Each year the Print Council of Australia commissions Australian and New Zealand artists from an open call for submissions to create a new, original limited print edition for the PCA Print Commission. Two independent arts professionals judge entries and select the final group of prints to be commissioned. The selected artists produce a limited edition of between 30-40 prints in their chosen medium.
An opportunity for artists:
The PCA Print Commission provides a major promotional and professional development opportunity for the selected artists.
Prints become part of significant public and private collections throughout the country, as many public galleries and museums acquire the prints on an annual basis for their collections. A set of the prints from each year’s commission enters the PCA Print Archive Collection commenced in 1967, the State Library Victoria collection, and the Canson Australia Corporate Collection.
The Print Commission is featured in the September issue of Imprint and exhibited interstate in gallery venues around Australia. Subscribers can select which prints they would like from that year’s collection. The prints are also available for purchase at PCA member and non-member rates.
A current one page CV.
High resolution jpeg images of 3 recent works of their making. Image files must be no bigger than 2mb each. One jpeg per artwork.
A word document with the artwork details for each image; title/date/medium/dimension.
The applications are then collated and sent for shortlisting by independent judges. In 2018 the judges are Mychael Barratt PRE, President of the Royal Society of Painter-Printmakers, London UK and Akky van Ogtrop, President of the Print Council of Australia Inc., Sydney, NSW.
- Shortlisted artists produce a bon á tired proof (or working drawings if the medium precludes this) of an entirely new print and judges make their final selection.
- The artists selected for the commission each produce eight artists’ proofs and an edition of between 30 and 40 prints for distribution to subscribers.
- Artists’ proofs are exhibited in selected capital city galleries and are returned to the artists at the conclusion of the exhibition.
- Selected artists each receive a supply of 50 sheets of Canson quality printmaking paper for editioning, provided by Canson Australia.
- PCA pay an artist’s fee of $700 (plus GST) to each selected artist.
- Contractual details for 2018 will be provided on the Conditions and Agreement form forwarded to selected artists.
- Non PCA members are welcome to apply.
- Artists chosen for the Commission will be required to join the PCA.
- Artists who have been commissioned in the PCA Print Commission program previously are ineligible to apply within 2 years from the year they were commissioned.
16 FEBRUARY (5PM) – Applications close
9 MARCH – Artist applications shortlisted
11 MAY – Shortlisted artists submit bon à tirer
25 MAY – Final selection of artists for the Print Commission 2018
10 AUGUST – Completed artists’ proofs submitted to PCA
7 SEPTEMBER – Print Commissions launched in venues around Australia and featured in IMPRINT magazine.
12 OCTOBER – Completed editions submitted to PCA
Any queries please contact the Print Council of Australia on 03 9416 0150
With thanks to the PCA Print Commission’s principal sponsor, Canson Australia for generously supplying paper for the program.
PCA Print Commission 2017
Born 1954, New Zealand. Now lives New Zealand.
Lie of the land – Mildura
Drypoint, photogravure and chine collé
Image size: 67 x 45 cm
Paper size: 76 x 56 cm
My work explores the relationship between autographic mark making, a response to place, and the mechanics of making multiple images. Lie of the land – Mildura is part of a series of work that refers to the process of navigating environments that are foreign to me and represents a map of my recollection of physical experience and visual perspective.
Born 1970, Vic. Now lives, Vic.
Iteration Silver Fields
Multiple block woodcut
image size: 57 x 43.5 cm
paper size: 57 x 43.5 cm
The exploration of colour and low tonality with quiet, muted, rhythmic tonal shifts of a contemplative nature and the broken moment of pattern call for reflection, allowing the many layers to unfold and reveal themselves. My iteration of mark embraces and celebrates machine-made aesthetics alongside evidence of the hand of the artist within an immersive, visual experience, looking to the essay in discretion, inwardness and silence in its minimalist, ethereal quiet.
Born 1949, Zambia. Now lives NSW.
