studio research so far in 2019
contributing to print culture @ QCA

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QCA’s own print whisperer, Ross Woodrow, speaking to his curation of the exhibition, Stopping Time: Material Prints from 3000 BCE to Now. The expansive exhibition embraces the printed mark from Sumerian cylinder Seals to 3D digital prints. In a who’s who of printmaking practices the curation presents a stunning account of the material print’s ability to stop time. The supporting catalogue published by the Newcastle Art Gallery includes a catalogue essay and broad commentary on the many and diverse groupings in the show. Included in the exhibition is work by graduates and current candidates of QCA’s PhD program , Ali Bezer, Blair Coffey, Tim Mosely, David Nixon, Ryan Priestly and Pamela See. On show in Gympie Regional Gallery until November 16, the exhibition will tour to the Newcastle Art Gallery, The Logan Regional Art Gallery and the Grafton Regional Gallery.

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Dr Ali Bezer in the QCA print studios in June 2019 producing prints to be exhibited in Stopping Time: Material Prints from 3000 BCE to Now. Curated by Professor Ross Woodrow the touring exhibition will open in September 2019 at Gympie Regional Gallery, travel to Newcastle Art Gallery, Logan Art Gallery and finally Grafton Regional Gallery in late 2021.


QCA have taken delivery of a custom built washer for the David Reina hollander in the print studios paper making mill. This addition raises the calibre of paper that can be made at QCA.

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In her exhibition Zoonoses on at the Caboolture Regional Art Gallery until the 7th of September HDR candidate Nicola Hooper is showing new work, including
Run Rattus Rattus Run
(animation by Zaynep Akcay, lithographs by Nicola Hooper) and & Concerning Cats and Toxoplasmosis, inspired by Lady Francesca Wilde’s Irish Myths. Hoopers reinterpretation of familiar nursery rhymes and fairy tales is a driven by a critical perspective of our fear of small creatures. “Tiny insects such as fleas and mosquitoes have been responsible for the deaths of millions of people throughout history and their size is certainly not reflective of their deadly capabilities,” Hooper.

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HDR candidate Abraham Ambo Garcia, Jr, was selected to exhibit his work “Kultural Amnesia” at the University of London’s 2019 Philippine Studies Conference, Mindanao: Cartographies of History Identity and Representation.

“‘Kultural Amnesia’ is a book art project. This installation along with my body of work form the recently concluded OASES exhibition in Brisbane. My studio research led me to re-view Filipino identity in diaspora; the local/regional in Mindanao with the Southeast Asian region; and revisit/witness the continuing history of the Philippines and Mindanao.”

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The Nightladder Collective are exhibiting new work
in their exhibition In The Works at QCA’s Webb gallery Tuesday, 2 – Saturday, 13 July. The works on paper feature prints, artists books, drawing and assemblage.

The collective (John Doyle, Angela Gardner, Maren Götzmann, Lisa Pullen and Gwen Tasker) reject traditional notions of authorship and solitary genius, prefering to reinforce an egalitarian, co-operative way of working. The collective is also critical of the capitalist, well-oiled, large-scale, creative industry machine that fosters a system ruled by a few art elites.


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HDR candidates Ana Paula Estrada, Nicola Hooper,
Mathew Newkirk
and Michael Phillips have work in One Space’s new exhibition Pivot, on show from 14 June to 27 July, 2019. All four artists critically employ print culture in these books to address contemporary issues

Ana Paula Estrada, Michael Phillips, Mathew Newkirk & Nicola Hooper

Ana Paula Estrada, Michael Phillips, Mathew Newkirk & Nicola Hooper

“Pivot is a group exhibition that seeks to highlight the connection between artists’ 2D wall works and their forays into artist books. This exhibition comprises artists whose practice is mostly ‘wall-based’, but who frequently shift their platform from 2D works to something more personal and experimental in the form of an artist book.”

the “stellar line-up of Queensland artists” exemplifies a research strength in artists book practice at Queensland College of Art,

Bianca Beetson Ross Booker Ana Paula Estrada
Andrea Higgins Nicola Hooper Jo Lankester
Louis Lim + Beth Jackson Nicola Moss Deb Mostert
Matthew Newkirk Thomas Oliver Michael Phillips
William Platz Zoe Porter Glen Skien.


