Mr Darren Bryant

This presentation aims to share insights into my ongoing artist's book practice and initiate discussions on how I continue to merge old and new print technologies to interrogate ideas surrounding 'the aura of the original'. This presentation highlights individual studio-based research interests in how artists' books can control how we read them. The formal structure of a book (physical or virtual) can control how we handle it and interact with its content, open and closed. I will discuss how I have adopted what Susan Stewart (1993), in her book titled 'On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection', analyses how everyday objects can be narrated to realise the world around us. Stewart explores the tension between 'here' and 'not here,' 'now' and 'then,' observing that when objects are removed from their origin and time frame, they can be defined as incomplete, generating a sense of desire and, in the case of a print copy, trigger a longing for the original. (Stewart,1993, p. 136). Recent books titled, 'The Time Travellers Manual (now and then), and ‘Trace’ (2025), will be focused on to provide evidence of how research in this project has moved away from a sense of the photograph as a container for holding a specific impression, or reliable document. This presentation will discuss how images and objects are never seen as a pure impression but are layered into the chemistry of the bookmaking process and printmaking studio, where the miniature becomes gigantic.

Bryant discusses the dialectics of aura and altered narrative in reproductive practice. He states that he has been working within the field of printmaking and artists' books for many years. The last 30-40 years have seen a wonderful array of these practices expanding across Australia. Printmaking is something that constantly entices him into the studio to experiment with process and making. He shares insights into his current studio research and to initiate discussion around contemporary manifestations of printmaking and the merging of old and new print technologies.

This presentation aims to share insights into my current HDR project and initiate discussions that lie in the field of the merging old and new print technologies. The project builds on existing knowledge and identifies how dialectical debates surrounding aura and reproductive practices continue to be of influence. This paper also presents the idea that objects from my childhood can also arouse an experience of aura. By utilising my own collection of objects as a point of unpacking my past, I turn to printmaking to examine how an auratic encounter with them can be seen and developed into a series of prints and artists’ books: A process enabling me to re-examine questions on social norms, connected to accepted or expected expressions of identity.

I will discuss how I have adopted what Georges Didi-Huberman calls ‘opposing dialectical tension’ to create a sense of the ‘auratic’ experience. By examining multiplicity within paper folding and print reproduction, I aim to encounter my own ‘auratic trace’ associated with the opposing tensions as ever-present companions of familiar/unfamiliar, presence/absence, original/copy, similarity, and difference. Recent altered books titled Fold Vol. 1 (2018), and Fold Vol.2 (2020) will be discussed as case studies associated with haptic printed overlays, and stacked sequential arrangements of images as boxed paper folds: A research project that holds outcomes in the interplay between identity, memory, and nostalgia, connected to aura and reproduction.

Didi-Huberman, Georges, 2005. “The Supposition of the Aura: The Now, The Then and Modernity”, In Walter Benjamin and History, edited by Andrew E. Benjamin and translated by Jane Marie Todd, Continuum, New York. 3-18.

This flag book accordion titled ‘overlays’ (2019), investigates ideas about identity and memory associated with screen printed halftone dots within a book form.
Instead of being concerned with the appearance of the source material, I have become intrigued by the spaces in-between the printed half-tone, that essentially break apart the image, creating pop-ups and book folds, that magnify imagery beyond recognition.
Disintegrating a familiar image through this magnification, creates a unique and unfamiliar perspective. The sequential order of the representational image breaking down refers to the way each time we recall an event, or a memory our brains distort it.

'Overlays' was shortlisted at an internationally significant Printmaking exhibition in Australia during 2020. This Pre-selected online exhibition attracted works from all over the world, devoted to screenprinting with a small shortlist on 40 artists on show.
2020 'Screen on Paper', International online Exhibition, Megalo Print Studio + Gallery, Canberra, ACT. Australia. 28 June – 26 July 2020

Serigraphy, also known as screenprinting, is a printing method that employs a woven mesh to support an ink-blocking stencil to create a desired image. "Serigraphy" is a compound word derived from Latin "sēricum" (silk) and Greek "graphein" (to write or draw). Screenprinting is a printing method in which a mesh is used to transfer ink onto a substrate, except in areas made impermeable to the ink by a blocking stencil. A bade or squeegee is moved across the screen to fill the open apertures in the mesh with ink.
Screenprinting, a relatively recent development as a fine art process, traces its origins back to perhaps the oldest form of printing—the stencil. It was initially used as a popular method for printing expensive wallpaper on linen, silk, and other fine fabrics. Western screen printers established secretive, defensive, and exclusionary business policies designed to keep the knowledge and techniques of their workshops concealed. Screenprinting is arguably the most versatile of all printing processes. Since basic screenprinting materials are so affordable and easily accessible, it has been widely used in underground settings and subcultures, and the homemade appearance of such DIY culture screen prints has become a significant cultural aesthetic seen on movie posters, record album covers, flyers, shirts, commercial fonts in advertising, in artwork, and elsewhere.
During this presentation, an interactive water-based screenprinting workshop will invite participants to print with prepared image- and text-based silkscreens to create poster designs using the serial nature of printmaking, resulting in a series of unique, themed wayzgoose posters.

Research Background

Contemporary Printmaking has seen how advances in digital technologies have offered new approaches to previous traditional printmaking processes. The combination of digital and analogue printmaking has changed the medium, allowing for simultaneous difference and similarity within the print to occur.

The focus of this research is on how merging these technologies explores the process of variation through replication and questions the concept of the original print in relation to the multiple. The research exploits the power of variation in reproductive methodologies to develop auratic encounter with personal archives as a form of self-expression. Further to this, examining how the use of both old and new technologies together can foster innovation in print media.

