I interviewed Dian Darmansjah for IMPRINT, after seeing him at work on ambitious two metre prints for Badu Art Centre. These were shown in “Sageraw Thonar – Stories from the Southeasterly Season” (KickArts Contemporary Arts, Cairns, 28 May – 30 July 2016).
Darmansjah has a different approach to that of other printers. He told me for IMPRINT, “I aim to do the work as a collaboration. The artist brings skills and their art. I bring the technical know-how to exploit the medium.”
Often he will spend time researching the artist’s particular intentions so he can offer technique to capture the essence of the artwork. As his business and life partner Belinda Simonsen put it, ‘other printers may show their hand, whereas Dian likes to be invisible’.
Darmansjah said. “I work to maintain the integrity of the artists’ work, and am keen to reproduce their work as accurately as possible. It is a delicate balance.”
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It was a privilege to write about Guan Wei’s work for this exhibition at Heiser Gallery. Closing 17 September.
From the catalogue essay, Guan Wei: Bird.Map.Shadow, 2016:
The burgeoning globalisation that has characterised 21st century life has recently been discom ted by high pro le events such as the referendum on the departure of Britain from the European Union (Brexit), Donald Trump’s elevation to presidential contender in the US, and the stream of Middle Eastern refugees that continue to leave their homes to perforate the borders of European countries. Artist Guan Wei was an earlier victim of political unrest, departing China after 1989 and the Tiananmen Square uprising. Although now resident between Sydney and Beijing, he continues to be the victim of cultural instability, evicted from his studio in Beijing in May 2011, a result of the volatile nature of China during this period of rapid industrialisation. His practice, exhibition history, and interests are influenced by his Australian domicile, but remain global in their scope…