Rentas Sempadan - School of the Arts, USM
Rentas Sempadan - School of the Arts, USM
Rentas Sempadan - School of the Arts, USM
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Penang International Art Festival 2007<br />
<strong>Rentas</strong> <strong>Sempadan</strong><br />
International Print Exhibition<br />
Balai Seni Lukis Pulau Pinang<br />
3 - 31 July 2007
<strong>Rentas</strong> <strong>Sempadan</strong>/ Border Crossing<br />
An International Print Exhibition<br />
Published by<br />
Penang State Museum & Art Gallery<br />
Ground Floor, Dewan Sri Pinang<br />
Light Street, 10200 Penang, Malaysia<br />
Tel/Fax 604-261 3144<br />
Email: muzium@po.jaring.my<br />
Curator<br />
A.Rahman Mohamed<br />
Copyright © 2007 Penang State Museum & Art Gallery<br />
No part <strong>of</strong> this publication may be reproduced or transmitted<br />
or published in any form or by any means, electronic or<br />
mechanical, including photocopy, recording, or any information<br />
storage and retrieval system, without permission in writing from<br />
<strong>the</strong> copyright owner
Kata Aluan Pengerusi Balai Seni Lukis Pulau Pinang<br />
Lembaga Muzium dan Balai Seni Lukis Pulau Pinang dengan<br />
kerjasama Majlis Tindakan Pelancongan Negeri Pulau Pinang<br />
dengan bangganya mempersembahkan Pameran <strong>Rentas</strong> <strong>Sempadan</strong><br />
yang merupakan pameran seni cetak antarabangsa dalam siri<br />
Penang International Art Festival 2007.<br />
Sesuai dengan semangat Tahun Melawat Malaysia 2007, satu<br />
pameran yang bercorak antarabangsa begini diharap dapat<br />
memperkenalkan Pulau Pinang di mata dunia. Saya difahamkan<br />
seramai 59 pelukis dari dua puluh buah negara mengambil<br />
bahagian dalam pameran ini. Setidak-tidaknya pelukis-pelukis ini<br />
akan sedar bahawa karya mereka kini dipamerkan di sebuah negeri<br />
yang bernama Pulau Pinang di Malaysia. Kalau tidak sempat<br />
melawat Malaysia pun, tentulah mereka akan mula melayari<br />
internet untuk mengetahui serba sedikit tentang negeri ini.<br />
Bagi penduduk-penduduk Pulau Pinang pula, pameran ini<br />
merupakan kesempatan bagi mereka untuk menjelajah ke seluruh<br />
pelusuk dunia dengan menikmati karya-karya yang didatangkan<br />
dari 20 buah negara ini.<br />
Bagi pencinta seni khususnya, inilah peluang untuk menatap 90<br />
buah karya seni cetak yang bukan sahaja pelbagai dari segi bahan<br />
dan tekniknya malah juga mempamerkan inspirasi, pemikiran dan<br />
pengolahan idea yang beragam. Ini tentunya berkait rapat dengan<br />
budaya dan persekitaran dari negara mana datangnya karya-karya<br />
tersebut.<br />
Saya mengambil kesempatan ini untuk mengucapkan tahniah kepada<br />
semua pelukis yang terlibat dalam pameran yang hebat ini.<br />
Dato’ Tang Hon Yin<br />
PengerusiBalai Seni Lukis Pulau Pinang
<strong>Rentas</strong><br />
<strong>Sempadan</strong><br />
Seni Cetak merupakan satu medium seni visual yang amat<br />
demokratik. Sifat karya itu sendiri yang mempunyai gandaan membolehkan<br />
ianya ditunjukkan dan dipamerkan di beberapa tempat<br />
dalam satu masa yang serentak. Begitu juga dengan sifat mudalihnya<br />
memungkinkan karya itu dihantar dan bergerak dari satu destinasi<br />
ke destinasi lain yang biasanya merentasi berbagai sempadan<br />
geografi. Sifat sebegini menjadikan seni cetak ini satu medium yang<br />
boleh dan telah menjalinkan satu komunikasi di peringkat antara<br />
bangsa.<br />
Ini memang sepadanan dan kembali semula kepada asal usul<br />
ciptaan cetakan itu sendiri yang merupakan satu usaha untuk<br />
memerdekakan komunikasi visual supaya ia boleh dikecapi oleh<br />
masyarakat massa. Inovasi cetakan serta pembuatan kertas di<br />
negeri China sekitar kurun ke 6 dan kemudiannya perkembangan<br />
cetakan di Eropah dalam abad ke 15 semuanya telah menyebabkan<br />
satu revolusi. Bahan bercetak banyak diterbitkan, mudah diagih<br />
dan diedar seluas-luasnya ke seluruh pelusuk dunia.<br />
<strong>Rentas</strong> <strong>Sempadan</strong> meghidangan sejumlah 90 karya oleh 58<br />
seniman dari 20 buah negara. Pameran ini menghimpunkan sejumlah<br />
karya yang besar bilangannya serta diwakili oleh seniman dari<br />
segenap penjuru dunia. Secara lahiriahnya karya-karya yang dapat<br />
ditonton dalam pameran ini sememangnya telah menepati tema<br />
atau tajuk pameran kali ini " <strong>Rentas</strong> <strong>Sempadan</strong>". Kesemua karya<br />
yang terpamer kali ini telah menempuhi dan melampaui batas sempadan<br />
geografi. Kebanyakan karya dari luar negara telah<br />
didatangkan ke sini sama ada melalui pos atau perkhidmatan kurier<br />
yang pastinya telah merentasi sempadan. Manakala karya seniman<br />
tempatan juga bukan sahaja telah merentasi sempadan daerah<br />
dan negeri tetapi telah juga dibawa menjelajah ke pameran di luar<br />
negara termasuk International Print Exhibition yang berlangsung<br />
di Hatyai Art Gallery, Thailand baru-baru ini.<br />
II.<br />
Perubahan dan kemajuan dalam teknologi cetakan sentiasa memberi<br />
inspirasi dan membuatkan seniman teruja untuk melakukan<br />
cubaan dan penerokaan bahan. Secara tradisinya seniman cetak<br />
menggunakan teknologi cetak yang telah ditinggalkan oleh industri
cetakan komersial seperti cetakan kayu, gurisan asid, litografi dan<br />
letterpress, ini mungkin kerana terdapatnya limpahan alat dan<br />
bahan yang tidak lagi digunakan oleh industri. Tetapi dalam beberapa<br />
kemajuan teknologi percetakan yang mudah diperolehi seniman,<br />
penggunaannya didapati seiring dengan penemuan teknologi<br />
cetakan itu sendiri. Hal ini didapati benar bagi cetakan sutera saring<br />
pada awalnya. Kerana sifatnya yang mudah dan relatif murah,<br />
teknologi tersebut segera dimanfaatkan oleh seniman tanpa<br />
menunggu lebih lama lagi, sehinggakan dunia seni lukis sendiri<br />
yang tergamam dan teragak-agak untuk menerima hasilnya sebagai<br />
mempunyai nilai karya seni atau tidak berbanding medium terdahulu<br />
seperti gurisan (etching) dan cetakan kayu yang telah diterima<br />
dengan selesa. Awal daripada itu, tidak ketinggalan dicemburui<br />
penerimaanya sebagai karya seni adalah karya-karya yang<br />
dihasilkan dengan proses cetakan litografi. Perdebatan demi perdebatan<br />
berlaku sehinggalah hasil karya kedua-dua proses tersebut<br />
diterima sebagai karya seni.<br />
Sejak tahun lapan puluhan pula datang lagi satu arus gelombang<br />
yang melanda teknologi percetakan komersial. Munculnya ledakan<br />
pengkomputeran dan teknologi digital. Gelombang ini benar-benar<br />
memberi kesan yang besar terhadap teknologi percetakan. Cetakan<br />
bukan lagi menjadi satu bidang yang dikawal secara ekslusif oleh<br />
pedagang khusus dalam bidang tersebut. Cetakan telah benarbenar<br />
menjadi demokratik. Sesiapa saja boleh memiliki mesin<br />
pencetak. Percetakan telah menjadi satu perkara biasa dan tidak<br />
lagi dilindungi dengan segala macam misteri. Generasi baru yang<br />
ada sekarang tidak memandang cetakan sebagai satu perkara yang<br />
asaing lagi. Walau pun pada awal ledakan komputer dan digital,<br />
ada yang menjangkakan bahawa ledakan itu akan menyebabkan<br />
terkuburnya percetakan, dunia kan menjadi dunia tanpa kertas<br />
(paperless), tetapi jangkaan tersebut meleset. Malah percetakan<br />
semakin menjadi segar dengan suntikan pengkomputeran tersebut.<br />
Pengunaan teknologi digital bukan lagi digunakan sebagai alat<br />
membantu untuk menghasilkan imej, tetapi kini ianya telah menjadi<br />
medium penghasilan imej. Teknologi digital bukan lagi sebagai<br />
alat tetapi juga sebagai medium. Cemburu masyarakat seni terhadap<br />
teknologi digital masih tebal. Ada kalangan yang telah lama<br />
mengamalkan cara-cara tradisional terus mempertahankan bidang<br />
seni halus dari dicerobohi oleh cetakan digital, namun ada di antara<br />
mereka yang menerima kemasukan teknologi baru ini asal saja<br />
ianya digabungkan dengan medium-medium terdahulu yang telah
dapat diterima dengan selesa. Tidak kurang juga golongan yang<br />
sedia menerima cetak digital seadanya sebagai karya seni. Di manamana<br />
forum pun isu ini masih popular dan sering menjadi topik<br />
perbincangan.<br />
Kelpelbagaian teknik dalam seni cetak ada kalanya telah menyebabkan<br />
seniman menjadi terpisah atas kelainan medium yang diamalkan.<br />
Terdapat banyak juga persatuan dan pertubuhan yang<br />
keahliannya hanya terbuka kepada pengamal satu-satu jenis atau<br />
teknik cetakan sahaja. Kalau persatuan pencetak setakan kayu,<br />
maka hanya pencetak cetakan kayu sahajalah yang boleh menganggotainya.<br />
Begitu juga dengan lain-lain medium cetakan. Tidak<br />
kurang pula pameran dan pertandingan yang terkhusus kepada<br />
satu-satu medium cetakan sahaja dengan memencilkan medium<br />
cetakan lain.<br />
Berbeza pula dalam satu wadah yang lain, kelpelbagaian dalam<br />
medium cetakan dan keterbukaan penerimaan dalam eksperimentasi<br />
dan penerokaan berani menyeberangi garisan telah menyebabkan<br />
terhasilnya karya-karya yang terkeluar dari biasaan. Karyakarya<br />
yang sebegini agak payah untuk masukkan ke dalam agihanagihan<br />
sempadan sempit seni cetak tradisional. Karya-karya yang<br />
bersifat merentas sempadan ini juga perlu dibawa ke satu pelantar<br />
yang lebih terbuka. Pameran ini merupakan salah satu dari pelantar<br />
tersebut.<br />
III<br />
Pada pameran kali ini kurator telah membuka sempadan seberapa<br />
luas yang boleh, membenarkan sempadan-sempadan direntas<br />
sesuai dengan wawasan globalisasi. Bukan sahaja dengan pembukaan<br />
sempadan negara dan geografi yang dibuktikan dengan<br />
penyertaan karya-karya dari 20 buah negara, malah yang lebih<br />
penting lagi ialah terbukanya sempadan penerimaan karya sebagai<br />
karya seni cetak. Pameran ini menghimpunkan karya-karya yang<br />
datangnya dari pelbagai teknik dan bahan. Dari teknik dan bahan<br />
yang sedia diterima sebagai karya cetakan sehinggalah karya-karya<br />
yang terhasil dari medium hybrid, juga lain-lain medium yang<br />
masih samar batasannya. Memang sudah menjadi kemestian bila<br />
membicarakan karya seni cetak, perkara yang disentuh tentunya<br />
teknik dan medium disamping hal benda yang diutarakan oleh<br />
pelukis. Rencana ini juga tidak lari dari hal yang sedemikian.