DVA candidate Annique Goldenberg exhibited three new substantial works employing hand papermaking, printmaking and installation in her exhibition LIVING WATER: in flux shown at QCA’s Project gallery, June 2019.

“Working primarily through the medium of water's connective and transformative power, this multimedia exhibition opens a conversation between human affect, Arctic ice-melt and extreme weather events thousands of kilometres away.”

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HDR candidate Michael Phillips’ work in the the Burnie Print Show


Professor Ross Woodrow’s exhibition
Drawing Physiognomy: The Complete Zoomorphic Archive
is up (4 April to 15 May 2019) at Gallery 25, Edith Cowan University, Mount Lawley Campus, Perth. The accompanying essay is also available online.


Ana Paula Estrada is launching her two new (artists) books at the
Institue of Modern Art on the 27th of March, 6 - 8 pm.
I Was there vol 1 & 2 were produced for her MVA and extend her research into the vocabulary of the book and how that vocabulary can be utilised for documentary practices.

Wednesday the 27th of March, 6 - 8 pm
at the
Institute of Modern Art
420 Brunswick Street, Fortitude Valley


Abraham Ambo Garcia, Jr presents new work in his exhibition Oases at Griffith University’s POP Gallery, Fortitude Gallery Brisbane. The work explores and revisits the ideas of being Filipino responding to intergenerational migrant families that Abraham contacted through the Santa Rosa Project in Queensland. Digitial prints on acrylic banners.

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Stanford University’s Green Library exhibition
New on the Shelf, rare books & contemporary artists’ books
presented recent acquisitions for their Special Collections, including Tim Mosely’s Kanage Pholu Wanda

“ Books, and artists’ books in particular, must be handled to be fully appreciated. This is especially the case with Tim Mosely’s Kanage Pholu Wanda (Australia: Silverwattle Bookfoundry, 2014), which is displayed behind glass in the exhibition in teasing defiance of its essence and purpose. To truly experience this book composed of torn and layered multicolored relief prints that reference the rainforest, Mosely instructs, the reader must be able to touch it, employing the term “haptic touch” to describe “feeling over, across, and around surfaces to become acquainted with content that the eye cannot sense.” ”

works indicative of the three respective QCA artists

works indicative of the three respective QCA artists

QCA students and staff; Michael Phillips (HDR candidate), Ruth Cho (honours candidate) and Chris Hagen (QCA teaching staff), have all been selected for the 2019 Burnie Print Prize. Together with over 50 other artists they represent “the highest standards of printmaking in Australia and Oceania”.


Jude Roberts has been making paper and monotypes in the QCA print studios for her ongoing project Chain of Ponds  stemming from field trips to Western Queensland. Jude has added sediments from the Maranoa River to the Kozo paper as she made, letting it bleed and compress during the making process. Other papers have been developed into video work, artist book formats, and drawing/print surfaces.

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Ross Woodrow stetching the limits of the QCA print studios, printing multiple intaglio plates on paper up to 8 meters long for his exhibition at Gallery 25, Edith Cowan University, Perth, from Aprill 4th 2019.
Drawing Physiognomy : The Complete Zoomorphic Archive


the catalogue of artists books, volumes 1, 2 & 3 collected for the “correlations between independant publishing and artists book practices” project has been published online. It includes critical essays by Sarah Bodman, Marian Crawford and Tim Mosely. The publication was migrated to a digital format with the support of QCA’s Live Worm.

Galleries, libraries and research collections interested in recieving hard copies of the three volumed catalogue, or showing the small collection of books are encouraged to contact dc3p to express their interest.

