Abstract:

In recent times, we have seen a greater interest in the Printmaking process, and changes in its exhibition process by the inclusion of Printmaking matrices. Printmaking matrices are means for visual reproduction. Although all matrices are equal in regard to their purpose, they are assessed according to different standards within the realm of the artworld. This paper will especially focus on the difference in perception in regard to the artistic merit of the woodcut block in comparison to the used silkscreen. Gavin Turk's artwork series and Níall McClelland's Exhibition 'Hot Sauce' illustrate two different approaches to the silkscreen. I argue that the woodcut block is rewarded artistic merit on basis of secondary associations concerning its materiality. On the contrary, the used silkscreen is unrecognized as an artwork due its classification as an unintentional residue-object. I will show that the artist's aspiration for absolute control and calculation in the creative process determines the assessment of the silkscreen as an artwork of its own right.

 Encountering the Unintentional

Introduction

            It has been already ten years since I started making silkscreen prints. Over such a long time, my movements became a matter of routine. Create an image, expose it into a previously coated screen, print the image, de-coat the screen and reuse it if possible. And if not, remove the mesh of the screen, discard and substitute it with a new one. After such a long time, one starts doing it without thinking too much. The actions are automatic. The artist becomes “machine-like” in regard to the execution of the creative process. Input, execution, output. The artist's intention is the creative input, while the artwork is the output of the artistic process. The artwork is the artist's goal. Along the way to the artist's intended artwork though, by-products are being accumulated. Those by-products are often regarded to be nothing more than the mere residue left over in the creation process. Printmaking matrices too, can be regarded to be by-products created in the printmaking process. However, it appears that not all printmaking matrices are treated alike in the realm of the artworld....http://www.owsiiz.edu.pl/download/file/fid/5786

 Agnes Wolkowicz, (grossnezka[at]gmail[dot]com)

Hongik University,

Seoul , South Korea

 

Biographical Statement:        

Agnes Wolkowicz is a Ph.D. Candidate in the Department of Printmaking at Hongik University in Seoul, South Korea. She received a Bachelor's degree in Illustration from the University of Gloucestershire in Cheltenham, England and a Master's degree in Printmaking from Hongik University. Her research interests are Eastern Philosophy, Personal Identity, Death and Multiplicity.

 

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