Danielle Creenaune

Danielle Creenaune

Education

2017 Mokuhanga Workshop Fabiola Gil, Barcelona Spain

1998 Tamarind Institute for Lithography, Summer Course, USA

1996 Bachelor of Art, University of New South Wales, Sydney Australia

1994 Master of Art University of New South Wales, Sydney Australia

Selected Awards
René Carcan International Printmaking Prize, Belgium, 1st Mention 2016

Small Print International Prize, Leicester UK 2016
Manly Artists’ Book Award, Sydney Australia 2013
Intaglio Printmaker Prize – Kaleid 2012, London 2012
Intaglio Printmaker Prize – Originals 07, London 2007
Miniprint International Cadaques, Spain 2006
Julian Trevelyan Memorial Award – Originals 05, London 2005
St. Cuthbert’s Paper Mill Prize – Originals 04, London 2004

Selected Individual Exhibitions
True North Far South, Port Jackson Press Australia 2017
Terres Altes, Leicester Print Workshop UK 2017

Hiraeth, Collaboration with Stephanie Rampton, Port Jackson Press 2016

Vantage Point, Port Jackson Press, Australia 2015
Impermanence, Port Jackson Press, Australia 2013
Trace, Cupola Gallery UK 2010
Intimate Immensity, Tinta Invisible, Barcelona, Spain 2009
Galeria Fort, Cadaques, Spain 2007

Selected Group Exhibitions

Solander Gallery, New Zealand with Marci Tackett & Jacqueline Aust 2017

René Carcan International Printmaking Award Belgium 2016
International Printmaking Biennial Douro, Portugal 2016 & 2018

International Print Triennial Krakow, Poland 2015
Xiaoxiang International Print Exhibition, Changsa China 2015
Di carta / Papermade Biennale Internazionale di opere di carta, Schio Italy 2015
Premio Internacional de Arte Gráfica Carmen Arozena, Spain 2014

Between Spaces, Aberystwyth Arts Centre, Wales UK
2013
RE Open, Bankside Gallery London UK 2012
International Print Biennale, Newcastle, UK 2011
Biennale Internationale D ́Estampe Contemporaine de Trois-Rivières, Canada 2009
New Prints, International Print Centre New York, USA 2009

What is Mokulito?

Mokulito or Wood Lithography, is a form of printmaking based on principles of lithography using wood as a printing matrix instead of limestone. This technique was developed by professor Seishi Ozaku, in Japan in the 1970’s. Josef Budka and his daughter Ewa have realized further development of the process in Poland.

To give a simplistic description of the technical process, a sanded plywood surface is drawn on with lithographic drawing materials. Once dry, a layer of gum arabic is applied to the wood as an etch and left to dry to be printed another day. The same lithographic principle that oil and water don’t mix applies. The gum arabic is washed out before printing and the matrix is ready to be printed in a similar way to traditional lithography keeping the surface damp, applying ink using a roller and running through the press.

In my own practice, I’ve adapted this simplified process, combining it with elements of the traditional Japanese method, traditional lithography and also those stemming from my own discoveries.

Some unique characteristics of Mokulito are that it produces small editions usually of under 10 prints, each of which is varied. The image provides a wood texture which can also be combined with woodcut. As the printing progresses, the wood texture generally becomes more prevalent and tones are altered until the image gradually deteriorates. The image matrix is unstable in contrast to traditional lithography and generally cannot be reused, washed out or reprinted at a later stage. When thinking in terms of traditionally editioned forms of printmaking, some of these elements could be viewed as disadvantages however, I find them liberating as they allow for some unpredictable and surprising results.

For me, Mokulito is a very organic process due to it’s variability, flexibility and the pace at which the matrix can be processed and printed. Although at first glance prints in the edition may seem the same, each possesses it’s own unique attributes. With large scale image making it allows for working more intuitively, where the subtleties of wood texture can be achieved and colour and composition can be explored more freely.