Recent venues showing the collection;

Griffith Library, Queensland College of Art, part of abbe 2017
IMPACT 10 - Santanda, Spain, 2018
Bower Ashton Library Cases, University of West Engalnd, Bristol, UK, 2018


Dr Blair Coffey and HDR candidates Abraham Ambo Garccia Jr & Ana Pauala Estrada are showing in POP Gallery’s January exhibition Prospects, new work from early career researchers at the
Queensland College of Art.

Blair Coffey’s, Sunflower
screenprint on vinyl
137 x 210 cm

Abraham Ambo Garcia’s, Kultural Amnesia,
artists books, hand made paper from a recyled history book


Ana Pauala Estrada’s, I cannot see you
artists book, hand made paper from recycled t shirts
and laser cut text


Professor Ross Woodrow in the QCA print studios.
A distinguised artist and proficient printmaker, he is back in the studios working on a series of substantial copper plates, part of a new body of intaglio prints recently commenced.

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clockwise from the left - Rhiannon Daniels
Paulo Silveira
Marian Crawford
Jennifer Batt
Angie Butler
Sarah Bodman
Tom Sowden
Amir Brito Cador
& TIm Mosely,
dicuss the artsists books symposium ‘Artists’ Books in Australia, Brazil and the UK – looking to the past to read into the future’.
held Friday 26th October 2018
hosted by the Centre for Fine Print Research, Bristol, UK.


HDR student Ana Paula Estrada de Isolbi has been awarded the AAANZ 2017 best artists book prize for her book  Memorandum


... dc3p is a contemporary fine art publishing project associated with the print program at Queensland College of Art. Framed within print culture and haptic aesthetics the venture supports studio research into artists books practice and autographic printmaking. The venture is an active element of print culture @ Queensland College of Art (QCA)

print culture @ QCA is a response to the critical discourse that now actively informs and shapes the medium of print within contemporary art practice.

As an academic discipline print culture embraces the production, distribution, reception and evaluation of the printed mark, both image and text. This includes contemporary artists’ employment of prints and print practices.

The 1990’s held considerable scrutiny for academic printmaking communities across the globe. Criticism, such as Australia’s Charles Green made in his 1992 essay Art as printmaking: The deterritorialised print, over the “empty shells” of traditional conventions held by printmakers who “have often resisted realignment of the discourse of printmaking in order to conform to the demands of connoisseurship and the museum” questioned the broad crediblity of the discipline as a fine art medium at that time. The response to that criticism, while measured, has developed a formidable momentum. Prints and print practices are now understood as a discipline with a unique vocabulary that artists are articulately employing to critically engage contemporay issues and discourse.

The success of contemporary print practices is made evident in research centres, events and publications such as; the Centre for Fine Print Research (CFPR), Philagrafika 2010, The IMPACT conferences, Philagrafika’s Working States Project, the journals Art in Print and the Blue Notebook and texts such as Ruth Pelzer-Montada’s Perspectives on contemporary printmaking: Critical writing since 1986. Within this response the relationship between fine art practice and print culture, (an academic discipline in its own right) is attracting increasing attention, providing more surfaces and textures over which the critical discourse can move.

Print culture @ Quensland College of Art is the most recent iteration of the printmaking programs taught at the art school. The range of autographic printmaking techniques that QCA’s printmaking studios are nationally recognised for continue to play a primary role in the print culture being fostered at QCA. These include the foundational techniques of Relief, Intaglio, Lithography and Silk Screening. The studios also support Artists Books, Papermaking and a diverse engagement with Digital technologies such as Laser Engraving.

significant investigations in studio techniques,
pulp printing - & fine papermaking techniques
artists book practices
leterpress wood type

Another vital aspect of QCA’s print culture are the higher degree research students working in the print studios. The diversity and intensity of their studio research generate a strong dynamic at QCA.

staff and HDR students

contact dc3p