Text for inclusion in “Printmakers Secrets” to be printed in London 2008
I am intrigued by the workings of the subconscious in our dreams and everyday life, by the mercurial nature of remembered experience and by the true poetic nature of the imagination. The influences in my work are many and varied and often the purpose in trying to realise an image is to bring together the many strands of what are seemingly unrelated thoughts, feelings and experiences. This results in what could be termed “Absurdism” in which the imagery has a cryptic nature, creating a narrative that is layered with elusive meaning and references. I work almost exclusively from the imagination (as distinct from observation), drawing on my memory as a source for recreating images from the subconscious. I have taken elements from the theatre, pantomime, song and film. I often find that a line from a song or a passage from a film or play inspires my own narrative and provides a starting point for a reworking of the idea through my own experiences.
Throughout my working life I have looked to and been influenced by figurative artists of the past whose work embodies a strong vision of the inner story. My first great influences were William Blake and Picasso and, more recently and most importantly, Max Beckmann. It is no coincidence that these artists were great printmakers and it has been their work in print that has inspired me most.
I have developed a method of collaging compositions together in order that I can direct the narrative. I make several drawings of individual characters in different poses and costumes, as well as settings that are made up of collaged pieces of landscapes and interiors. The next stage is to try to bring together these elements into a meaningful composition. Often I won’t even know the nature of the narrative until the separate elements are arranged on the page. From here, there is the consideration of translating the drawing into print. Sometimes I make a drawing in graphite, based on the final collage piece, then damp it and transfer it onto a smoked hard ground by running it through the press. Otherwise, I run the collage piece itself through the press onto a soft wax ground and, after one bite in the mordant, use the impression as a template for further work. Generally I work with a combination of hard ground and aquatint, building the image through many bitings. Etching allows me to think and work in layers and the scraping and burnishing back to expose underlying work and create subtleties of tone brings about the effect I seek. The diverse qualities of line that can be achieved in etching, whether broad and daring, light and nimble or scratchy and edgy are essential to expressing the mood of the piece and, for me, no other medium does it better.
Andrew Antoniou
Mollymook Australia 2007