By Mazlan Hj. A. Karim & A. Rahman Hj. Mohamad
In the context of the development of contemporary printmaking, refer to view Richard Noyce (2006:21) that: “Printmaking has had a long history and has rightly earned its proper place within the world of cultural achievement. The traditional skills and techniques will not be lost; indeed they will develop, and will likely take on new forms as they do so. The fascination with the creation of such forms will continue to absorb the interest of students, often to the point of obsession. But at the same time the new techniques will continue to develop at the rapid pace and will take their place alongside such traditional forms. There is likely to be a continuing cross-fertisation of ideas and fusions of technique and his will be to the good of printmaking, adding new ways of making a multiple image and strengthening those processes that already exist.”
Meanwhile, according to Alexia Tala (2009:8) is that: “The contemporary artist makes used of traditional techniques to make work which becomes 3-D objects or installations and even moving image pieces and animations. Artists have allowed themselves to leave the conventions of printmaking behind and have dared to do the unthinkable to prints or to print on unconventional surfaces, which has resulted in their work developing in different ways. When artists show work today, they do not intend to technically educate; they want to communicate their ideas and to highlight their concerns.”
Based on the statement of Richard Noyce (2006:21) and Alexia Tala (2009:8) is the technique and skill in producing traditional print will not disappear but it will grow and become a new form. In fact, changing styles and forms that are developed from the traditional methods itself without an emphasis on printmaking conventions. This situation meets reality Frederick Hartt (1976:18) which states that the change in the style of an art form is deemed as "evolutionary in a technical sense". From the point of philosophy, a change from one work to the new form by Noel Carroll (1999:129) that the change was due to the meaning or 'content', which gives way or the 'form' of a work of art. 'Content', which affect the physical or the 'form' of a work of art: “Form changes because content changes, where new content requires unprecedented, yet suitable modes of presentation. Artistic style is always transforming because new contents impels the search for new forms of articulation. And this is exactly what one would expect, if neoformalism were true”.
'Exploration’ in the context of the creation of works of art look as citation Zanita Anuar (1997:14) description of the Panel of Judges through the Young Contemporaries 1985 means "...that although the awareness and knowledge about the development and general performance are required to measure and recognize quality as a measure of exploratory . In this context, the stress should be on attitudes towards the material. This behavior suggests that a person does not accept the practices and norms accepted blindly, but always trying to own the concept or formal elements, materials, processes, etc., in order to get the look and the possibility of a statement. ". Thus, the term 'exploration’ is used in this paper is referring to the attitude of printmakers who do not accept the practices and norms of ethical principles and traditions of printmaking by Alexia Tala (2009:7) concept of "Framed and hung on the wall behind glass" In the context of this writing, exploration refers to exploration by some printmakers on materials, techniques and ideas through contemporary processes of producing art that is traditionally printed as fact. According to Gabor Peterdi (1980:245-246) explains the art prints are also some changes as other arts such as painting. Artists constantly to experiment on the potential of printing technique to another level. He stressed that: “Instead trends that started many years ago have become more sophisticated and have changed in emphasis. In printmaking, just as all the other arts, there are attempts to push the techniques beyond its limits. These attempts usually succeed only in forcing philosophical confrontation with the basic concept and definition of the printed image. When is a print not a print
anymore?” (Gabor Peterdi, 1980:244).
Contemporary Prints of Dr.Chew Teng Beng Titled 'The Redang Mermaid Want To Fly Like A Butterfly' (2010). Cast Paper techniques. Source: Courtasy of Penang Art Gallery