2016 PCA Print Commission Q&A: Gwen Scott
‘I have spent years appreciating prints and printmaking and have collected a lot of Australian printmakers work but now it’s my turn to produce some of my own prints, I’m loving the deep and meaningful relationship I have with mixing up the inks, printing and getting surprised!’
Why do you make art?
Creating and appreciating art has always been part of my life. The process of creating something brings a lot of joy, calm and relaxation. I use colour a lot because that’s what really attracts me. Mixing and splashing paint or ink around is a lot of fun. Losing all sense of time and concentrating on something so intensely (but more often obsessively) is something that I enjoy doing.
Raised by artistic parents I saw my parents spend long periods of time in their studios and so was influenced greatly by their lifestyle, creative processes and joy of art.
What’s your relationship to printmaking?
I have spent years appreciating prints and printmaking and have collected a lot of Australian printmakers’ work but now it’s my turn to produce some of my own prints. I’m loving the deep and meaningful relationship I have with mixing up the inks, printing and getting surprised!
How did you get interested in printmaking?
Through books on Rembrandt and William Blake and seeing prints by Lionel Lindsay, Thea Proctor, Eric Thake, Margaret Preston and Barbara Hanrahan at the Art Gallery of NSW when I was a teenager. My appreciation of printmaking has been ongoing for decades but my practice of it is more recent.
My practice didn’t manifest itself until well after art school. I did the compulsory semester of printmaking but it didn’t inspire me, so I majored in painting and drawing and spent numerous years after art school practicing painting, drawing, needlepoint tapestry and mosaics. Over the years I did revisit my rudimentary printmaking skills through workshops and short courses. However, the dedication and time wasn’t there. It wasn’t until 2010 when I had the time to focus on doing more and playing around with colour that I got hooked.
After retiring from working as a librarian for over twenty-five years, the last two and a half years have been spent developing my skill with linocutting and the reduction technique. The problem-solving aspect, the use of colour and the surprise effect you get using the reduction technique fascinates me.
How did you approach making your submission for the PCA Print Commission?
I had been working on a new body of work on the theme of Pomona and just worked further on that for the PCA commission. All the prints in this new series are colour reduction prints, so my intention was to produce a reduction print if selected. Initially, I submitted three prints that I liked the best from my new series for the first round of judging. Then when I had to produce a bon a tirer (B.A.T.) I chose to do a detailed colour gouache on paper in the dimensions of the intended print. Along with the gouache I submitted a Pomona print that I had done previously to show evidence of my work. Finally, I set about completing the artist’s proofs and the edition together as this was the only way I could do my reduction print unless I wanted to do it twice!
Whose work have you been enjoying lately?
A trip to Sydney this year to see the Grayson Perry show was a treat but discovering the work of an African artist El Anatsui at Carriageworks was even more inspirational. His large-scale installations of repurposed materials are sublime and at the same time tragic, a commentary on human waste and resourcefulness.
Where do you go for inspiration?
My immediate environment provides a plethora of motifs to work from so it starts there and the simple act of walking a few kilometres provides a wealth of imaginative ideas. Also, art books, art galleries and museums, the internet, music and film. My favourite interests are: surrealism, english landscape painting, the arts and crafts movement, animal art, early european tapestries and roman and greek mosaics.
What are you working on now?
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: