‘REMNANTS OF A GOLDEN PAST’ – Reviewed by Bronwyn Rees. An Exhibition of Collagraphs and Mixed Media Paintings June 18th to July 9th 2011, at the Firestation Print Studio, Armadale.

At first glance, Kaufman’s work is a delicate tracery of veils, lovely colours and alluring patterns. On further contemplation however, a mysterious yearning voice seems to issue from the shadows.

What is the golden past to which the artist refers?

Upon looking in Kaufman’s folio of artist’s  information, there is a print on the first page entitled “Der Flucht”, by an unnamed artist, of two Jewish men on the run, holding their most precious possessions under one arm.

It poses the question, what would you take if you had to flee for your life, and could only take what you could carry?

While speaking about her work and her memories, Myra described a matchbox of precious tiny objects her mother had kept for her from her childhood, giving them to her 30 years later. She was so overcome by emotion, she lost her words for a moment.

She went on to describe her travels to Spain and Italy to find traces of the Jewish communities that thrived there before being expelled in the 15^th century. She said the traces are so tiny, but packed with enormous emotional significance. Despite efforts to eradicate any trace of their presence, the marks on the walls, the relief decoration hidden behind Christian altars, even the embroidery on Torah scroll covers, lived on through all this time.

When looking at Kaufman’s earlier works, I could see realistic representations of all the things that have since been absorbed into the more abstract works of today – keys, lace, fragments of Hebrew text, old books, dress patterns and old suitcases, all things carried like the most precious gold across continents and time to arrive here in Australia.

When so much else has been lost, each little fragment to survive takes on a great weight of meaning. Visually this is represented by prints with broken stone like edges, inscribed with patterns that look like writing. Owls peer out from fabric veils, perched on the Tree of Life. Veils of lace conceal the unspeakable wrenching from life and home, the starting place for forced journeys to unfamiIiar destinations.

I have had the pleasure and privilege to observe Myra’s work develop over the last four years, parting like veils to reveal increasingly fascinating storytelling. I look forward to seeing and hearing about the next instalment.

Bronwyn Rees

July 2011

Screenprinting Intensive Course with Paula Mc Loughlin

I have just finished the first day of a 2 day introductory course in Silkscreen Printing. I was curious to find out more about this printmaking technique which is so different to the two printmaking mediums I work in -collography and etching. The course is run by Paula Mc Loughlin at the Ola Cohn Centre, Melbourne. This is a very old building (prevously the Cobb and Co coach house) which has been fitted out to function as a screenprinting facility. Paula is an excellent teacher and all the participants (some of whom had not previously done any printmaking) managed to get the hang of the basic techniques and produce some encouraging first pieces.
We printed on fabric as most participants come to the classes for this purpose but as I'm also interested in printing on paper, Paula will guide me with this during our second session. I like the the vibrant colours that you can work with and the fact that the inks are water based. However, cleaning the screens is quite a big job. I was quite filthy at the end of our class!

We don't have screen printing facilities at the Firestation Print Studio where I work so I'm not sure if I'll continue with the technique but I am enjoying learning this medium.