Endi Poskovic, memanfaatkan kerjatangan yang halus dan teliti<br />
melalui karya karya cetakan kayu beliau. Dengan penggunaan<br />
teknologi rendah, beliau menghasilakn karya grafik yang memukau<br />
dan tidak kurang menghiburkan. Begitu juga degan karya cetakan<br />
kayu dengan warna berasaskan air cara Jepun oleh pelukis Haruka<br />
Furusaka menerusi karya beliau, Intuition. Fauzan Omar pula<br />
memanfaatkan cetakan lino berwarna dalam karya-karya dari siri<br />
Diversity and Unity. Begitu juga dengan karya berebagai teknik<br />
cetakan relif yang asas dan mudah telah dimanfaatkan oleh pelukis<br />
bagi menghasilkan karya-karya yang segar dan memukau.<br />
Mengketengahkan gambaran kehidupan harian suri rumah,<br />
Wednesday Face, karya Heli Kurunsaari menonjolkan medium<br />
cetakan kayu berwarna dengan teknik luakan.<br />
Tentunya teknik-teknik tradisional yang telah lama diamalkan<br />
masih dianuti dan dipraktikkan oleh seniman di dalam pameran<br />
kali ini. Cetakan gurisan merupakan teknik yang amat popular dan<br />
terus oleh beberapa seniman pada kali ini. Loo Foh Sang dan Rita<br />
Marhaug masih kukuh dengan cetakan gurisan. Walaupun menggunakan<br />
teknik asas yang sama, terdapat dua pola yang berlainan<br />
antara mereka. Loo Foh Sang dalam karyanya, Sunset Series :<br />
Festival Dance, begitu ashyik memanipulasikan platnya dengan<br />
gurisan garis serta lapisan-lapisan tona yang terhasil dari titik-titik<br />
halus aquatint. Manakala Rita Marhaung pula menggunakan bantuan<br />
fotografi dan komputer bagi menghasilkan plat, yang kemudiannya<br />
masih dicetak dengan cetakan gurisan secara tradisional itu.<br />
Sarah Edmonds juga masih menggunakan teknik intaglio yang pelbagai<br />
pada cetakan beliau yang bertajuk Lucerna - Beheading <strong>of</strong><br />
St.Denis. Beliau memanfaatkan cetakan timbul, gurisan kering dan<br />
cetakan viscocity yang dicetak di atas kertas buatan tangan. Bagi<br />
Bill Horsterman, dalam karya beliau, Emission, beliau menggunakan<br />
gurisan garis serta aquatint tetapi mencetak platnya dengan<br />
cara menggabungkan cetakan intaglio serta juga cetakan relif.<br />
Emily Wilson lewat karya beliau Greed or Need, seniman Cerese<br />
Vadent melalui karyanya Western Pivot, Koichi Yamamoto dengan<br />
karya beliau Site Untouched, semuanya terus memanfaatkan ruang<br />
pengolahan yang luas yang diberikan oleh medium gurisan. Begitu<br />
ramai seniman dalam pameran ini yang mengambil kesempatan<br />
pada medium gurisan yang tiada batasan dan kekangan ini.<br />
Seniman-seniman Katarzyna Cepek, Lidija Antanasujevic, Oscar<br />
Jay Gillespie, Rahman Mohamed, Hea<strong>the</strong>r Muise, dan Saeko<br />
Furukata semuanya begitu selesa dengan karya-karya yang dihasi-
lakn dengan medium gurisan. Enrique Leal dalam karyanya<br />
Enfoldment memanipulasi teknik aquatint sehingga menghasilkan<br />
karya yang bersinar, seolah-olah terpancar cahaya dari dalamnya.<br />
Seni cetak litografi berjaya memikat ramai seniman untuk mencuba<br />
dan terus menggunakannya sebagai medium ekspresi mereka.<br />
Ini adalah kerana sifat medium tersebut yang begitu hampir dengan<br />
medium-medium tradisional yang sering digunakan oleh<br />
pelukis. Penghasilan imej pada plat batu mahupun plat logam lain<br />
dibuat dengan secara spontan samada dengan cara sapuan berus,<br />
penggunaan pensel litografi ataupun konte crayon. Kesemua alat<br />
perlukisan pada plat tersebut memang amat serupa dengan peralatan<br />
dan bahan yang sering digunakan pelukis. Ini menyebabkan<br />
ramai pelukis yang tertarik dan selesa untuk menghasilkan imej<br />
pada plet litografi. Proses-proses teknikal selepas penghasilan imej<br />
atas plet itu sahaja yang rumit dan memyebabkan tidak ramai pencetak<br />
ingin menceburi atau berpeluang menceburi cetakan medium<br />
litografi ini. Usaha menghidupkan semuala serta mempopularkan<br />
cetakan litografi dilakukan pada tahun 60an melalui Tamarind<br />
Lithography Workshop di Los Angeles Amerika Syarikat.<br />
Paul Schumann lewat karya beliau Drawing vs Painting benarbenar<br />
melihat dan meneliti kemungkinan-kemungkinan medium<br />
litografi yang boleh memindahkan lukisan dan lakaran dan tidak<br />
sedikit pun kurangnya kebolehan medium ini menghasilkan visual<br />
yang menyerupai catan. Manee Meemak seorang lagi pengkarya<br />
yang menggunakan medium litografi, memilh penggunaan warna<br />
yang suram dengan sekali sekala diberi percikan cahaya pada karya<br />
beliau yang bertajuk Firefly. Ma<strong>the</strong>w J. Egan pula menggunakan<br />
medium <strong>of</strong>fset litografi dalam menghasilkan karya yang bertajuk<br />
The Draped Divide. Litografi menggunakan plat aluminium menjadi<br />
medium pilihan oleh Naomi Hashimoto dalam karya beliau<br />
Pr<strong>of</strong>ound. Tongchai Yukantapornpong dari Thailand pula bermain<br />
dengan garis-garis berwarna dalam karya litografi beliau bertajuk<br />
On <strong>the</strong> Edge.<br />
Saring sutera dan serigrafi melonjak ke dalam arena seni halus bila<br />
dipelopori antaranya oleh pelukis pop Andy Warhol. Satu lagi<br />
medium cetak yang sangat fleksibel, boleh dicetak pada semua jenis<br />
permukaan dengan pilihan pelbagai jenis dakwat. Beberapa pelukis<br />
dalam pameran ini memperagakan karya mereka yang dihasilkan<br />
dengan medium serba boleh ini. Jamil Mohd. Isa memperagakan<br />
karya saring sutera beliau Pisang Emas Dibawa Belayar. Said Aniff
Hossanee membawa semangat Afrika dalam karya stensil beliau,<br />
Orange Safari. Artis dari portfolio antarabangsa Emission, Myrtle<br />
Clark Bremer dan Melissa Gill masing-masing menghidangkan<br />
karya serigrafi mereka bertajuk Canes Venatici dan Interchange.<br />
Cetakan monotaip dan monoprint dihasilkan oleh banyak pelukis<br />
atas sebab-sebab yang beerlainan. Cetakan monotaip sebenarnya<br />
berbeza dengan monoprint. Cetakan monoprint punyai plat yang<br />
terukir yang boleh diulang kesan yang sama berkali-kali manakala<br />
monotaip hanya boleh menghasilkan satu keping karya tanpa edisi.<br />
Ada pelukis yang inginkan kebebasan dan inginkan kesan yang<br />
khusus akan menggunakan salah satu atau kedua-dua teknik dalam<br />
satu karya mereka. Malah tidak kurang pulang yang menggabungkan<br />
kedua-dua teknik ini dengan lain-lain teknik yang telah<br />
dibincakna terlebih dahulu. Karya Todd Christensen, Detached and<br />
Uncaring, mengabungkan pelbagai teknik termasuk cetakan cop<br />
getah. Mary Robinson melalui karya beliau Portal variation I-XXVI<br />
menggabungkan pelbagai teknik di samping monotaip dan monoprint.<br />
Lain-lain seniman yang menghasilkan cetakan monotaip dan<br />
monoprint termasuklah Mohamad Rojana, Satawat Chuaynum<br />
dam Kamol Kongthang.<br />
Teknologi komputer dan digital menjadikan keresahan bagi berbagai<br />
pihak dalam arena seni cetak. Satu pihak begitu resah dan tidak<br />
sanggup menjauhkan diri dari arus gelombang yang melanda langsung<br />
mengambil dan menggunakannya sebagai satu cara pengucapan<br />
baru dalam karya cetakan mereka. Cetakan digital, inkjet,<br />
giclee dan pelbagai lagi telah dan sedang memasuki arena seni<br />
cetak. Benjamin Vasserman yang begitu kental dengan karya-karya<br />
etching gaya tradisionalnya kini beralih memanfaatkan teknologi<br />
baru. Karya digital beliau berjudul Diagnosis VI bersama kita<br />
dalam pameran kali ini. Steve Lovett yang memang terpukau dengan<br />
teknologi bukan sahaja menghasilkan karya dengan menggunakan<br />
cetakan digital, malah hal benda yang digarap juga merupakan<br />
pola-pola yang terpamer pada permukaan skrin dan video.<br />
Ini dapat dilihat melalui karya beliau, Down and Up. Lain-lain<br />
pelukis yang tangkas menggunakan medium baru ini termasuklah<br />
Kathryn Reeves.<br />
Begitu juga dengan karya xerography Chong Hip Seng. Hip Seng<br />
gemar membuat lapisan pada permukaan karyanya. Karya-karya<br />
figura dan landskap beliau sering berlatarkan taip dan teks dari<br />
akhbar, malah dari buku panduan telefon. Untuk mendapatkan
kesan ini beliau membuat cetakan berganda dengan melalukan<br />
bahantaranya berulang kali kedalam mesin fotokopi, yang beliau<br />
samakan dengan percetakan plat berganda ( multiple plates printing<br />
). Dalam menghasilkan siri karya ini, Chong Hip Seng tidak pernah<br />
memikirkan dan memperdulikan ke dalam kategori manakah<br />
karyanya akan diletakan, samada sebagai lukisan atau pun cetakan.<br />
Apa yang lebih penting kepada beliau ialah kesan akhir yang hanya<br />
terserlah dengan proses yang dipilih itu.<br />
Seni cetak sangat berkait rapat dengan penggunaan kertas.<br />
Seniman cetak begitu teliti dalam pemilihan kertas yang digunakan.<br />
Semua sifat kertas diambil kira, dari ciri-ciri fizikalnya hinggalah<br />
kandungan kimia kertas diselidiki agar cetakan yang dihasilkan<br />
bukan sahaja cantik untuk pandangan mata malah hayatnya juga<br />
dapat dijaga. Ciri-ciri keasidan kertas sangat dititik beratkan<br />
supaya kertas yang digunakan itu akan bersifat tahan lama<br />
(archival). Dalam keadaan begini ada di antara seniman yang telah<br />
memberi penumpuan yang lebih kepada kertas itu sendiri berbanding<br />
proses cetakan. Dr. Chew Teng Beng merupakan salah seorang<br />
daripada seniman dalam pameran ini yang telah mengkaji dan<br />
memberi penumpuan kepada jasad kertas itu sendiri dalam menghasilkan<br />
karya seni beliau. Karya-karya kertas buatan tangan beliau<br />
berada di satu dimensi yang unik. Ianya di antara karya dua dimensi<br />
dengan karya dua dimensi. Dalam pameran ini dua karya beliau<br />
dari siri TBCGMP diperagakan. Manakala Dr. Mohamed Najib pula<br />
bermain dengan gabungan kertas yang diperbuat dari batang<br />
pisang dengan kain yang bercetak. Karya Dr. Mohamed Najib mengadunkan<br />
unsur-unsur dan motif tradisional dengan kertas buatan<br />
tangan.<br />
Beberapa karya mungkin dianggap janggal berada dalam pameran<br />
seni cetak ini. Mungkin mendatangkan tanda tanya kepada sebahagian<br />
penonton nanti. Sebenarnya sengaja pemilihan dibuat bagi<br />
membolehkan terujudnya satu wacana tentang apakah sebenarnya<br />
batasan atau sempadan yang memisahkan satu karya itu sebagai<br />
karya cetak atau bukan.<br />
Sebagai seorang pengarca Tengku Azahari ada kalanya berusaha<br />
menghasilkan karya-karya yang boleh diperbanyakan dengan penggunaan<br />
acuan. Proses penduan ini sebenarnya menghasilkan satu<br />
edisi. Satu proses yang tiada bezanya dengan penghasilan karya<br />
seni cetak. Satu karya yang diperbanyakkan dan menhasilkan edisi<br />
yang kesemuanya adalah karya asli. Mohamad Khizal Saat menggu-
nakan teknik cetakan yang pelbagai dan karya beliau dipersembahkan<br />
dalam bentuk instalasi.<br />
Kemungkinan-kemungkinan kelainan dalam persembahan seni<br />
cetak menjadi semakin luas. Mungkin untuk pameran mendatang<br />
sempadannya menjadi lebih kabur dan tipis sehingga memungkinkan<br />
segala.<br />
A.Rahman Mohamed<br />
Kurator Jemputan
Crossing Borders: The Penang International Print Exhibition.<br />
Translated from <strong>the</strong> Malay by Dr. Zakaria Ali<br />
Print is <strong>the</strong> most versatile <strong>of</strong> <strong>the</strong> visual mediums. Because <strong>of</strong> its<br />
multiple editions, a print can be shown at different locations simultaneously.<br />
It is easily transportable, a vehicle to establish communications<br />
worldwide.<br />
Print helped <strong>the</strong> masses to communicate. The invention <strong>of</strong> paper in<br />
<strong>the</strong> 6th century in China spreading to Europe in <strong>the</strong> 15th century<br />
revolutionized <strong>the</strong> art <strong>of</strong> printmaking. Printed material could <strong>the</strong>n<br />
be distributed everywhere.<br />