Research Contribution

The research utilises this merging of analogue and digital technology to focus specifically on issues of identity connected to inherited stereotypes and myths. In this body of work, digital processes used together with analogue methods are proposing new ways to re-contextualise source material that seductively played into my own childhood imagination as symbols of Australian masculinity. Works in this folio combine traditional print process and new technology to form a hybrid practice, investigating inherent tensions of print process and imagery utilised.

Research Significance

The significance of this research is that it references the cut and paste graphics of magazines combined with grey scale inkjet printing and embossing. The significance of this research is that it overcomes barriers for visually understanding the complex nature of identity alongside printmaking and new digital printing possibilities, reflecting similarities in traditional print composition over the centuries. The work’s significance is indicated by:

1) Inclusion in several peer-reviewed group shows, including 2009: 7th British International Miniature Print Exhibition, Printmakers Council, England (Tour of UK).
2) Awarded in 2009 the London Print Studio Prize and Printmaking Today Prize.
3) Representation of the work in a peer review journal by Jan Davis, Miniature marvels, Printmaking Today, Cello Press, Vol.18, No.3, autumn, England, (2009): 11. Darren Bryant scoops UK prizes, Imprint,Vol., 44, No.2, Winter 2009, Australia, (2009): 48. The 7th British International Miniature Print Exhibition, (ex.cat. National Tour of UK, Printmakers Council, London, England, UK, 2009): 6 & 39.


Other Notes - Artist Statement

‘These two prints titled ‘Ludic Action 1’, ‘Ludic Action 2’, explore and question ideas about social, cultural, and historical inherited gender stereotypes informed through child’s play and collecting. The images used are sourced from green plastic toy soldiers, referencing my childhood from my own collection. These digital prints presented in the form of a portrait advertisement, provide the context to this series of prints, in my effort to subvert the constant stream of messages aimed at conditioning behaviour’. Darren Bryant 2009.

Research Background

Due to its hybrid, versatile nature and ability to adapt quickly to technological change, printmaking continues to be embraced by contemporary art practice. The combination of digital and analogue printmaking has introduced new approaches to the medium, allowing for simultaneous difference and similarity within the print to occur.

The focus of this research is on how merging these technologies explores the process of variation through replication and questions the concept of the original print in relation to the multiple. Further to this, examining how the use of both old and new technologies together can foster innovation in printmaking.

Research Contribution

The research utilises this merging of printmaking technology and interdisciplinary practice to focus specifically on issues of identity, nostalgia, memory and loss. In this folio, digital processes used together with analogue methods are proposing new ways to re-contextualise source materials. Works in this folio combine process to form a hybrid practice, investigating the aura of repetition connected to the inherent tensions of print process and imagery utilised.

Research Significance

The significance of this research is in its examination of a range of interdisciplinary approaches to process in which ideas are allied to process and mixed media technique, resulting in hybrid practice.
Ms Browns Lounge is the collaborative practice of artists, Joanna Kambourian & Darren Bryant (2007-2023). Ms Browns Lounge produces works that combine digital art, design and printmaking methods and materials to produce works that aim to challenge and explore non-traditional printmaking mediums.

Its excellence is evidenced by:

1) Inclusion in nationally significant exhibition called The Piano has been drinking (Not me), Maitland Regional Art Gallery, Maitland, NSW, Australia, 25 April - 21 June 2015.

2) Acquired into the following collections, including Maitland Regional Art Gallery Collection (2016)

3) Representation of the work in several peer review journal and catalogues, including
Uren, B & Wilton, J (ed.) (2015) Just Paper, Agapitos / Wilson Annual, exhibition catalogue, Maitland Regional Art Gallery, WHO Printing, Australia, ISBN: 978-0-9942530-2-6, p. 42. https://issuu.com/maitlandregionalartgallery/docs/just_paper_med

Ms Browns Lounge is the collaborative practice of artists, Joanna Kambourian & Darren Bryant (2007-2023). Ms Browns Lounge produces works that combine digital art, design and printmaking methods and materials to produce works that aim to challenge and explore non-traditional printmaking mediums.

Work has been exhibited at:
National Fremantle Print Award, Fremantle Arts Centre, WA, 2014
Screen Daze, Poly Gone Cowboy, Brisbane, QLD, 2014
Kyoto Hanga: International Print Exhibition, Japan and Australia. Tokyo Metropolitan Art Museum, Kyoto Municipal Museum, & Fukuyama Art Museum, Japan, 2014
Play, London Print Studio Gallery, London, England, UK, 2014

Work has also been peer-reviewed in book and catalogue titled:
Kyoto Hanga: International Print Exhibition Japan and Australia,(2014), ex.cat., Co-organisers Print Council of Australia and The Japan Print Association, Kyoto, Japan, p. 48.
Cathcart, J, (2014) Fremantle Arts Centre:Print Award 2014, ex.cat., Fremantle, WA, Australia, pp. 7 & 18.

Collaborative bookmark (print media) with Joanna Kambourian & Darren Bryant

Creative work included in national and international peer review exhibition called:
2007 Bookmarks V: Infiltrating the Library System, University West of England, Centre for fine print research, Bristol, England, UK.

Creative work included in international print exchange called Bookmarks V: Infiltrating the Library System.

This drawing was produced during 2020 pandemic. Working from home instigated a renewed interest in the immediacy of drawing activity as a means to create marks, a visual language depicting the practice of mindfulness through the repetition of a line. The meandering, contour-like lines are then distorted through the geometric paper folds. The process is a meditative and intuitive approach to drawing and the folding becomes another layer of drawing creating optical effects and creates unexpected forms from the play of light and shadow.