Biography

Dr Yvonne Rees-Pagh’s work is held in major collections in Australia and overseas. Her art practice spans painting, drawing and printmaking. Her past work has explored themes such as war, political upheaval and ecological issues, and her prints are characterised by use of vivid colour. Currently a tutor in printmaking at the Tasmanian School of Art, UTAS. Her qualifications include a Diploma in Fine Arts from the Claremont School of Art in Western Australia, a Post Graduate Diploma in Painting and a Masters in Visual Art from Monash University Melbourne and an MFA and a PhD from the University of Tasmania.

Illustrated Talk

PRINTMAKING AND THE LANGUAGE OF VIOLENCE
My recent explorations have been towards demonstrating that the traditional processes of printmaking, in particular etching, are relevant as a medium for artistic engagement with the subject of violence. Research reveals that printmaking has developed its own unique visual language towards addressing violence in our society, and that in the past many artists have depicted violence using the medium of printmaking. My pursuit has been towards understanding that language so that my own printmaking might give voice to my personal concerns in relation to violence.

Experimentation with unconventional materials and processes has formed an integral part of my journey. Like an explorer, I have journeyed into the unknown, seeking to discover new approaches. The resultant experimentation discoveries have been employed in layering as part of my work. My initial work has focused on social violence in Australia, in particular the Cronulla race riots of 2005. Thousands of people were involved in these riots, making them the largest racially motivated riots in Australian history.

The work The Cronulla Riot. 2011 is a large etching and drypoint. The scale of the work (360cm x 984cm) seeks to immerse the viewer in the violence. The chaos of the riot is imparted through the layers of figurative imagery, imbuing a sense of time. This is a work that challenges traditional printmaking boundaries by virtue of scale, methodology and subject matter.

There remains much more for future exploration on the theme of violence. My latest works have been inspired by the Afghanistan heroin trade, the sinister implications of surveillance drones and CCTV footage of those revealed in criminal acts. These latest works have taken me across the border into using digital imagery in conjunction with traditional processes; for me a first time. And so my journey of exploration continues.