This show ga<strong>the</strong>rs fifty-nine international artists who produced<br />
ninety works, all <strong>of</strong> which, overtly or o<strong>the</strong>rwise, touched upon <strong>the</strong><br />
<strong>the</strong>me <strong>of</strong> "Border Crossings". In a sense, <strong>the</strong>se artworks have literally<br />
transcended geographical boundaries. Works from overseas<br />
reached Penang through <strong>the</strong> mail or currier services: crossing borders.<br />
Local works crossed <strong>the</strong> Thai border to <strong>the</strong> Hatyai Art Gallery,<br />
Thailand, made a U-turn and re-entered Penang..<br />
11.<br />
Technological advances inspire <strong>the</strong> printmakers to try out new<br />
things, new ideas, and new materials. Traditionally printmakers<br />
produced woodcuts, lithography, letterpress, and etchings. One <strong>of</strong><br />
<strong>the</strong> early advances <strong>of</strong> printmaking is <strong>the</strong> silk screen. Silkscreen is<br />
relatively so easy to do and cheap that <strong>the</strong> art world was initially<br />
reluctant to accept it as an art form in <strong>the</strong> same category as <strong>the</strong><br />
woodcut or <strong>the</strong> etching. Lithography, on <strong>the</strong> o<strong>the</strong>r hand, was more<br />
readily accepted. After extensive debates, however, <strong>the</strong> making <strong>of</strong><br />
silk-screens and lithographic prints gained entrance into <strong>the</strong> mainstream.<br />
In <strong>the</strong> 1980s, <strong>the</strong> wave <strong>of</strong> computer and digital printing hit <strong>the</strong><br />
shores <strong>of</strong> commercial printing. Now printmaking is no longer<br />
under <strong>the</strong> exclusive control <strong>of</strong> printmakers. Anyone with a printing
machine can print. Soon printmaking became commonplace,<br />
devoid <strong>of</strong> any mystery. Younger printmakers look at printmaking<br />
as a given. At first people thought that with digital technology <strong>the</strong><br />
world would turn paperless. However, printmaking has become<br />
even more extensive with <strong>the</strong> aid <strong>of</strong> <strong>the</strong> computer.<br />
Digital technology not only creates images but also has become <strong>the</strong><br />
very medium itself; <strong>the</strong> means and <strong>the</strong> medium are one. The art<br />
community is still suspicious <strong>of</strong> <strong>the</strong> digitals. Entrenched practitioners<br />
<strong>of</strong> <strong>the</strong> traditional medium defend <strong>the</strong>ir territory from <strong>the</strong><br />
assaults <strong>of</strong> <strong>the</strong> digits; o<strong>the</strong>rs grudgingly accept <strong>the</strong>m if <strong>the</strong>y bend to<br />
suit traditional demands. Still o<strong>the</strong>rs accept digits as an art form.<br />
Discussions persist on whe<strong>the</strong>r <strong>the</strong> digits are art.<br />
The multiple techniques in printmaking have separated <strong>the</strong> printmakers<br />
according to mediums. Hence, numerous associations and<br />
societies have sprung up accepting members who practice one<br />
medium or ano<strong>the</strong>r. The society <strong>of</strong> wood-printers caters only to <strong>the</strong><br />
wood-printers. Exhibitions and competitions call for artworks <strong>of</strong><br />
specific medium.<br />
O<strong>the</strong>r medium encourages multiplicity <strong>of</strong> techniques and mediums.<br />
Such works are difficult to categorize into <strong>the</strong> narrow confines <strong>of</strong><br />
traditional printmaking. These cross borders need to be more<br />
exposed, as in this show.<br />
111.<br />
In this exhibition, <strong>the</strong> curator has widened <strong>the</strong> horizons, consistent<br />
with <strong>the</strong> vision <strong>of</strong> globalization. The opening up <strong>of</strong> borders to printmakers<br />
from twenty nations signals that <strong>the</strong> public is ready to<br />
accept <strong>the</strong>ir print-works as art. The multiplicity <strong>of</strong> hybrid prints<br />
delineates its own boundaries. As is <strong>of</strong>ten <strong>the</strong> practice, that when<br />
we discuss printmaking we touch on <strong>the</strong> technique, medium, and<br />
subject matter, which is what I shall do.
Endi Poskovic shows an exquisite handy work in his woodcuts.<br />
Using a low technology, he produces a stunning piece <strong>of</strong> work.<br />
Equally stunning is <strong>the</strong> work <strong>of</strong> Haruka Furusaka with his<br />
"Intuition". Fauzan Omar uses colored lino-print from <strong>the</strong> series<br />
"Unity in Diversity". Print relieves in numerous techniques have<br />
been produced by various artists. Depicting <strong>the</strong> mundane everyday<br />
life in "Wednesday's Face" Heli Kurunsaari also uses <strong>the</strong> relief<br />
woodcut with color.<br />
Traditional techniques are still widely used in this exhibition.<br />
Etching still has its lure, as can be seen in <strong>the</strong> prints by Loo Foh<br />
Sang and Rita Marhaung. The difference between <strong>the</strong>se two is that<br />
Loo Foh Sang in his "Sunset Series: Festival Dance" is absorbed in<br />
manipulating his plates with fine tonal lines rendered by tiny drops<br />
<strong>of</strong> aquatint. Rita Marhaung, on <strong>the</strong> o<strong>the</strong>r hand, uses photography<br />
and <strong>the</strong> computer to aid her with <strong>the</strong> plate put through <strong>the</strong> press in<br />
<strong>the</strong> traditional way. Sarah Edmonds uses multiple intaglios in her<br />
"Lucerna - The Beheading <strong>of</strong> St. Denis", that employs relief print,<br />
dry etching, and viscosity prints on hand-made paper. In<br />
"Emission" Bill Horsterman utilizes line etching, aquatint, and processing<br />
his plate in intaglio and relief. Emily Wilson with<br />
"Greed/Need", Cerese Cadent with "Western Pivot", Koichi<br />
Yamamoto with her "Site Untouched" takes advantage <strong>of</strong> <strong>the</strong> vast<br />
possibilities provided by etching. O<strong>the</strong>r participants, too, see <strong>the</strong><br />
advantages <strong>of</strong> etching, including Katarzyna Cepek, Lidija<br />
Antanasujevic, Oscar Jay Gillespie, Rahman Mohamed, Hea<strong>the</strong>r<br />
Muise, and Saeki Furukata. Enrique Leal in his "Enfoldment"<br />
manipulates <strong>the</strong> aquatint in such a way that his work seems to<br />
shine, as though emitting light.<br />
Lithography attracts quite a number <strong>of</strong> printmakers who staunchly<br />
defend it as a traditional medium. The image on <strong>the</strong> stone or metal<br />
plate is drawn with brush strokes, litho pencil or konte crayon.<br />
Painters also use <strong>the</strong>se drawing materials. It is not surprising, <strong>the</strong>n,<br />
that many painters are keen to try <strong>the</strong>ir hands on lithography. The
Tamarind Lithography Workshop in Los Angles revives <strong>the</strong> dying<br />
art <strong>of</strong> lithography in <strong>the</strong> 1960s.<br />
Seeing <strong>the</strong> possibilities <strong>of</strong> lithography, Paul Schumann in his<br />
"Drawing vs. Painting" transfers his drawings and sketches that<br />
resemble an actual painting. Ano<strong>the</strong>r lithographer Manee Meemak<br />
in her "Firefly" uses sober color with occasional sparkles. In "The<br />
Draped Divide" Ma<strong>the</strong>w J. Egan takes advantage <strong>of</strong> <strong>the</strong> <strong>of</strong>fset<br />
lithography. Naomi Hashimoto in her "Pr<strong>of</strong>ound" makes use <strong>of</strong> aluminum<br />
plate. Thailand's Tongchai Yukantapornpong plays with colored<br />
lines in "Chaotic and Order".<br />
Andy Warhol popularizes <strong>the</strong> silkscreen and serigraphy as mediums.<br />
Silkscreen is very flexible which means an image is readily be<br />
printed on whatever surfaces with whatever ink. Several artists in<br />
his exhibition use this medium, including Jamil Mohd. Isa in his<br />
"Pisang Emas Dibawa Belayar", Said Aniff Hossanee delivers <strong>the</strong><br />
African spirit in his stencil-work "Orange Safari". Myrtle Clark<br />
Brenner and Melissa Gill present us with <strong>the</strong>ir serigraph works entitled<br />
"Canes Venatici" and "Interchange".<br />
For different reasons many printmakers use <strong>the</strong> monotype and <strong>the</strong><br />
mono print. With mono print, <strong>the</strong> plate can be reprinted; with<br />
monotype, only a single print. There are those who use both techniques<br />
in a single work. Still o<strong>the</strong>rs have used <strong>the</strong>se and o<strong>the</strong>r techniques.<br />
Todd Christensen in his "Detached and Uncaring" uses<br />
multiple techniques, including <strong>the</strong> rubber stamp. Besides using <strong>the</strong><br />
monotype and <strong>the</strong> mono print, Mary Robinson in her "Portal<br />
Variation I-XXXVI" combines o<strong>the</strong>r means as well. O<strong>the</strong>r monotype<br />
and mono print practitioners include Mohamad Rojana,<br />
Satawat Chuaynum and Kamol Kongthang.<br />
There are those who are less than easy with <strong>the</strong> computer and <strong>the</strong><br />
digits. Some follow <strong>the</strong> trends by adopting <strong>the</strong>m, printing using<br />
inkjet, giclee. Benjamin Vasserman, a master etcher, moves on to<br />
using <strong>the</strong> new technology, as can be seen in his digital work
"Diagnosis VI", shown here. Steve Lovett is engrossed in <strong>the</strong> new<br />
technology, using <strong>the</strong> digital print, and <strong>the</strong> video, as can be seen in<br />
his "Down and Up". Likewise, Kathryn Reeves, too. In his xerography<br />
work, Chong Hip Seng adds layers to <strong>the</strong> print surface, which<br />
features figures and texts torn from <strong>the</strong> daily papers and telephone<br />
directory. By printing in multiples, Hip Seng produces a series <strong>of</strong><br />
<strong>the</strong> same work, caring less whe<strong>the</strong>r it is a painting or a print. What<br />
is crucial to him is <strong>the</strong> process <strong>of</strong> making.<br />
Linked to printmaking is <strong>the</strong> use <strong>of</strong> paper. Printmakers are most<br />
particular about <strong>the</strong> paper <strong>the</strong>y use. The texture, <strong>the</strong> feel, <strong>the</strong> acid<br />
contents go into determining how <strong>the</strong> image looks and how long <strong>the</strong><br />
paper will last. Some printmakers devote more time to checking on<br />
<strong>the</strong> quality <strong>of</strong> paper than to doing <strong>the</strong> actual printing. Dr. Chew<br />
Teng Beng is one participant who has done an extensive study on<br />
paper. His two-dimensional work, "TBCGMP" is made <strong>of</strong> handmade<br />
paper. Dr. Mohamad Najib plays around with handmade<br />
paper derived from banana trunks and cloth, printed with traditional<br />
motifs.<br />
A few works may seem out <strong>of</strong> place, shown here to give an idea <strong>of</strong><br />
what constitutes a print. Sculptor Tengku Azahari <strong>of</strong>ten produces<br />
pieces replicated in molds, whose numbers amount to an edition,<br />
no different from <strong>the</strong> run-<strong>of</strong>-<strong>the</strong>-mail print, each as original as <strong>the</strong><br />
last. Mohamad Khizal uses multiple printings in his installation.<br />
Printmaking permits a whole range <strong>of</strong> possibilities. In future exhibitions<br />
<strong>the</strong> blurred boundaries may render divisions pointless.<br />
A. Rahman Mohamad, Guest Curator.
<strong>Rentas</strong> <strong>Sempadan</strong>
Benjamin Vasserman | Diagnosis VI | Digital Print | 2006<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Chew Teng Beng, Dr. | Coralscape Series 2 | Handmade Paper | 1991<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Chong Hip Seng | Countryside #3 | Xeroxgraphy | 2006<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Dariusz Kaca | The last meeting | Colour Linocut | 2006<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Endi Poskovic | Rhino in Red Shoes | Colour Woodcut | 2004<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Fauzan Omar | Unity in Diversity | Colour Linocut | 2000/2001<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Haruka Furusaka | Intuition | Watercolour woodblock | 2006<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Kamol Kongthang | Natural Phemenon # 2 | Lino, Silkscreen, Mono | 2006<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Loo Foh Sang | Sunset Series : Festival Dance | Etching & Aquatint | 2006<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Lou Qi | 53-80- Brush | Woodcut | 2006<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Mohd Jamil Mohd Isa | Pisang Emas Dibawa Belayar | Silkscreen | 2006<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Manee Meemak | Fireflies | Lithography | 1999<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Mohammad Khizal Mohd. Saad | Dejavunik | Print Installation | 2004<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Mohamed Najib Dawa, Dr. | Fussion | Embaded Handmade Paper | 2006<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Muhammad Rojana | Flower | Monoprint | 2007<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Padungsak Panichtrakulsi | Space & Flower No.1| Silkscreen | 2007<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Rahman Mohamed | Conversation | Lithography | 2006<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Rita Marhaug | West coast 2000 Series Variation # 1 | Photobased intaglio | 2004<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Said Aniff Hossanee | Orange Safari | Silkscreen | 2001<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
<strong>Rentas</strong><br />
<strong>Sempadan</strong><br />
Satawat Chuaynum | Trace <strong>of</strong> Civilazation I | Monoprint on handmade paper | 2007
Steve Lovett | Down and Up | Digital Print | 2006<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Tengku Azahari | Merentap Apa Terkandung Di dalam | Fiber Glass Casating | 2006<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Ying Tianqi | City Village Series # 10 | Colour Woodcut | 1989<br />
<strong>Rentas</strong><br />
<strong>Sempadan</strong>
Emission International Portfolio Exchange<br />
The twenty participants in this portfolio<br />
were asked to contemplate and respond<br />
to <strong>the</strong> idea that an emission by one<br />
person, group or nation affects o<strong>the</strong>rs<br />
Project organized by<br />
Mary Robinson<br />
South Carolina, USA
Emission<br />
Portfolio<br />
Clockwise<br />
Myrtle Clark Bremer (UK) | Canes venatici | Seven<br />
Colour Serigraph | 2005<br />
Sarah Edmonds (USA) | Lucerna - Beheading <strong>of</strong> St.Denis |<br />
Blind embossing, drypoint,& viscocity print on white crow<br />
handmade paper | 2005<br />
Kate Ferucci (USA) | Music gives life to everything | letterpress<br />
| 2005<br />
Jill Allen (USA) | Process 929 | Colour Woodcut | 2005
Clockwise<br />
Emission<br />
Portfolio<br />
Melissa Gill (USA) | Interchange | Serigraph | 2005<br />
Lou Joseph (USA) | Accumulation #3 ( Bags ) |<br />
Collagraph | 2005<br />
Bill Hosterman (USA) | Emission | Line etch and<br />
aquatint, printed in intaglio and relif | 2005<br />
Saeko Furukata (France) | Electr<strong>of</strong>airy | Line Etch<br />
and aquatint | 2005
Clockwise<br />
Emission<br />
Portfolio<br />
Rahman Mohamed (Malaysia) | Emission | Line etching<br />
and aquatint | 2005<br />
Michael Markwick (The Ne<strong>the</strong>rlands) | Migration |<br />
Archival Inkjeet on paper | 2005<br />
Daniel Lea<strong>the</strong>rsich (USA) | The cedar cutter | Etching,<br />
Mulbery paper, Cedar veneer mounted on paper | 2005<br />
Haran Kim (Korea) | Emit a sweet fragrance | Monotype,<br />
serigraph, sewing | 2005
Clockwise<br />
Emission<br />
Portfolio<br />
Mary Phelan (USA) | Flow | Letterpress monotype | 2005<br />
Kathryn Reeves (USA) | Who knows what may come on<br />
<strong>the</strong> wind? | Digital opaque pigment print on 100% cotton<br />
paper | 2005<br />
Mary Robinson (USA) | Portal Variations I-XXVI |<br />
Monoprint, line etch, drypoint, monotype, woodcut | 2005<br />
Adam Norton (Australia) | Rocket | Archival Inkjet on<br />
paper | 2005
Clockwise<br />
Emission<br />
Portfolio<br />
Jim Sconyers (USA) | O. B. D II | Ultra Giclee with<br />
acrylic varnish| 2005<br />
Barbara Zeigleri (Canada) | Emission=Prediction |<br />
Woodcut and archival giclee print| 2005<br />
Ainie Scannell (Ireland) | Pnadora finally finds her<br />
voice| Archival Inkjet on Fabriano Paper| 2005<br />
Paul Schumann (USA) | Drawing vs painting : carbon<br />
Exchange | Lithography, serigraphy| 2005
On <strong>the</strong> Edge International Portfolio Exchange<br />
The twenty international artists<br />
participating in <strong>the</strong> portfolio are invited<br />
to reflect on <strong>the</strong>ir own interpretations <strong>of</strong><br />
<strong>the</strong> <strong>the</strong>me and asked to consider <strong>the</strong><br />
formal, artistic, personal, social and/or<br />
political aspects <strong>of</strong> <strong>the</strong> word "edge". How<br />
can artists integrate <strong>the</strong> edges <strong>of</strong> <strong>the</strong><br />
printing surface/paper to inform <strong>the</strong><br />
concept <strong>of</strong> <strong>the</strong> image? What does it mean<br />
for printmaking students to be on <strong>the</strong><br />
verge <strong>of</strong> <strong>the</strong>ir pr<strong>of</strong>essional careers?<br />
What is <strong>the</strong> significance <strong>of</strong> globalization<br />
and <strong>the</strong> disappearance <strong>of</strong> borders<br />
between countries, cultures and ideas?<br />
All participants are also encouraged to<br />
show "On <strong>the</strong> Edge" in <strong>the</strong>ir respective<br />
countries to promote contact between<br />
cultures on a global scale.<br />
Project organized by<br />
Katarzyna Cepek and<br />
Emily Wilson<br />
Arizona, USA
Clockwise<br />
Brian Curling (USA) | Deepen Through Each Passing<br />
| Colour Woodcut | 2005<br />
Emily Wilson (USA) | Greed or Need | Etching,<br />
Aquatint,, Drypoint, Spitbite | 2005<br />
Enrique Leal (Spain) | Enfoldment | TwoColour<br />
Aquatint Intaglio| 2005<br />
Cerese Vadent (USA) | Western Pivot | Line,<br />
Aquatint,,White Ground, S<strong>of</strong>t ground, woodcut | 2005<br />
On <strong>the</strong> Edge<br />
Portfolio
Clockwise<br />
Heli Kurunsaari ( Finland ) | Wednesdays Face |<br />
Colour Woodcut | 2005<br />
Jan Pamula ( Poland) | Image 026 | Digital Print |<br />
2005<br />
Jean Maddison (Canada) | On <strong>the</strong> Edge <strong>of</strong> Life |<br />
Digital Print | 2005<br />
On <strong>the</strong> Edge<br />
Portfolio<br />
Hea<strong>the</strong>r Muise (United Arab Emirates) | City Village<br />
Series # 10 | Etching | 2005
Clockwise<br />
On <strong>the</strong> Edge<br />
Portfolio<br />
Kathryn Reeves (USA) | Edge <strong>of</strong> Reason | Digital<br />
Opaque Pigment Print on 100% cotton paper | 2005<br />
Koichi Yamamoto (USA) | Site Untouched | Intaglio,<br />
White Ground,Aquatint, Copper Engraving | 2005<br />
Lidija Antanasujevic (UK) | Farewell Homeland |<br />
Intaglio, three plates, three colours, Etching and<br />
Aquatint | 2005<br />
Katarzyna Cepek (USA) | In-Between/ Pomiedzy |<br />
Etching, Xerox Transfer and Encaustic | 2005
Clockwise<br />
Marta Wakula (Ireland) | Woman <strong>of</strong> <strong>the</strong> Dunes-<br />
House | Linocut | 2005<br />
Naomi Hashimoto ( Japan) | Pr<strong>of</strong>ound | Aluminium<br />
plate lithography | 2005<br />
Oscar Jay Gillespie (USA) | Rimweed | Engraving<br />
and Aquatint | 2005<br />
Mat<strong>the</strong>w J. Egan (United Arab Emirates) | The<br />
Draped Divide | Offset Lithography | 2005<br />
On <strong>the</strong> Edge<br />
Portfolio
Clockwise<br />
Rahman Mohamed ( Malaysia ) | On <strong>the</strong> Edge |<br />
Etching and Aquatint | 2005<br />
On <strong>the</strong> Edge<br />
Portfolio<br />
Tongchai Yukantapornpong (Thailand ) | On <strong>the</strong><br />
Edge | Lithography | 2005<br />
Todd Christensen (USA) | Detached and Uncaring |<br />
Reductive Linoleum cut, pencil, rubber stamps &<br />
monoprinted stencils | 2005<br />
Stefania Missio (Italy) | Self | Linoleum on Japenese<br />
paper | 2005
Emission Portfolio Participants<br />
Myrtle Clark Bremer (UK), Myrtle Clark Bremer is an artist living in Portsmouth, United Kingdom.<br />
Her work has been shown in national and international exhibitions.<br />
Sarah Edmonds (USA), Sarah Edmonds received an MFA in printmaking from Indiana University in<br />
2003 and a BFA from Kutztown University in 1999. In addition to her formal education, Sarah has pursued<br />
art experiences and exhibitions in <strong>the</strong> Czech Republic, Canada, Italy, <strong>the</strong> Ne<strong>the</strong>rlands, and throughout <strong>the</strong><br />
U.S. Edmonds is currently teaching visual culture and foundations courses at Kutztown University.<br />
Kate Ferrucci (USA), Kate Ferrucci received her undergraduate degree in printmaking from <strong>the</strong><br />
University <strong>of</strong> Notre Dame and her MFA in Graphic Design from Indiana University. In 2002 she founded<br />
People to People Press. Ferrucci is <strong>the</strong> author, designer and producer <strong>of</strong> two books "Limestone Lives: Voices<br />
from <strong>the</strong> Indiana Stone Belt", and "Soundings: Collected Stories from Bloomington's Music Community."<br />
She currently lives and works in Rome, Italy.<br />
Jill Allen (USA), born 1971 in Neenah, WI, received a BFA from <strong>the</strong> University <strong>of</strong> Illinois in<br />
Champaign/Urbana, IL, and an MFA from <strong>the</strong> University <strong>of</strong> South Carolina in Columbia, SC. Allen was an<br />
Artist in Residence at <strong>the</strong> Odyssey Center for <strong>the</strong> Ceramic <strong>Arts</strong> in Asheville, NC and has shown her work in<br />
many exhibitions across <strong>the</strong> country.,. Allen's work has been featured in <strong>the</strong> Ceramic Glaze Handbook by<br />
Mark Burleson, as well as in Handbuilt Tableware by Kathy Triplett.<br />
Melissa Gill (USA), Melissa Gill studied art at University <strong>of</strong> Arizona for her BFA degree in Printmaking.<br />
Attended graduate studies at Purdue University and Indiana University, Bloomington and received MA and<br />
MFA in Printmaking respectively. She is a member <strong>of</strong> MAPC, Sou<strong>the</strong>rn Graphics Council, and College Art<br />
Association. Her art involves many media including printmaking, drawing, painting, photography, bookmaking,<br />
installation, and video. She has exhibited her works in solo art show as well as group exhibitions<br />
both in <strong>the</strong> states and internationally. Currently, she is an Assistant Pr<strong>of</strong>essor <strong>of</strong> Art at Rockport College,<br />
Illinois.<br />
Lou Joseph (USA), born in 1975 in Youngstown, Ohio. Now he lives and works in Durham, North<br />
Carolina, USA. Received his BFA degree from Ohio Wesleyan University, Delaware, Ohio, USA, and an<br />
MFA from Indiana University, Bloomington, Indiana. He has shown his work in many exhibitions in <strong>the</strong><br />
USA and abroad including Italy, England, Ireland, Poland and Germany.<br />
Bill Hosterman (USA), is an Assistant Pr<strong>of</strong>essor <strong>of</strong> Art at Grand Valley State University in Allendale,<br />
Michigan, where he has taught printmaking, drawing and foundations since 1999. He has degrees in printmaking<br />
from The Pennsylvania State University and Indiana University. During <strong>the</strong> summer <strong>of</strong> 1993, Bill<br />
apprenticed at <strong>the</strong> K. Caraccio Printmaking Studio and Bob Blackburn's Printmaking Workshop, both in<br />
New York City. In 1995, Bill went to South Africa on a Fulbright scholarship to study printmaking.<br />
Saeko Furukata (France), Born and brought up in Tokyo, studied BA visual communication (mainly<br />
illustration) at Kent Institute <strong>of</strong> Art and Design in England.She's always interested in childhood thoughts<br />
and memories. Her univers is constructed by little girl and her toys in twisted wonderland.Working as an<br />
illustrator for children's books and some magazine.Recently she is designing toys, also sometimes updating<br />
her web-site with degital finished works. She has resumed etching in Paris.
