P G Printmaker Gallery
Art in Yarra

We emerged from humble beginnings in a very diverse Brunswick Street, with a big agenda to produce a grave outlet for Australian Artist Printmakers. Supported by lecturers and students of the Melbourne Art Schools, the ingenious aim was twofold: to yield the materials to produce prints and to sell the completed works. As the fledgling business explored the superior framing options to display the artwork, a third major activity for the business was created, framing. The clever space was soon outgrown, with the framing workshop and the printmaking supplies (still known as Melbourne Etching Supplies) moving to new locations. Our Artists traveled the world, worked in Studios, met other Artists and soon vast new images were arriving from many places. We exhibited Australian and Japanese labor in London along with our new stable of UK Printmakers. We held exhibitions at both locations (still known as Intaglio Printmaker and operating in London’s southward at a diverse location.) Resulting in all these incredible links and opportunities, we have met many Artists and our archives span decades of talent. See techniques that have disappeared and others that have evolved into innovative contemporary printmaking. Today we enjoy a location in this eclectic vibrant street, an arts hub, which of course hasty enterprises like our own helped to create. We give a diverse and extensive range of prints, with a important volume of quality framed labor that you can purchase directly off the wall and hundreds of artist’s folios to browse. In November 2016, Bi James and Irene Torres became the new gallery directors, and with a lengthy and reputable history as a printmaking gallery, the enterprise continues to evolve and prosper in a contemporary context.

Printmaker Gallery supports and exhibits a large settled of the maximum important contemporary printmaking artists practicing today. The gallery has specialized in limited edition pleasing art printmaking since 1975. His works deal with subjects and feelings in our periphery the mysterious and the occult. His labor is held within public collections including the State Library of Victoria and private collections throughout Australia and USA, including the collection of Susan Saran don. Ital Calvin once wrote My inner was out and my outside was in originally, I was surrounded by water and now I am constituted largely of it.’ From the earliest signs of life on the planet as mono cellular lifeforms to our stylish evolutionary status as the dominant controlling species, we have displayed a unusual skill to adapt genetically. It is a mapping of spatial and tonal relationships, antithetical opposites, micro macro relationships, symbols, languages and mark making. Bowen’s images have delighted and inspired us for decades, with their aggressive colors and highly imaginative characters and animal motifs set within the Australian environment. There are unlikely encounters between animals, plants which curl and furl and scenarios encapsulated in jars. Some of these are playful imaginings whilst others touch on environmental concerns and anxieties we grasp about changes in the spontaneous world. With a focus on the Chair’ Barter examines the visual, emotional and feasible importance of these objects. BIG OBJECTS’ combines mono prints with three dimensional wall based works and artist books. Rachel is a Sydney based digital and mixed media artist. We had the amusement of visiting Dean Bowen’s amazing and immense studio recently to select works for his upcoming exhibition with Printmaker Gallery, in November. We are very turbulent about curating this exhibition, which will include a number of prints, paintings and sculptures. Printmaking is a general term referring to the various processes worn by artists to create works of art on a surface which are then transferred onto specially made lofty quality papers. This method means that the image to be printed is engraved or incised into the surface resulting in the inked image (e.g. Also known as surface printing this method involves the creation of the image directly onto a flat surface by drawing or through the use of stencils. This is the oldest form of printmaking where those parts of the image not to be printed (e.g. white) are cut away from the surface leaving those parts of the image to be printed raised in relief (e.g. A layer of nice acid immune resin dust is allowed to settle on the plate and then baked on. When inked for printing the burr’ will retain ink as well as the incised line resulting in a softer, velvety look when printed. The acid bites into the metal (it dissolves piece of the metal) where it is exposed, leaving behind lines sunk into the plate. The plate is inked all over, and then the ink wiped off the surface, leaving only the ink in the etched lines. When printing water is applied to the complete surface which adheres to those parts not to be printed (e.g. Oily ink is then applied by means of a roller