yang Hitam Manis in 2000. Participated inmany art exhibitions in Malaysia and abroad including Xchange- NagoyaArt University, Japan; Alternative Printmaking - Galeri Petronas, KualaLumpur; 4th. Triennale of Small Print, France. His works are in the collec-tion of many coporate bodies including National Art Gallery Malaysia,Malaysian Embassy, Stockholm and Concorde Hotel, Kuala Lumpur.

Manee Meemak(Thailand)Born in 1977 , Nakornsrithomra, Thailand. Instructor in printmaking,Faculty of Art ,Thaksin University Songkhla, Thailand. Awarded B.F.A. andMFA in Graphic Art from the Faculty of Painting, Sculpture and GraphicArts Silpakron University, Bangkok Thailand. Exhibited her lithographs inmany art exhibitions including Kyoto Hanga in Japan; Universiti SainsMalaysia International Print Exhibition 2007; The 18th. Silpa BhirasriExhibition of Contemporary Arts, Bangkok.


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Mohamad K hizal Mohamad Saat (Malaysia)He was born 1977, in Taiping, Malaysia. A lecturer in printmaking atUniversiti Sains Malaysia School of Arts. He has his BFA from UniversitiTeknologi MARA. Graduated with MFAD in Printmaking from University ofTasmania, Australia. He has conducted several printmaking workshops anddemonstrations around Malaysia. He has exhibited his works in many exhi-bitions in Malaysia, Australia and Thailand.

Mohamed Najib Ahmad Dawa, Dr. (Malaysia)He was born in Pahang, Malaysia. Currently an associate professor in art atthe School of Arts, Universiti Sains Malaysia, Penang. Earned his BA in FineArts from Universiti Sains Malaysia, awarded MA and Ph.D fromManchester Metropolitan University, UK. He has partcipated in many artexhibition in Malaysia, United Kingdom, Australia, Mauritius, USA andThailand. He has conducted batik workshops at The Syracus University,New York, USA. He has curated an art exhibition at the National Art Gallery,Malaysia.

Muhamm ad Rojana Udomsa t (Thailand)

He was born 1959 in Pattani, Thailand. Received his art training from thePoh Chang Art College, Bangkok. He has shown his works in many art exhi-bitions including Contemporary Art Exhibition 1990 in Pattaya; 2nd. PhuketAndaman painting Exhibition 2000; the Universiti Sains MalaysiaInternational Print Exhibition 2007; the 14th. International watercolourExhibition of Asia in China 2000; Exhibition of Painting, ThammasatUniversity, Bangkok 1990 and Artists Heart for Tsunami at the QueensGallery, Bangkok.

Padungsak Phanichtrakulsil (Thailand)

He lives in Hatyai, Thailand. Works mainly in silkscreen. He participated inthe Prince of Songkhla University Contemporary Art Exhibition 2001;"Serenity in krue Se" Art Exhibition; Unseen in Frame Art Exhibition atAyothaya Contemporary 2004;Watercolour Painting Art Exhibition,Bangkok 2005; The 3rd Exhibition of New Expression of Asia Art KualaLumpur, Malaysia 2006 and USM International Print Exhibition 2007.


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Rahman Mohamed (Malaysia)He was born in Johor, Malaysia. He has a BA degree from Universiti SainsMalaysia (USM), MSc degree from Pratt Institute in New York, USA andMFA degree from UW- Milwaukee, USA. Currently he is a lecturer at theSchool of Arts, USM. Rahman works mainly in intaglio and woodcut. Hehas participated in numerous art exhibitions in Malaysia, Thailand,Singapore, Bangladesh, France , USA, Germany, Italy, Turkey, Canada andPoland. Besides printmaking, he also produces works in digital art and inter-active multimedia.

Rita Marhaug (Norway)She works as assistant professor at Bergen National Academy of the Arts,Department of Specialized Art, in the area printmaking. Since the early -ninties participated in numerous solo and group exhibitions both in Norwayand internationally. Her important tools for expression are printmaking,drawing, video, photography and performance. She has won several awardsincluding Artist in Residence in Evora, Portugal in 2004; Honourable men-tions Grafinnova, Vassa, Finland 2002 and Bronze prize at the OsakaInternational Printmaking Triennale, Japan 1994.

Said Aniff Hossanee (Mauritius)He is a painter/engraver of various facets,deeplyrooted in his multiculturalenvironment.His artistic production depicts and reflects his emotional affin-ity to his motherland Mauritius. The vibration and play of colours and formsare very particular to him,his style and signature. His recent works areindeed " a statement for diversity"- an element of dialogue.The artist`s com-mitment to world of visual arts along with his regular participation innational and international events are proof of his active role in the local &abroad artistic milieu. He has participated in about 20 group art shows inMauritius and held about 15 solo art exhibitions all through the island.

Satawat Chuaynum (Thailand)

He was born in 1957 in Phatthalung, Thailand. Obtained his art educationfrom Poh Chang Art College in Bangkok. He has won several awards includ-ing the 1st. Prize in International Drawing Competition, World WildlifeFund, Switzerland. Participated in many art exhibitions in Thailand andabroad including Artists Heart for Tsunami at the Queens Gallery,Bangkok; USM International Print Exhibition 2007, Penang, Malaysia andFoot Bridge International Group Exhibition at siam art Gallery, Thailand.