Rahman Mohamed (Malaysia), was born in Johor, Malaysia. He has a BA degree from Universiti Sains<br />
Malaysia (<strong>USM</strong>), MSc degree from Pratt Institute in New York, USA and MFA degree from UW-<br />
Milwaukee, USA. Currently he is a lecturer at <strong>the</strong> <strong>School</strong> <strong>of</strong> <strong>Arts</strong>, <strong>USM</strong>. Rahman works mainly in intaglio<br />
and woodcut. He has participated in numerous art exhibitions in Malaysia, Thailand, Singapore,<br />
Bangladesh, France , USA, Germany, Italy, Turkey, Canada and Poland. Besides printmaking, he also produces<br />
works in digital art and interactive multimedia.<br />
Michael Markwick (The Ne<strong>the</strong>rlands), is a painter and printmaker who lives and works in Dordrecht,<br />
<strong>the</strong> Ne<strong>the</strong>rlands, and Berlin, Germany. He was born on April 3, 1974, in Grand Rapids, Michigan, <strong>the</strong><br />
United States, to first- generation Dutch and Sri Lankan immigrants. He received a Bachelor <strong>of</strong> Fine <strong>Arts</strong><br />
degree in printmaking and painting in 1998 from Calvin College. He was awarded a Master <strong>of</strong> Fine <strong>Arts</strong><br />
degree in 2002 in printmaking and mixed-media installations from Indiana University, Bloomington,<br />
Indiana, U.S.A.In 2002 he moved to <strong>the</strong> Ne<strong>the</strong>rlands to explore his Dutch roots.<br />
Daniel Lea<strong>the</strong>rsich (USA), is a painter and printmaker based in Berks County Pennsylvania, USA. His<br />
work is informed by a firm connection to history, a relationship with nature, and a strong community <strong>of</strong><br />
people. Lea<strong>the</strong>rsich has shown with <strong>the</strong> Boston Printmakers, <strong>the</strong> Printmaking Council <strong>of</strong> New Jersey, and<br />
<strong>the</strong> New <strong>Arts</strong> Program (Kutztown, PA) as well as many o<strong>the</strong>r group exhibitions throughout <strong>the</strong> United<br />
States. He has received grants from Kutztown University, and <strong>the</strong> Indiana <strong>Arts</strong> Commission with funding<br />
from <strong>the</strong> National Endowment for <strong>the</strong> <strong>Arts</strong> (USA).<br />
Haran Kim (Korea), lives and works in Seoul, Korea. Studied BFA,with major in printmaking at Hong-Ik<br />
University, Seoul. Korea. She received her MFA in Printmaking from Indiana University, Bloomington,<br />
USA. She has shown her work in numerous art exhibitions both in Korea and abroad, including The Third<br />
Seoul International Book <strong>Arts</strong> Fair and Frankfurt Book Fair, Germany. Participated in artist in residence<br />
program at <strong>the</strong> Kimmel Herding Center for <strong>the</strong> <strong>Arts</strong>, Nebraska in March and April 2007.<br />
Mary Phelan (USA), an Associate Pr<strong>of</strong>essor received BS in Art Education, College <strong>of</strong> Saint Rose; MA<br />
from, UW-Madison. Currently Coordinator <strong>of</strong> <strong>the</strong> Fine <strong>Arts</strong>, Printmaking/Book <strong>Arts</strong> undergraduate department.<br />
She frequently lectures and <strong>of</strong>fers workshops on letterpress printing and book arts and has curated<br />
numerous exhibitions related to artists' books. She is known for both her prints and letterpress printing and<br />
has collaborated with many o<strong>the</strong>r artists to create books and various art projects.<br />
Kathryn Reeves (USA), Pr<strong>of</strong>essor <strong>of</strong> Art. Her area <strong>of</strong> specialization is print media: digital, intaglio, lithography,<br />
screen, relief, and hybrid forms. BFA, 1974, painting/printmaking, Miami University <strong>of</strong> Ohio; post<br />
baccalaureate studies, 1975, Harvard University; MFA, 1981, printmaking/drawing, Drake University. She<br />
also taught at Drake University and Iowa State University, and worked at Harvard's Fogg Art Museum.<br />
Reeves has shown over 200 international, national, and regional exhibitions - including in 2005, solo show<br />
at <strong>the</strong> Scuola Internazionale di Grafica, Italy and group shows in New Zealand, Germany, and Poland. Her<br />
work has also been shown in Taiwan, UK, Australia, and throughout North America. Her prints are included<br />
in The Best <strong>of</strong> Printmaking: An International Collection by Allen and McGibbon.<br />
Mary Robinson (USA), is currently an Assistant Pr<strong>of</strong>essor and Head <strong>of</strong> Printmaking in <strong>the</strong> Department <strong>of</strong><br />
Art at <strong>the</strong> University <strong>of</strong> South Carolina-Columbia. Her work, which takes <strong>the</strong> form <strong>of</strong> drawing, painting,<br />
printmaking and installation, has been shown in nine solo exhibitions, and has been included in over forty<br />
group exhibitions, including shows throughout <strong>the</strong> United States, as well as in England, Germany, Italy and<br />
Australia. Robinson has received numerous grants and awards, including a Fulbright-Hayes Study Abroad<br />
Project in Korea in 2004. In 2005, she initiated and coordinated <strong>the</strong> international print exchange Emission.
Adam Norton (Australia), was born in United Kingdom in 1974, now residing in Sydney, Australia.<br />
Received his BFA from The Ruskin <strong>School</strong> <strong>of</strong> Drawing and Fine Art, Oxford University. Spent his residency<br />
at Toos Neger Studio, Dordrecht, The Ne<strong>the</strong>rlands in 2004. He has several one man shows and group exhibitions<br />
held both in Australia and The Ne<strong>the</strong>rlands.<br />
Jim Sconyers (USA), he is an artist in a variety <strong>of</strong> media, including printmaking, photography, and digital<br />
media. In 2002, he received his MFA from Indiana University's Henry Radford Hope <strong>School</strong> <strong>of</strong> Fine <strong>Arts</strong>.<br />
Since that time, his work has been selected for both national and international exhibition, including <strong>the</strong><br />
Global Matrix print exhibition in 2003 and Prints! exhibition in Rome, Italy in 2004. In 2006, Jim was <strong>the</strong><br />
recipient <strong>of</strong> a Mednick Fellowship by <strong>the</strong> Virginia Foundation for Independent Colleges to explore <strong>the</strong><br />
<strong>the</strong>mes <strong>of</strong> community, collaboration, and communication. His current work is scheduled to debut in Hunt<br />
Gallery, Mary Baldwin College, in 2008.<br />
Barbara Zeigler (Canada), Associate Pr<strong>of</strong>essor, received her B.F.A. in Painting and her M.F.A. in<br />
Printmaking from <strong>the</strong> University <strong>of</strong> Illinois in Urbana, Illinois. Additionally, she studied for 2 and 1/2 years<br />
at <strong>the</strong> Akademie der bildenden Kuenste in Munich, Germany and at <strong>the</strong> Universitaet Muenchen. She has<br />
also taught at <strong>the</strong> Nova Scotia College <strong>of</strong> Art and Design, Queen's University, <strong>the</strong> University <strong>of</strong> Alberta, and<br />
<strong>the</strong> University <strong>of</strong> Illinois (Champaign-Urbana). She has special interest and accomplishment in <strong>the</strong> area <strong>of</strong><br />
print media (specifically intaglio and relief printing, lithography, and digital imaging), and in drawing, photography,<br />
and installation art. Her work has been exhibited widely nationally and internationally. Most<br />
recently she has been exploring <strong>the</strong> integration <strong>of</strong> digital technology into printmaking practice. In this way<br />
she hopes to promote <strong>the</strong> study and critique <strong>of</strong> contemporary culture by using experimental approaches to<br />
interdisciplinary print-based research.<br />
Aine Scannell (Ireland), Born 1957 , is an Irish artist who is resident in <strong>the</strong> UK. Her formal fine art education<br />
was 'instilled' by a plethora <strong>of</strong> somniferous bag ladies and pedagogues. These included <strong>the</strong> 'usual suspects'<br />
e.g., Middlesex, Goldsmiths, Wimbledon and Barcelona. In <strong>the</strong>se past ten years though, thank goodness,<br />
outcomes have been going more successfully, on my own terms, and that has been as a graphic artist<br />
in <strong>the</strong> European sense <strong>of</strong> <strong>the</strong> word. So she makes drawings, installations, art-objects and printmaking<br />
works - <strong>the</strong>se are original intaglio and digital prints, sometimes <strong>the</strong>y comprise both techniques. This additionally<br />
applies to <strong>the</strong> bookart works she has made.<br />
Paul Schumann (USA), received his MFA in printmaking from Indiana University. He has taught at <strong>the</strong><br />
Minneapolis College <strong>of</strong> Art and Design, and <strong>the</strong> University <strong>of</strong> Minnesota. His prints and drawings have<br />
been shown throughout <strong>the</strong> United states and o<strong>the</strong>r countries.
On The Edge Portfolio Participants<br />
Brian W.Curling (USA) is from Cadiz, Kentucky and has received his BFA from <strong>the</strong> University <strong>of</strong><br />
Kentucky-Lexington, Kentucky in <strong>the</strong> year 2000. He received his MFA in Printmaking, Book <strong>Arts</strong> and<br />
Drawing from <strong>the</strong> University <strong>of</strong> Nebraska-Lincoln, Nebraska in 2004. In 2005, he participated in exhibitions<br />
such as <strong>the</strong> Open Expression, Contemporary American Art American University in Cairo Egypt and Es<br />
Waren Zwei Konigskinder (Once Were Two King's Children) at <strong>the</strong> Eackladen Altwachwitz Gallery in<br />
Dresden, Germany. He also achieved awards such as <strong>the</strong> Finnish Graphics Council, Artist Residency<br />
Recipient, Helsinki, Finland and also <strong>the</strong> Vreeland Award for distinguished MFA Candidate, University <strong>of</strong><br />
Nebraska.<br />
Emily Wilson (USA). She is from Sacramento, California. She received her BFA from <strong>the</strong> Utah State<br />
University, and her MFA from <strong>the</strong> University <strong>of</strong> Arizona, Tuscan, Arizona. She has participated in several<br />
exhibitions such as <strong>the</strong> Street Collections at The Place Gallery St. Loius, MO and also Half and Half at <strong>the</strong><br />
CurrisCenter Gallery, Murray State University, KY. Her awards included 30th International Print and<br />
Drawing Exhibition, Public Choice Award in 2005 and <strong>the</strong> Pr<strong>of</strong>essional Development Grant, Arizona<br />
Commission <strong>of</strong> <strong>the</strong> <strong>Arts</strong> in 2004. She initiated and coordinated <strong>the</strong> international print exchange On <strong>the</strong><br />
Edge.<br />
Enrique Leal (Spain) is from Madrid, Spain and is an Associate Pr<strong>of</strong>essor <strong>of</strong> Art, Facultad de Bellas Artes<br />
Cuenca, Universidad de Castilla La Mancha, Spain. He has received his BFA in Drawing and Printmaking at<br />
<strong>the</strong> Politechnical University Valencia in 1996 and his MFA in Drawing and Printmaking at <strong>the</strong> Universidad<br />
de Castilla La Mancha in 1998. Also, he took his PhD. Fine <strong>Arts</strong> at <strong>the</strong> University <strong>of</strong> Castilla La Mancha in<br />
2003. He has participated in numerous group exhibitions such as in 2004 at <strong>the</strong> Tribes Gallery, New York<br />
and also in 2005 at <strong>the</strong> RCIPP, Mason Gross <strong>School</strong> <strong>of</strong> <strong>Arts</strong>, Rutgers University in New Brunswick, New<br />
Jersey.<br />
Cerese Vaden (USA) She was raised on a ranch in rural central Idaho, Cerese Vaden established early her<br />
interest in constructions and natural forms. Often incorporating <strong>the</strong> juxtaposition <strong>of</strong> three-dimensional<br />
objects with what have traditionally been two-dimensional works; paintings, prints and drawings, Vaden's<br />
artwork merges and presents <strong>the</strong>se elements within three dimensional formats and structures. An assistant<br />
pr<strong>of</strong>essor <strong>of</strong> art at <strong>the</strong> University <strong>of</strong> Arizona since 2000, Vaden teaches printmaking, watercolour, drawing<br />
and book art courses. In 2001, she took a hiatus serve as Director <strong>of</strong> Landfall Press in Chicago, Illinois. Her<br />
prints and mixed media works have been shown throughout <strong>the</strong> United States as well as many locations<br />
abroad.<br />
Heli Kurunsaari (Finland) was born in 1971 in Lapua, Finland. Graduated from <strong>the</strong> Art Institute <strong>of</strong> Lahti<br />
Polytechnic in 1996. She has had many solo and group exhibitions in Finland and abroad. Her work has<br />
been shown internationally in such exhibiton as A Century <strong>of</strong> <strong>the</strong> Woodcut Print in Finland, Sheldon<br />
Memorial Art Gallery and Eisentrager/ Howard Gallery, Lincoln in Nebraska USA, Finnish Institute in<br />
Madrid, Mois de l'Estampe-Finnish Institute in France, 4th Print Triennial Kochi in Japan, 11th Print<br />
Triennial <strong>of</strong> Tallinn in Estonia and World Award Winners Gallery in Katowice, Poland. Her work is included<br />
in essential collections in Finland. She is also a member <strong>of</strong> <strong>the</strong> board Association <strong>of</strong> Graphic <strong>Arts</strong> in<br />
Finland.
Jan Pamula (Poland). A pr<strong>of</strong>essor <strong>of</strong> <strong>the</strong> Academy <strong>of</strong> Fine <strong>Arts</strong> in Krakow.He was born in 1944 in Poland.<br />
1961-68 he studied painting and graphic art at <strong>the</strong> Academy <strong>of</strong> Fine <strong>Arts</strong> in Krakow, and in 1967 at <strong>the</strong> Ecole<br />
Nationale Superieure des Beaux <strong>Arts</strong> in Paris. . Pamula has had over 50 solo exhibitions in Poland and<br />
abroad. He has taken part in several hundred collective, international exhibitions. He received numerous<br />
prizes on international and domestic exhibitions. In 2003, he was awarded <strong>the</strong> annual prize <strong>of</strong> Witold<br />
Wojtkiewicz ZPAP in Krakow . His works <strong>of</strong> art can be found in <strong>the</strong> collections <strong>of</strong> <strong>the</strong> National Museum in<br />
Warsaw and Krakow; Victoria and Albert Museum, London; Albertina in Vienna; Portland Art Museum in<br />
Oregon.<br />
Jean Maddison (Canada) Pr<strong>of</strong>essor at <strong>the</strong> University <strong>of</strong> Guelph, Canada. She has been a printmaker for<br />
over 25 years and taught at many universities, including University <strong>of</strong> Victoria, B.C., University <strong>of</strong> Western<br />
Ontario, Mount Allison U., N.B., York University and McMaster University in Ontario, Canada. She migrated<br />
to Canada in 1977 from England. During <strong>the</strong> years 1972-1977, she set up and managed <strong>the</strong> Lithographic<br />
Print Workshop in London, England where she printed editions for and collaborated as Master Printer with<br />
many artists from all over <strong>the</strong> world. Her Lithography Print Workshop was mentioned in <strong>the</strong> Thames and<br />
Hudson Manual <strong>of</strong> Advanced Lithography by Richard Vicary, published in London in 1977.<br />
Hea<strong>the</strong>r Muise (United Arab Emirates) received her B.F.A. from <strong>the</strong> University <strong>of</strong> Windsor, Canada, and<br />
her M.F.A in studio art (printmaking) from <strong>the</strong> University <strong>of</strong> Tennessee. Her work has been exhibited in<br />
over 80 shows across four continents. She has been teaching printmaking and foundations courses at<br />
Zayed University in <strong>the</strong> United Arab Emirates for <strong>the</strong> past five years where one <strong>of</strong> her main areas <strong>of</strong> research<br />
is creating bridges between Arab and Western artists and cultures through <strong>the</strong> printmaking media. She has<br />
recently moved to Greenville, North Carolina with her partner Mat<strong>the</strong>w Egan. Her work has been exhibited<br />
across North America, in Europe, <strong>the</strong> Middle East and Australia.<br />
Kathryn Reeves (USA). Please see her bio in <strong>the</strong> Emission portfolio.<br />
Koichi Yamamoto (USA) is <strong>the</strong> Assistant Pr<strong>of</strong>essor in Printmaking at <strong>the</strong> Department <strong>of</strong> Art in Utah<br />
State University. He received his Bachelor <strong>of</strong> Fine <strong>Arts</strong> Degree at <strong>the</strong> Pacific Northwest College <strong>of</strong> Art,<br />
Portland, Oregon and received his Masters <strong>of</strong> Fine <strong>Arts</strong> Degree at <strong>the</strong> University <strong>of</strong> Alberta, Edmonton,<br />
Alberta Canada.<br />
Lidija Antanasujevic (UK). She was born in 1961 in Belgrade, Serbia and Montenegro. She received her<br />
MA in printmaking at <strong>the</strong> Faculty <strong>of</strong> Fine <strong>Arts</strong>, University <strong>of</strong> <strong>Arts</strong> in Belgrade. She had done numerous solo<br />
exhibitions like The Easiness <strong>of</strong> Mere Being at Gallery Dvorni Trg, Ljubljana, Slovenia in 2000 and also at<br />
<strong>the</strong> London Print Workshop Gallery in London. She has also participated in group exhibitions such as <strong>the</strong><br />
Continental Breakfast Belgrade and May Exhibitions <strong>of</strong> Prints in Belgrade.<br />
Katarzyna Cepek (USA). She received her BFA in Drawing and Printmaking from Boise State University<br />
in 2003. MFA in Printmaking at <strong>the</strong> University <strong>of</strong> Arizona. Participated in exhibitions in <strong>the</strong> USA, and New<br />
Zealand. Cepek was born in Poland and left her native country at <strong>the</strong> age <strong>of</strong> ten. Since her arrival in <strong>the</strong><br />
United States, she has existed between two cultures. Her art work examines <strong>the</strong> concept <strong>of</strong> construction <strong>of</strong><br />
self through <strong>the</strong> reconstruction <strong>of</strong> memory. She draws on childhood recollections as well as family histories<br />
to create work that explores her identity as a Polish citizen living indefinitely in America.<br />
Marta Wakula (Ireland). She was born in 1979 in Poland. Graduated from Institute <strong>of</strong> Art, Pedagogical<br />
University in Cracow (1988-2003) Department <strong>of</strong> Linocut. Dealing with woodcut and linocut technique and<br />
painting. Graduated from <strong>School</strong> <strong>of</strong> Icon's painting in Cracow (2000) and <strong>School</strong> <strong>of</strong> Computer Design in<br />
Cracow (2002). Participated in a Competition <strong>of</strong> Bietigheim-Bissingen Linocut Today, Germany, 2004 and<br />
VIII International Engraving Biennial Caixnova, Spain, 2004.
Naomi Hashimoto (Japan) was born in Tokyo, Japan. Graduated from Tama Art University, Japan,<br />
studied graphic design and lithography and took BA. Participated in a Workshop on Reduction Woodcut<br />
Printmaking with Pr<strong>of</strong>essor Karen Kunc, University <strong>of</strong> Nebraska, Lincoln, U.S.A at St. Reparata, Florence,<br />
Italy, summer 1999. Have personal exhibitons several times mostly in Tokyo, Japan. Participated in international<br />
exhibitions such as Grafinnova '98 (Vaasa, Finland), Mini print International CADAQUES (Spain),<br />
International Biennale <strong>of</strong> Miniature Art (Serbia and Montenegro) and o<strong>the</strong>rs.<br />
Oscar Jay Gillespie (USA). Pr<strong>of</strong>essor <strong>of</strong> Art at Bradley University, Illinois. BFA from Nor<strong>the</strong>rn Arizona<br />
University. MFA in Printmaking from Arizona State University. Founding Coordinator and Printer <strong>of</strong><br />
Cradle Oak Press, University <strong>of</strong> Bradley. Participated in numerous exhibitions in <strong>the</strong> USA and abroad.<br />
Mat<strong>the</strong>w J. Egan ( United Arab Emirates). He was born in Canada, and recently taught printmaking for<br />
several years in <strong>the</strong> United Arab Emirates where he was an Assistant Pr<strong>of</strong>essor <strong>of</strong> Foundations and Design<br />
at American University <strong>of</strong> Sharjah. He earned a MFA from <strong>the</strong> University <strong>of</strong> South Dakota and a BFA from<br />
<strong>the</strong> University <strong>of</strong> Windsor. One <strong>of</strong> his main areas <strong>of</strong> interest and research is forging opportunities and links<br />
between Eastern and Western image-making traditions and practices through an attempt to identify with<br />
cultural and social issues relating to both individual nations and <strong>the</strong> wider narratives <strong>of</strong> <strong>the</strong> eastern and<br />
western hemispheres.<br />
Rahman Mohamed (Malaysia). Please see his bio in Emission Portfolio.<br />
Tongchai Yukantapornpong (Thailand). He was born in Bangkok in 1960. In <strong>the</strong> year 1981, Thongchai<br />
graduated in <strong>the</strong> College <strong>of</strong> Fine <strong>Arts</strong> in Bangkok. Received B.F.A. in Graphic <strong>Arts</strong> in 1985 and M.F.A in<br />
Graphic <strong>Arts</strong> in 2002 both in Silpakorn University, Bangkok. As <strong>the</strong> Art Instructor in Printmaking,<br />
Department <strong>of</strong> Printmaking Painting and Sculpture in <strong>the</strong> Faculty <strong>of</strong> <strong>Arts</strong>, Chiang Mai University,<br />
Thongchai has participated in many exhibitions like <strong>the</strong> 48th and 49th National Exhibition <strong>of</strong> <strong>Arts</strong> at <strong>the</strong><br />
National Gallery in Bangkok as well as plenty solo exhibitions such as exhibitions in <strong>the</strong> A.C.S Gallery<br />
Nagoya, Japan and in <strong>the</strong> Twain Tippetts Exhibition Hall, Utah State University, USA. Also, is <strong>the</strong> award<br />
winner <strong>of</strong> <strong>the</strong> 13th Toshiba "Brings Good Things to Life" Art Competition.<br />
Todd Christensen (USA). He is from Las Vegas, USA attended Utah State University from 1999-2001. He<br />
also has attended University <strong>of</strong> Arizona to do his MFA. He has worked as a Graduate Teaching Assistant<br />
and Adjunct Faculty both in <strong>the</strong> University <strong>of</strong> Arizona. In 2005, he had participated in three exhibitions<br />
which is <strong>the</strong> Hereditary Anxieties (solo show) in Burris Hall Gallery, Las Vegas, <strong>the</strong> '18th Annual El Ancon<br />
Show' in Ribera and <strong>the</strong> 'Wild West Sideshow Adventure', Mangere Community <strong>Arts</strong> Outreach Gallery<br />
Manukau, New Zealand. He has participated with many invitational portfolio exchange such as <strong>the</strong><br />
Frogman Press 2001 Portfolio and Second Intermountain Invitational Print Portfolio.<br />
Stefania Missio (Italy)
<strong>Rentas</strong> <strong>Sempadan</strong> Participants<br />
Benjamin Vasserman (Estonia)<br />
Born 1949.Studied at Estonian Academy <strong>of</strong> Art (graphic art) 1973 - 1979.<br />
Began to exhibit in 1978. Member <strong>of</strong> <strong>the</strong> Estonian Artists'Association since<br />
1989.At present free-lance artist in Tallinn. Participated in hundreds <strong>of</strong><br />
print exhibition worldwide, including solo exhibitions in Estonia, Germany,<br />
Finland and Denmark. International print exhibition in Romania, USA,<br />
Poland, Italy, Canada, Norway, Macedonia, India, Korea, Thailand and<br />
including <strong>the</strong> Universiti Sains Malaysia International Print Exhibition 2007,<br />
Malaysia. He has won several major awards and special prizes including <strong>the</strong><br />
10th. Tallinn Print Triennale and gold prize in Beijing, China.<br />
Chew Teng Beng, Dr. (Malaysia)<br />
Born in Trengganu, Malaysia. Studied at Cranbrook Academy, Michigan.<br />
Received BFA and MFA from University <strong>of</strong> Michigan, PhD from New York<br />
University, USA in 1986.Established painting and printmaking department<br />
in <strong>the</strong> Seina Height University, Andrian in 1970. Established fine arts program<br />
in <strong>the</strong> <strong>School</strong> <strong>of</strong> Humanities, Universiti Sains Malaysia in 1972.<br />
Participated in many art exhibitions nationally and internationally. He had<br />
18 solo shows and many group shows in <strong>the</strong> USA, China, Australia, Europe,<br />
Brazil, Taiwan, and ASEAN countries.<br />
Chong Hip Seng (Malaysia)<br />
Born 1950 in Penang, Malaysia. A full time artist. Studied lithography under<br />
Sandoz Claude, Switzerland. He has participated in various exhibitions in<br />
Malaysia, Thailand, Singapore, and China. Held a number <strong>of</strong> solo art exhibitions<br />
including - 1st. 7 2nd. Solo Exhibition, Penang 1977; and 1983. A solo<br />
show at Takashimaya, Singapore in 1995. His works are in <strong>the</strong> collection <strong>of</strong><br />
National Art Gallery, Malaysia; Singapore Art Museum; Universiti Utara<br />
Malaysia and Siam Art Museum, Thailand.<br />
Dariusz Kaca (Poland)<br />
Born in Kutno in 1960. He is presently working as a tutor in <strong>the</strong> Studio <strong>of</strong><br />
Woodcut Techniques at <strong>the</strong> Department <strong>of</strong> Graphics and Paintings at<br />
Strzeminski's Academy <strong>of</strong> Fine <strong>Arts</strong> in Lodz. Poland.He earned his M.F.A<br />
from <strong>the</strong> High <strong>School</strong> <strong>of</strong> Fine <strong>Arts</strong> in Lodz in 1994. He pursues artistic and<br />
design graphic, artistic book, drawing and painting.He has 17 solo exhibitions<br />
and participated in 130 group exhibitions in Poland and abroad.<br />
Including <strong>the</strong> Universiti Sains Malaysia International Print Exhibition 2007.
Endi Poskovic (USA)<br />
Born in 1969 in Sarajevo, Bosnia. Lives in<strong>the</strong> United States since 1991. A<br />
graduate <strong>of</strong> Sarajevo <strong>School</strong> <strong>of</strong> Applied <strong>Arts</strong> (Diploma in Fine <strong>Arts</strong>) 1986,<br />
Sarajevo Principal <strong>School</strong> <strong>of</strong> Music (Music Diploma) 1987, Sarajevo<br />
Academy <strong>of</strong> Fine <strong>Arts</strong>/University <strong>of</strong> Sarajevo (B.F.A.) 1990, studied at<br />
Minnet Fondet in Norway 1990-91, State University <strong>of</strong> New York at Buffalo<br />
(M.F.A.) He has over 300 individual and group exhibitions, including all<br />
major international annual, biannual and triennial exhibitions <strong>of</strong> prints<br />
throughout <strong>the</strong> United States, Europe, Australia, Canada, China, Cuba,<br />
Ecuador, Japan, Korea, South Africa, Thailand and Malaysia. His works are<br />
in <strong>the</strong> collection in over 100 public and universities collections.<br />
Faizan @ Fauzan bin Omar (Malaysia)<br />
Associate Pr<strong>of</strong>essor <strong>of</strong> Art at <strong>the</strong> <strong>School</strong> <strong>of</strong> <strong>Arts</strong>, Universiti Sains Malaysia.<br />
Graduated with Diploma in Art and Design (Fine Art),ITM Shah Alam,<br />
Obtained Art Teachers' Diploma from ITM Shah Alam,MFA (Painting)<br />
Maryland Institute College <strong>of</strong> <strong>Arts</strong> , U.S.A. Participated in many art exhibition<br />
in Malaysia, ASEAN countries, Australia and Thailand. He has won several<br />
art awards including Australian Cultural Award 1995; Major Award<br />
Philip Morris Art Competition, Joint Winner in Printmaking Category Salon<br />
Malaysia 1992.<br />
Haruka Furusaka (Japan)<br />
She was born in 1976, Osaka, Japan. Now an independent artist working in<br />
watercolor, woodblock printmaking and painting. She lives in Osaka, Japan.<br />
Awarded BFA from Musashino Art University, Tokyo. Studied Japanese<br />
Woodblock Printmaking at Nagasawa Art Park in 2001. She has conducted<br />
workshops on Japanese Woodblock Printing in <strong>the</strong> USA and Germany.<br />
Furusaka stayed at <strong>the</strong> residence Ateljé Stundars maintained by <strong>the</strong> Council<br />
<strong>of</strong> Swedish Education and Culture in Ostrobothnia, Finland. Shows her<br />
prints in many art exhibitions including <strong>the</strong> Universiti Sains Malaysia<br />
International Print Exhibition 2007.<br />
Kamol Kongthong (Thailand)<br />
He was born in Nakhon Sri Thammarat, Thailand. Participated in many art<br />
exhibition in China, Thailand and Malaysia including <strong>the</strong> 3rd Exhibition <strong>of</strong><br />
New Expression <strong>of</strong> Asian Art in Kuala Lumpur 2006; Artists’ Heart for<br />
Tsunami Art Exhibition, Bangkok2005; <strong>the</strong> 14th. Watercolour Exhibition <strong>of</strong><br />
Asia, China 2000.
Loo Foh Sang (Malaysia)<br />
Born in 1944 in Kuantan, Pahang. He studied at Nanyang Academy <strong>of</strong> Fine<br />
<strong>Arts</strong>, Singapore 1963-65; fur<strong>the</strong>r his studies at <strong>the</strong>Ecole National Superieure<br />
des Beaux <strong>Arts</strong> and Atelier 17 (under Stanley William Hayter) in Paris,<br />
France. Returned to Malaysia in 1988 and taught print-making at <strong>the</strong><br />
Malaysian Institute <strong>of</strong> Art until 1993. Head <strong>of</strong> <strong>the</strong> Fine Art Department <strong>of</strong><br />
Central Academy. Helped organise <strong>the</strong> First International Annual Printmaking<br />
Exhibition at Central Art Gallery in KL, in 1996. This exhibition<br />
developed into <strong>the</strong> Annual Exhibition <strong>of</strong> International Contemporary Prints,<br />
which showed 70 works from 39 countries.<br />
Lou Qi (China)<br />
He was born in Hangzhou, China in 1960. He is a chief editor <strong>of</strong> Art Riches<br />
Magazine, China. He has been invited as a guest lecturer at Milan Academy<br />
<strong>of</strong> Fine <strong>Arts</strong>, Italy and Seattle Communication College, Washington, USA.<br />
Has exhibited in many art exhibition in China, France, Japan, Malaysia,<br />
Taiwan, Germany, Sweeden, Denmark, Austria, and Thailand. His works<br />
are in many public collections including Yale University Art Gallery; Malm<br />
Modern Art Museum, Sweeden; eastern Art Museum, Japan; FBVA<br />
Foundation for Humanities, France.<br />
Mohd Jamil Mohd Isa (Malaysia)<br />
He was born in 1967 in Penang, Malaysia. earned in Diploma in Art & Design<br />
from ITM, Shah Alam. Awarded MA in Fine Art from University <strong>of</strong> Central<br />
England, Birmingham. Now a lecturer at Universiti Teknologi MARA, Shah<br />
Alam. Had his solo exhibition - Yang Hitam Manis in 2000. Participated in<br />
many art exhibitions in Malaysia and abroad including X’change- Nagoya<br />
Art University, Japan; Alternative Printmaking - Galeri Petronas, Kuala<br />
Lumpur; 4th. Triennale <strong>of</strong> Small Print, France. His works are in <strong>the</strong> collection<br />
<strong>of</strong> many coporate bodies including National Art Gallery Malaysia,<br />
Malaysian Embassy, Stockholm and Concorde Hotel, Kuala Lumpur.<br />
Manee Meemak (Thailand)<br />
Born in 1977 , Nakornsrithomra, Thailand. Instructor in printmaking,<br />
Faculty <strong>of</strong> Art ,Thaksin University Songkhla, Thailand. Awarded B.F.A. and<br />
MFA in Graphic Art from <strong>the</strong> Faculty <strong>of</strong> Painting, Sculpture and Graphic<br />
<strong>Arts</strong> Silpakron University, Bangkok Thailand. Exhibited her lithographs in<br />
many art exhibitions including Kyoto Hanga in Japan; Universiti Sains<br />
Malaysia International Print Exhibition 2007; The 18th. Silpa Bhirasri<br />
Exhibition <strong>of</strong> Contemporary <strong>Arts</strong>, Bangkok.
Mohamad Khizal Mohamad Saat (Malaysia)<br />
He was born 1977, in Taiping, Malaysia. A lecturer in printmaking at<br />
Universiti Sains Malaysia <strong>School</strong> <strong>of</strong> <strong>Arts</strong>. He has his BFA from Universiti<br />
Teknologi MARA. Graduated with MFAD in Printmaking from University <strong>of</strong><br />
Tasmania, Australia. He has conducted several printmaking workshops and<br />
demonstrations around Malaysia. He has exhibited his works in many exhibitions<br />
in Malaysia, Australia and Thailand.<br />
Mohamed Najib Ahmad Dawa, Dr. (Malaysia)<br />
He was born in Pahang, Malaysia. Currently an associate pr<strong>of</strong>essor in art at<br />
<strong>the</strong> <strong>School</strong> <strong>of</strong> <strong>Arts</strong>, Universiti Sains Malaysia, Penang. Earned his BA in Fine<br />
<strong>Arts</strong> from Universiti Sains Malaysia, awarded MA and Ph.D from<br />
Manchester Metropolitan University, UK. He has partcipated in many art<br />
exhibition in Malaysia, United Kingdom, Australia, Mauritius, USA and<br />
Thailand. He has conducted batik workshops at The Syracus University,<br />
New York, USA. He has curated an art exhibition at <strong>the</strong> National Art Gallery,<br />
Malaysia.<br />
Muhammad Rojana Udomsat (Thailand)<br />
He was born 1959 in Pattani, Thailand. Received his art training from <strong>the</strong><br />
Poh Chang Art College, Bangkok. He has shown his works in many art exhibitions<br />
including Contemporary Art Exhibition 1990 in Pattaya; 2nd. Phuket<br />
Andaman painting Exhibition 2000; <strong>the</strong> Universiti Sains Malaysia<br />
International Print Exhibition 2007; <strong>the</strong> 14th. International watercolour<br />
Exhibition <strong>of</strong> Asia in China 2000; Exhibition <strong>of</strong> Painting, Thammasat<br />
University, Bangkok 1990 and Artist’s Heart for Tsunami at <strong>the</strong> Queen’s<br />
Gallery, Bangkok.<br />
Padungsak Phanichtrakulsil (Thailand)<br />
He lives in Hatyai, Thailand. Works mainly in silkscreen. He participated in<br />
<strong>the</strong> Prince <strong>of</strong> Songkhla University Contemporary Art Exhibition 2001;<br />
"Serenity in krue Se" Art Exhibition; Unseen in Frame Art Exhibition at<br />
Ayothaya Contemporary 2004 ;Watercolour Painting Art Exhibition,<br />
Bangkok 2005; The 3rd Exhibition <strong>of</strong> New Expression <strong>of</strong> Asia Art Kuala<br />
Lumpur, Malaysia 2006 and <strong>USM</strong> International Print Exhibition 2007.
Rahman Mohamed (Malaysia)<br />
He was born in Johor, Malaysia. He has a BA degree from Universiti Sains<br />
Malaysia (<strong>USM</strong>), MSc degree from Pratt Institute in New York, USA and<br />
MFA degree from UW- Milwaukee, USA. Currently he is a lecturer at <strong>the</strong><br />
<strong>School</strong> <strong>of</strong> <strong>Arts</strong>, <strong>USM</strong>. Rahman works mainly in intaglio and woodcut. He<br />
has participated in numerous art exhibitions in Malaysia, Thailand,<br />
Singapore, Bangladesh, France , USA, Germany, Italy, Turkey, Canada and<br />
Poland. Besides printmaking, he also produces works in digital art and interactive<br />
multimedia.<br />
Rita Marhaug (Norway)<br />
She works as assistant pr<strong>of</strong>essor at Bergen National Academy <strong>of</strong> <strong>the</strong> <strong>Arts</strong>,<br />
Department <strong>of</strong> Specialized Art, in <strong>the</strong> area printmaking. Since <strong>the</strong> early -<br />
ninties participated in numerous solo and group exhibitions both in Norway<br />
and internationally. Her important tools for expression are printmaking,<br />
drawing, video, photography and performance. She has won several awards<br />
including Artist in Residence in Evora, Portugal in 2004; Honourable mentions<br />
Grafinnova, Vassa, Finland 2002 and Bronze prize at <strong>the</strong> Osaka<br />
International Printmaking Triennale, Japan 1994.<br />
Said Aniff Hossanee (Mauritius)<br />
He is a painter/engraver <strong>of</strong> various facets,deeplyrooted in his multicultural<br />
environment.His artistic production depicts and reflects his emotional affinity<br />
to his mo<strong>the</strong>rland Mauritius. The vibration and play <strong>of</strong> colours and forms<br />
are very particular to him,his style and signature. His recent works are<br />
indeed " a statement for diversity"- an element <strong>of</strong> dialogue.The artist`s commitment<br />
to world <strong>of</strong> visual arts along with his regular participation in<br />
national and international events are pro<strong>of</strong> <strong>of</strong> his active role in <strong>the</strong> local &<br />
abroad artistic milieu. He has participated in about 20 group art shows in<br />
Mauritius and held about 15 solo art exhibitions all through <strong>the</strong> island.<br />
Satawat Chuaynum (Thailand)<br />
He was born in 1957 in Phatthalung, Thailand. Obtained his art education<br />
from Poh Chang Art College in Bangkok. He has won several awards including<br />
<strong>the</strong> 1st. Prize in International Drawing Competition, World Wildlife<br />
Fund, Switzerland. Participated in many art exhibitions in Thailand and<br />
abroad including Artist’s Heart for Tsunami at <strong>the</strong> Queen’s Gallery,<br />
Bangkok; <strong>USM</strong> International Print Exhibition 2007, Penang, Malaysia and<br />
Foot Bridge International Group Exhibition at siam art Gallery, Thailand.