Auto Portrait No. 20
Etching and drypoint
Image size: 33 x 28
Paper size: 76 x 56 cm
I have been making copper etchings and drypoints since 1999, as part of a much wider drawing and painting practice. Portraiture has occupied a central role since 1984. Although this etching Auto Portrait No. 20 is a self-portrait the decision to work directly with a sitter is fundamental to my practice. The length of time spent with the subject, the day to day stopping and starting of a work as a series develops over time, and even the subtle daily differences that exist in both subject and artist are factors that contribute to the interpretation of the work. Much of the impetus for my work draws on an abiding dialogue with the great Western figurative traditions of the past including Goya, Munch, Freud and Giacometti.
Born 1963, New Zealand. Now lives NSW.
Warren Ellis One
image size 76 x 56 cm
paper size 76 x 56 cm
I made this lithograph at Lancaster Press with Warren Ellis when he was in Melbourne touring with Nick Cave and the Bad Seeds. Warren played the violin for me for 2 hours while I drew on a series of plates.
Born 1953, NSW. Now lives NSW.
Night Fall I
Multiple block woodblock print (12 blocks hand printed with a baren)
Image size: 29.5cm x 46cm
Paper size: 50cm x 65cm
My woodblock prints have architectural, cultural and literary references intending to be evocative and contemplative, at the same time attempt to capture a serenity and simplicity through the use of minimal colour, light and form. The poetics of shade and shadows, secret places and the stillness of nightfall are all referenced in this work.
Born 1955, NSW. Now lives NSW.
In the service of trees: bird pollinators
Image size: 51 x 58cm
Paper size: 51 x 58cm
This print pays homage to the bird pollinators, which along with insects are essential to the life-cycle of the many plant species that green our planet.
Banksia and gum blossom are favourites of the Australian bush bird pollinators, which include the honey-eater and the parrot families.
Born 1951, Vic. Now lives Vic.
Pressed for Time
Archival pigment print
Image size: 31.3 x 23.2 cm
Paper size: 48.4 x 33 cm
Printed by Luke Ingram.
Pressed for Time is part of an ongoing exploration of the absence of women from history, in this case, of Chinese women during the Australian Gold rushes. A detailed study of the period was undertaken, however the women could equally originate from any place or time, including the present.
Born 1956, Tas. Now lives Tas.
Carborundum and solar plate etching
Image size: 38 x 57.5 cm
Paper size: 38 x 57.5 cm
My work explores the idea of "drift" across cultural, emotional and elemental landscapes. More recently, in collaboration with plankton
scientists, I have been developing images of plankton, planktos being the Greek word for drift. Observing plankton through the microscope, for me, is akin to looking into deep space.
Born 1961, NSW. Now lives Qld
Image size: 30 x 40 cm
Paper size: 56 x 76cm
I am interested in exploring the role of culture in affecting how humans interact with, and relate to, the non-human world. In previous series I
have considered the commodification of nature in Western culture. In this work I am interested in exploring the way culture affects how landscape is perceived and understood. Some features of the landscape, such as power lines, are so ubiquitous that they virtually disappear. The origin of the materials used in construction become remote. In this image, the structure of a railway bridge reflects and echoes the form of the trees from which it is built, and is carried through again into the power lines. Humans, for the moment at least, remain inextricably intertwined with nature.
Born 1978, Vic. Now lives Vic.
Celestial Lane, 2017
Image size: 22.4 x 30cm
Paper size: 44 x 48cm
I predominately work in etching and explore the environment and our varied relationships with it. Recent works explore urban settings where the gritty marks and recordings found in these spaces are analogous to the marks and gestures made on the etching plate.
Each year, subscribers can select limited edition prints from the ten prints commissioned annually. Over 400 private collectors and many public museums, galleries and schools subscribe to the program and collect new prints by Australian artists each year. An affordable way to build an outstanding collection of works on paper.
PCA Print Commission 2016
Born 1972, Vic. Now lives Vic.
Image size: 44 x 33 cm
Paper size: 44 x 33 cm
The pictures I make explore ideas about our sense of individuality. Specifically, how identity is expressed via the body; physical appearance and the ways it can be altered; the skin and its potential to be the stem point for transformation. Through the fabrication of strange and unusual hybrid creatures I champion idiosyncrasy.
|Heather Kunjarra Koowootha
Born 1966, Qld. Now lives Qld.
Etching and aquatint
Image size: 49.5 x 34 cm
Paper size: 72 x 50 cm
Printed by Theo Tremblay at No Fixed Press.