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Steve Lovett (New Zealand)He was born in Auckland New Zealand, where he now lives and works.Studied printmaking at the University of Auckland in New Zealand.Specialising in serigraph and digital work. He has taught at Manukau Schoolof Visual Art in Auckland, New Zealand since 1996. Since 1998, he has leadthe printmaking section of the school, developing a print program with thecapacity to encourage both traditional atelier printmaking and more con-temporary approaches to printmaking. Lovett has exhibited widely withwork being held in public and private collections in New Zealand, Australia,the United States of America and India.

Tengku Azhari Tengku Azizan (Malaysia)Awarded BFA from Universiti teknologi MARA, obtained Master of Fine Artand Design from University of Tasmania, Australia. Currently a lecturer atSchool of Arts, Universiti Sains Malaysia. He has exhibited his works inmany exhibitions in Malaysia, Australia, USA and Poland. Tengku has wonseveral awards including Major Prize, Shah Alam Open Drawing Competitio.A multi- platforms artist, he works in traditional sculpture, video art, andelectronic media.

Ying Tianqi (China)A professor at Shenzhen University,China, Ying is an influential explorer inthe field of modern art. He is renowned for his Xidi Village series andregarded as an expert in folklore. In 1986, Ying came upon Xidi Village andspent eight years there. Ying's 35 prints completed 12 years ago and 34 tra-ditional Chinese paintings from last year concentrate on Xidi Village, awell-preserved centuries-old village. "Ying's works remind us of traditionalculture and modernity," a review in the Shenzhen Economic Daily saidFriday. "The exhibition at Guanlan Art Gallery enables people to compareXidi Village with ancestral Hakka buildings in Guanlan Township in a'Dialogue with Guanlan.'

PhotobySilviGlatteur


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Monotype -A form of printmaking in which the artist draws or paints on some material, such as glass, andthen prints the image onto paper, usually with a press. The remaining pigment can then be reworked, butthe subsequent print will not be an exact version of the previous print. Monotypes may be unique prints or

variations on a theme.

Monoprint - Same as a monotype but includes repeatable incised areas on the plate.

Photogravure -A means of printing a photographic image by the intaglio process. The photographic neg-ative (which may be of an artist's drawing) is projected onto a sensitized gelatin emulsion or carbon tissuethat is transferred to a copper plate. After washing the plate areas that correspond to the image on the neg-ative are dissolved and the plate can be bitten by acid as in routine etching. In hand photogravure, which ismost commonly used in printmaking, the copper plate is first prepared for aquatint etching. The end resultcan closely resemble a traditional linear etching or soft ground etching.

Relief print - Any print in which the image is printed from the raised portions of a carved, etched, or castblock. A simple example would be a rubber stamp. The most common relief prints are woodcuts. The term"relief print" is used when it is not clear which kind of relief printing has been used (photomechanical or

hand carved, for example).

Screen Print - A form of stencil printing in which the stencil is adhered to a fine screen for support. Inkcan be squeegeed through the screen onto paper. Screen printing can have a hard edged quality caused bythe crisp edges of the stencil. Also referred to as "silk screen" and "serigraphy."

Serigraph -Another term for Screen Print.

Soft ground - An etching technique in which the plate is covered with malleable ground through which avariety textures can be pressed, allowing them to be etched into the plate. For example, a piece of paper laidon top of a soft grounded plate can be drawn upon with a pencil, and the resulting etched image will resem-ble a pencil line drawn on paper. To be distinguished from "hard ground" used for simple line etching.

S ulph ur ground -A technique in which a caustic sulphur compound is painted directly on an etching

plate, or in which sulphur dust is otherwise applied to a plate. The resulting marks will hold ink and can beprinted like an etching. The technique typically creates blotchy expanses of grey tones. This might be com-pared to printing rust marks on a steel or iron plate.

Wood engraving - A relief print carved in the end grain of a block of wood whose thickness is the same asthe height as a piece of movable type ("type high"). This was traditionally a commercial technique practicedby specialists and used in magazines and book illustrations.

Woodcut - A relief print . After the relief image has been carved in the plank with knives or gouges it isinked with a dauber or roller. It can then be printed by hand (in which case a sheet of paper is laid down onthe inked plank and rubbed from the back with a smooth surface such as the palm of the hand or a woodenspoon) or with the help of a mechanical press.

Xerography- A print produced by electrostatic process using copying machine.


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ACKNOWLEDGEMENTS

The Chairman of the Penang State Art Gallery Committee wishesto recognise and thank the following for their invaluable

contributions and cooperation in making the exhibition a reality.

Y. Bhg.Datuk Syed Ahmad Jamal

National Art Laurreate

All participating artists

En.A.Rahman Mohamed

the Curator of Rentas Sempadan : An International PrintExhibition

and members of his sub-committee

Dean and Staff of the School of Arts

Universiti Sains Malaysia

Curator and Staff of the

Penang State Museum and Art Gallery

The Media

Penang Int_ Print2007

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Transcript of Penang Int_ Print2007