Photo by Silvi Glatteur<br />
Steve Lovett (New Zealand)<br />
He was born in Auckland New Zealand, where he now lives and works.<br />
Studied printmaking at <strong>the</strong> University <strong>of</strong> Auckland in New Zealand.<br />
Specialising in serigraph and digital work. He has taught at Manukau <strong>School</strong><br />
<strong>of</strong> Visual Art in Auckland, New Zealand since 1996. Since 1998, he has lead<br />
<strong>the</strong> printmaking section <strong>of</strong> <strong>the</strong> school, developing a print program with <strong>the</strong><br />
capacity to encourage both traditional atelier printmaking and more contemporary<br />
approaches to printmaking. Lovett has exhibited widely with<br />
work being held in public and private collections in New Zealand, Australia,<br />
<strong>the</strong> United States <strong>of</strong> America and India.<br />
Tengku Azhari Tengku Azizan (Malaysia)<br />
Awarded BFA from Universiti teknologi MARA, obtained Master <strong>of</strong> Fine Art<br />
and Design from University <strong>of</strong> Tasmania, Australia. Currently a lecturer at<br />
<strong>School</strong> <strong>of</strong> <strong>Arts</strong>, Universiti Sains Malaysia. He has exhibited his works in<br />
many exhibitions in Malaysia, Australia, USA and Poland. Tengku has won<br />
several awards including Major Prize, Shah Alam Open Drawing Competitio.<br />
A multi- platforms artist, he works in traditional sculpture, video art, and<br />
electronic media.<br />
Ying Tianqi (China)<br />
A pr<strong>of</strong>essor at Shenzhen University,China, Ying is an influential explorer in<br />
<strong>the</strong> field <strong>of</strong> modern art. He is renowned for his Xidi Village series and<br />
regarded as an expert in folklore. In 1986, Ying came upon Xidi Village and<br />
spent eight years <strong>the</strong>re. Ying's 35 prints completed 12 years ago and 34 traditional<br />
Chinese paintings from last year concentrate on Xidi Village, a<br />
well-preserved centuries-old village. "Ying's works remind us <strong>of</strong> traditional<br />
culture and modernity," a review in <strong>the</strong> Shenzhen Economic Daily said<br />
Friday. "The exhibition at Guanlan Art Gallery enables people to compare<br />
Xidi Village with ancestral Hakka buildings in Guanlan Township in a<br />
'Dialogue with Guanlan.'
Printmaking Glossary<br />
Here is a list <strong>of</strong> terms to help you find your way around <strong>the</strong> "<strong>Rentas</strong> <strong>Sempadan</strong> " exhibition:<br />
Aquatint - An etching technique that creates areas <strong>of</strong> tone through <strong>the</strong> use <strong>of</strong> powdered resin that is sprinkled<br />
on <strong>the</strong> etching plate prior to being bitten by <strong>the</strong> etching acid. The result is a finely textured tonal area<br />
whose darkness is determined by how long <strong>the</strong> plate is bitten by <strong>the</strong> acid.<br />
Collograph -A plate built out <strong>of</strong> an array <strong>of</strong> materials, from gauze to plaster, to create a number <strong>of</strong><br />
textures. Ink is applied to <strong>the</strong> plate and printed.<br />
Drypoint - Similar to etching, but <strong>the</strong> lines are simply scratched into <strong>the</strong> plate manually, without <strong>the</strong> use <strong>of</strong><br />
acid. The hallmark <strong>of</strong> a drypoint is a s<strong>of</strong>t and <strong>of</strong>ten ra<strong>the</strong>r thick or bushy line somewhat like that <strong>of</strong> an ink<br />
pen on moist paper.<br />
Engraving - A form <strong>of</strong> intaglio printing in which lines are incised into a metal plate with a carving tool<br />
called a burin. The characteristics <strong>of</strong> burin engraving differ from that <strong>of</strong> etching in that engraving, requiring<br />
considerable force, is done from <strong>the</strong> strength <strong>of</strong> <strong>the</strong> arm and eliminates <strong>the</strong> quavering autographic qualities<br />
<strong>of</strong> etching, which is done more from <strong>the</strong> finger tips like fine drawing. The hallmarks <strong>of</strong> engraving are <strong>of</strong>ten<br />
elegantly swelling and tapering lines.<br />
Etching - A means <strong>of</strong> incising lines in a metal plate with acid for printing in <strong>the</strong> intaglio technique. The<br />
plate is first covered with an acid resistant ground through which <strong>the</strong> artist scratches a design with a stylus<br />
or needle, revealing <strong>the</strong> bare metal below. This plate is <strong>the</strong>n immersed in an acid bath that cuts <strong>the</strong> incised<br />
lines into <strong>the</strong> plate. Etched lines <strong>of</strong>ten betray <strong>the</strong> subtle motions <strong>of</strong> <strong>the</strong> artist's fingertips.<br />
Giclée - An Iris print, <strong>the</strong> name derives from <strong>the</strong> French for "spurt."<br />
Inkjet print - a general designation for <strong>the</strong> large class <strong>of</strong> printers used to print computer images. Inkjet<br />
printers make us <strong>of</strong> extremely small nozzles to deliver exact amounts pigment to precise locations on <strong>the</strong><br />
paper.<br />
Intaglio - Any <strong>of</strong> <strong>the</strong> techniques in which an image or tonal area is printed from lines or textures scratched<br />
or etched into a metal plate (engraving, etching, drypoint, aquatint, lift ground, s<strong>of</strong>t ground). The plate is<br />
covered with ink, <strong>the</strong>n wiped clean leaving ink in <strong>the</strong> incised lines or textures <strong>of</strong> <strong>the</strong> image. This plate is <strong>the</strong>n<br />
printed in a press on moistened paper. The paper is forced down into <strong>the</strong> area <strong>of</strong> <strong>the</strong> plate holding ink, and<br />
<strong>the</strong> image is transferred to <strong>the</strong> paper.<br />
Iris print -An type <strong>of</strong> inkjet print printed from an Iris printer.<br />
Letterpress -Typographic printing from movable type.<br />
Lift-ground aquatint -A form <strong>of</strong> intaglio printing in which <strong>the</strong> artists draws with a specially formulated<br />
ink on a metal plate. The plate is <strong>the</strong>n covered with an acid resistant ground and immersed in water. The<br />
characteristics <strong>of</strong> <strong>the</strong> drawing medium allow it to dissolve and work through <strong>the</strong> acid resistant ground.<br />
When bitten in acid, <strong>the</strong> final result resembles pen or brush work.<br />
Linoleum Cut - A relief print carved into linoleum ra<strong>the</strong>r than wood.<br />
Lithograph - A printing technique in which <strong>the</strong> image is drawn on a very flat slab <strong>of</strong> limestone (or a specially<br />
treated metal plate). This stone is treated chemically so that ink, when rolled on to <strong>the</strong> stone, adheres<br />
only where <strong>the</strong> drawing was done. This inked image can <strong>the</strong>n be transferred to a piece <strong>of</strong> paper with <strong>the</strong><br />
help <strong>of</strong> a high pressure press.
Monotype -A form <strong>of</strong> printmaking in which <strong>the</strong> artist draws or paints on some material, such as glass, and<br />
<strong>the</strong>n prints <strong>the</strong> image onto paper, usually with a press. The remaining pigment can <strong>the</strong>n be reworked, but<br />
<strong>the</strong> subsequent print will not be an exact version <strong>of</strong> <strong>the</strong> previous print. Monotypes may be unique prints or<br />
variations on a <strong>the</strong>me.<br />
Monoprint - Same as a monotype but includes repeatable incised areas on <strong>the</strong> plate.<br />
Photogravure -A means <strong>of</strong> printing a photographic image by <strong>the</strong> intaglio process. The photographic negative<br />
(which may be <strong>of</strong> an artist's drawing) is projected onto a sensitized gelatin emulsion or carbon tissue<br />
that is transferred to a copper plate. After washing <strong>the</strong> plate areas that correspond to <strong>the</strong> image on <strong>the</strong> negative<br />
are dissolved and <strong>the</strong> plate can be bitten by acid as in routine etching. In hand photogravure, which is<br />
most commonly used in printmaking, <strong>the</strong> copper plate is first prepared for aquatint etching. The end result<br />
can closely resemble a traditional linear etching or s<strong>of</strong>t ground etching.<br />
Relief print - Any print in which <strong>the</strong> image is printed from <strong>the</strong> raised portions <strong>of</strong> a carved, etched, or cast<br />
block. A simple example would be a rubber stamp. The most common relief prints are woodcuts. The term<br />
"relief print" is used when it is not clear which kind <strong>of</strong> relief printing has been used (photomechanical or<br />
hand carved, for example).<br />
Screen Print - A form <strong>of</strong> stencil printing in which <strong>the</strong> stencil is adhered to a fine screen for support. Ink<br />
can be squeegeed through <strong>the</strong> screen onto paper. Screen printing can have a hard edged quality caused by<br />
<strong>the</strong> crisp edges <strong>of</strong> <strong>the</strong> stencil. Also referred to as "silk screen" and "serigraphy."<br />
Serigraph -Ano<strong>the</strong>r term for Screen Print.<br />
S<strong>of</strong>t ground - An etching technique in which <strong>the</strong> plate is covered with malleable ground through which a<br />
variety textures can be pressed, allowing <strong>the</strong>m to be etched into <strong>the</strong> plate. For example, a piece <strong>of</strong> paper laid<br />
on top <strong>of</strong> a s<strong>of</strong>t grounded plate can be drawn upon with a pencil, and <strong>the</strong> resulting etched image will resemble<br />
a pencil line drawn on paper. To be distinguished from "hard ground" used for simple line etching.<br />
Sulphur ground -A technique in which a caustic sulphur compound is painted directly on an etching<br />
plate, or in which sulphur dust is o<strong>the</strong>rwise applied to a plate. The resulting marks will hold ink and can be<br />
printed like an etching. The technique typically creates blotchy expanses <strong>of</strong> grey tones. This might be compared<br />
to printing rust marks on a steel or iron plate.<br />
Wood engraving - A relief print carved in <strong>the</strong> end grain <strong>of</strong> a block <strong>of</strong> wood whose thickness is <strong>the</strong> same as<br />
<strong>the</strong> height as a piece <strong>of</strong> movable type ("type high"). This was traditionally a commercial technique practiced<br />
by specialists and used in magazines and book illustrations.<br />
Woodcut - A relief print . After <strong>the</strong> relief image has been carved in <strong>the</strong> plank with knives or gouges it is<br />
inked with a dauber or roller. It can <strong>the</strong>n be printed by hand (in which case a sheet <strong>of</strong> paper is laid down on<br />
<strong>the</strong> inked plank and rubbed from <strong>the</strong> back with a smooth surface such as <strong>the</strong> palm <strong>of</strong> <strong>the</strong> hand or a wooden<br />
spoon) or with <strong>the</strong> help <strong>of</strong> a mechanical press.<br />
Xerography - A print produced by electrostatic process using copying machine.
ACKNOWLEDGEMENTS<br />
The Chairman <strong>of</strong> <strong>the</strong> Penang State Art Gallery Committee wishes<br />
to recognise and thank <strong>the</strong> following for <strong>the</strong>ir invaluable<br />
contributions and cooperation in making <strong>the</strong> exhibition a reality.<br />
Y. Bhg. Datuk Syed Ahmad Jamal<br />
National Art Laurreate<br />
All participating artists<br />
En.A.Rahman Mohamed<br />
<strong>the</strong> Curator <strong>of</strong> <strong>Rentas</strong> <strong>Sempadan</strong> : An International Print<br />
Exhibition<br />
and members <strong>of</strong> his sub-committee<br />
Dean and Staff <strong>of</strong> <strong>the</strong> <strong>School</strong> <strong>of</strong> <strong>Arts</strong><br />
Universiti Sains Malaysia<br />
Curator and Staff <strong>of</strong> <strong>the</strong><br />
Penang State Museum and Art Gallery<br />
The Media