Congratulations to Heather Kunjarra Koowootha, who received the Indigenous Artist Award.
The old people still talk about the day the missionaries took away my people, the Kunganyji, from the island of Kabirah, today called Fitzroy Island. Our island was torched, to force my people down to the main beach where they boarded luggers and the mission sloop, which ferried them to the mainland. Turtle Beach was where they were supposed to settle, but this was not their land and soon Yarrabah community was built and most settled there. But it was never peaceful with so many different tribes.
They carried whatever possessions they owned in their handmade baskets. They were like refugees. The government used our island as a quarantine station and later for military training and a naval defense base in world war two. Now the tourists go there to an expensive hotel and swim with the fish and look at the beautiful corals. We still know where the burial sites are and remember the stories of that island.
Born 1967, NSW. Now lives NSW.
Welcome – US
Archival pigment print on cotton rag
Image size: 43.24 x 30 cm
Paper size: 53.24 x 38 cm
Printed by Nick Greenwich.
Welcome – US presents impressions of time and place, recorded during a residency in Rosendale, Upstate New York. The images were printed on hand-made paper and folded into (US-sized) ‘milk cartons’. The title invokes a simple promise to, ‘Welcome us’ to the ‘US’, whoever we may be. If only it were so.
Born 1975, ACT. Now lives ACT.
Image size: 30.5 x 30.5 cm
Paper size: 49 x 38 cm
Congratulations to Katy Mutton who was awarded the Artspace Residency, Sydney.
The Stack was inspired by a painting I created in 2015. The work features military drones as semi-tessellated geometric forms, against a vertical striped background. My interest in military aviation lies in the tension between the idolatrous romanticism of flying machines and their capability as machines of war and surveillance.
Born 1970, Japan. Now lives NSW.
Screenprint and acrylic
Image size: 56 x 45.5 cm
Paper size: 61 x 49 cm
My work draws on 19th century Japanese textiles and portraiture to explore themes such as self, history, culture, and environmental issues. In this work, as a reference to the catastrophic Fukushima Daiichi nuclear power plant meltdown in 2011, the relationship between Japanese society and nuclear power is contemplated. Ningyō means traditional doll in Japanese.
Born 1961, Vic. Now lives Vic.
Image size: 52.5 x 33 cm
Paper size: 52.5 x 33 cm
Born 1959, NSW. Now lives in Vic.
Pomona dreaming of her nemesis
Image size: 30 x 30 cm
Paper size: 42 x 38 cm
This print references the theme of Pomona, a Roman mythological goddess of fruit trees, orchards and gardens. Pomona watches over and protects fruit trees and cares for their cultivation. Including my own mythology into this theme, Pomona is portrayed in a restful position dreaming of the threat to her orchard by her nemesis the butterfly/codling moth while her dog watches on. My own dog is used here to reinforce the idea of the dog as human protector and to set-up a triangular relationship. Wanting more psychological effect, I replaced the pruning knife (Pomona’s attribute in documented mythology) with a scythe and used intense colour to achieve this effect.
Born 1967, China. Now lives Vic.
Image size: 36 x 38 cm
Paper size: 36 x 38 cm
My work explores the invisible forces and energies in nature through space. Trace IV presents a glimpse of reverberation in our surroundings through visual sensation of movement to raise consciousness of the ever-changing world, and to pause and reflect on the nature of existence.
Born 1960, NSW. Now lives NSW.
Her Feathers Unfurl
Five-colour screenprint with collage
Image size: 54 x 38 cm
Paper size: 76 x 57.5 cm
Printed with Malcolm King at Kingstudio.
Through collage and hand-drawn imagery, Her Feathers Unfurl is an exploration of transformation. The sassy heroine is wistful, perhaps constrained by the responsibilities of urban life. She looks through the inviting sunlit window and finds the room is malleable, nature is inside and her potential is realised.
Born 1991, Vic. Now lives Vic.
Congratulations to Sophie Westerman, who received the Emerging Artist Award.
To be beside oneself has two potential meanings: to be filled with emotion such joy or grief; or to step outside one’s present and act as an observer. I am beside myself uses imagery of the house and the facade as a language to explore these different yet connected concepts.
The Print Commission subscription
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