At the Edge

Comment by Richard Noyce, author of “Printmaking at the Edge”
Soon after completing my work on “Printmaking at the Edge” my wife and I were discussing in general terms what might come from the book. In passing I mentioned that I thought it would be the basis for a fine exhibition, and then
thought nothing more of that idea.

It may be imagined then that, when I first heard of the proposal to base the 2007 Falutriennalen on the book, and furthermore to discuss the idea of another exhibition at Grafikens Hus, I was more than delighted. Following an exploratory visit in January I returned to Falun and in August to find two superb exhibitions, at the Dalarnas Museum and at Magasinet, as well as several smaller exhibitions throughout the town. At Grafikens Hus I found an exhibition that took my breath away – bold and adventurous, with work by a very talented group of artists exhibited to the best possible effect. I can make these judgements without loss of modesty since the exhibitions at all the venues are the work of curators based there, the choice of works shown is theirs, and in Mariefred the choice of artists also. It may seem too simple to say, “I just wrote the book”, but that is the fact.

On first seeing the spaces at Grafikens Hus last January I became aware very quickly that this unique place has an international relevance and importance. It is a wonderful building, sensitively converted, with a warm a welcoming atmosphere, a focus for artistic and social encounters in a splendid location. It has remained something of a secret for too long.

The 9 artists and the works shown in “At the Edge” were selected by Anders Ström and Mikael Kihlman from among the 45 artists in the book. The exhibition demonstrates an astonishing range of techniques and approaches by artists whose work in the mediums of print art is most definitely “at the edge” It is challenging, it does redefine what printmaking can achieve, and it does offer a great deal of food for thought. In addition it suggests some of the possible directions in which 21st century art might be heading.

Joris Martens presents work that might at first seem very simple, but on deeper consideration offers perceptual and conceptual challenges. It is about uncertainty, and those impressions that hover on the edges of our visual perception, somewhere between dream and reality. Do the works shown on the walls appear in the accompanying video, or is this an imaginary impression? Rebecca Beardmore’s work is technically assured, using a range of techniques and concepts. The series, “Borderlines”, deals with the human face, with images that recede and advance within these gem-like small works. The text in a very small font size that overlays the images can almost be read, offering a detailed description of a human face that in the end defeats complete comprehension. Alicia Candiani’s work appears simple enough at first, but on reflection reveals hidden depths of thought about the politics of gender and nationality. These beautifully made works incorporate many layers of meaning, leading the viewer into a deeper consideration of what it means to be alive at this time.

The work by Koichi Kiyono defies complete definition: his deep concern for the ecological fate that awaits the planet has driven him to explore an increasing range of techniques and approaches. These new works are yet another new direction for this largely self-taught artist whose skills in pushing techniques to the limit have resulted in a memorable installation. Davida Kidd also addresses contemporary concerns in her photobased work, but in her case it is the realm of urban angst that she explores. The anxiety and shrouded threat in these large digital prints is not comfortable, suggesting fragments of nightmare that come into our perception, and once there, remain like a dull and nagging pain. Wayne Eastcott shows two sets of work produced in collaboration with Michiko Suzuki. One set offers a world of deep blues and greens that draws the eye in and throbs quietly on the retina. The other set is highly personal, celebrating the Japanese concept of “yobitsugi” in which a shattered porcelain pot can be mended through the addition of pure gold. These meditative works deserve and reward prolonged viewing.

Ingrid Ledent is well known in international printmaking circles for her award-winning works that combine lithographic and digital techniques. In this new work she incorporates the use of video projection, adding a shimmer to these magical evocations of the passing of time and the ageing process of the human body. The work by Laura Berman selected for the exhibition demonstrates that her quirky and smile-provoking work continues to develop in unexpected directions. Well known for her large scale works in outside locations the work shown here is a complete contrast, with a multitude of tiny prints displayed on an unusual surface, creating a universe of colour through which the eye can wander, and which provokes a smile. Iwona Abrams is represented by three of her masterly unique Screenprints, derived from photographs of her body that using ink and solvent. In these works she is both subject and object, but creates images that speak of all humanity, drawing the universal from the particular.

The installation and lighting of the exhibition in the magnificent Lilja Art Gallery allows all the selected works to be seen to their best advantage, setting up correspondences and dialogue between the artists’ very different approaches to the making of art. The exhibition offers a rare and valuable opportunity to see the work of an important group of international artists from seven countries, in what has to be one of the best settings in the world for contemporary art. “Unmissable” can be an overused word – in this case it is most definitely well-deserved.

Alicia Candiani will be conducting an international workshop, “Self-portrait”, at Grafikens Hus between October 29th and November 2nd. This will provide a unique and wonderful opportunity for ten young artists to work with an internationally celebrated artist and teacher on an exciting and innovative project. The workshop is using both digital and traditional techniques. The young Swedish artists will be part of the workshop, with the support of the Ann-Margret Lindell Foundation.

Richard Noyce
Wales, September 2007
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