‘I am a terrible fiddler – I often end up with smaller editions than I intended because I feel compelled to play with the prints – draw and paint on them, cut them up and create collages.’
Why do you make art?
I’ve always made art, it’s a compulsion. Art is everywhere and the process of making is integral to my understanding of the world. It’s literally kept me alive and enables endless new experiences.
What’s your relationship to printmaking?
I love printmaking – the process and the reveal are magical to me but I enjoy working in many different ways. I am a terrible fiddler – I often end up with smaller editions than I intended because I feel compelled to play with the prints – draw and paint on them, cut them up and create collages.
How did you get interested in printmaking?
I have always loved to draw and printmaking always felt like a natural extension of that practice. I made my first prints in high school, they were linocuts. I still remember how much I enjoyed making each mark and cutting back the surface. I loved them so much and still have those original linocut plates.
How did you approach making your submission for the PCA Print Commission?
In 2015 I was working on a series of acrylic paintings exploring tessellation techniques and pattern. I was really pleased with the final works, they were a true labour of love, I spent so much time working and reworking the layers. When the commission call-out came up I was talking with a friend and we both thought one in particular would work well as a screen-print. It was important to me that all eight colours were retained for the print edition as the transitioning colours, across geometric forms, add an illusory quality to the piece. The final version was eight layers but it was definitely worth the additional effort to keep those colour shifts.
Whose work have you been enjoying lately?
I admire many different artists for many different reasons.
I saw some fantastic linocuts by Ryan Presley on a recent trip to Darwin at MAGNT. I admire the work of Alison Alder who first taught me to screenprint at the ANU, Sally Smart, Michael Schlitz and Tony Albert. I probably relate to multi-disciplinary artists most particularly, as my work frequently transverses mediums.
Where do you go for inspiration?
My practice is heavily research based and I love to read. Living in Canberra I am fortunate to have access to many National Cultural Institutions who hold incredible collections. In the last year I’ve spent a lot of time researching at the National Library of Australia and had collection access at the Australian War Memorial – fantastically inspiring places to explore.
What are you working on now?
I have been working on a series of large screen-printed posters works, which portray contemporary military aviation in different contexts as a means to explore the politics behind Australia’s defence investments. I am also beginning to work on concepts for a series of lithographs and installation works, which I hope to develop over 2017.
Katy Mutton was the recipient of the Artspace Residency as part of the 2016 PCA Print Commission. Join us at Artspace before the Hungry Eyes symposium for drinks and a private viewing of the exhibition and studios on Thursday 20 October, 5.30–7 pm.
To view this year’s commission prints visit the PCA website, pick up a copy of the spring 2016 issue of Imprint (Vol. 51 No. 3), or visit one of the participating venue galleries listed below: