From the shadows into the spotlight the humble fine art print scored some high moments as the current Print Biennial, its associated activities and supportive gallery exhibitions thrust it in the public eye. Just how contemporary our print production is today was well articulated by the presence of Michael Kempson, Director, Cicada Press, University of New South Wales — Art and Design, Sydney Australia.

Central to all the Print Biennial events and exhibitions in Karachi and Lahore, Kempson and his Cicada Press are playing a meaningful role in furthering print education in Pakistan through Pak / Aussie residency programmes, collaborative projects / exhibitions and productive workshops since 2008. The success of the Cicada connection owes much to the work ethos Kempson and the ideology underpinning Cicada. Acknowledged as a “printmaker’s printmaker” his ability to process deeply traditional techniques into new, adventurous and experimental forms is widely established.

While conversing with me at Koel he explains, “Cicada Press is an educationally based custom printing workshop established in 2004 with a mission to teach and promote printmaking through collaboration. Well-known artists from around the world are invited to UNSW to collaborate with students on an edition of prints. Cicada offers the artists an opportunity to expand their own practices by trying out new techniques, while students learn by being directly involved in a professional artist’s work. To date, Cicada has worked with over 170 artists to produce over 1,300 editions of prints. Preferring to use informal processes and an open dialogue, I seek to reinforce mutual respect and the educational value of lived experience in learning. My father was an Anglican minister and there is something of an evangelist in me when it comes to the social and educational value of printmaking.” (Recent Pakistani artists availing Cicada programmes include Abdullah M.I. Syed, Roohi Ahmed, Adeel Zafar, Saeed Akhtar, Usman Syed, Fatima Syed, etc,).

Salwat Ali in conversation with Michael Kempson

Enumerating his exchange projects with Thailand, New Zealand and China with a visit planned for Taiwan in November this year he reminisces, “In 2010, I brought an exhibition “Aboriginal Dreams — Indigenous Art from Papunya Tjupi” to Karachi. While there, I was introduced to the distinctive visual vernacular of truck art in the explosion of colour and design festooned on buses and long haul vehicles. I recognised in this a correlation with an innate assertion of cultural identity found in the art from Papunya. Most who see Western Desert Art may not understand the meaning of the pulsing rhythms inherent in the prints and paintings, but the direct or elemental connection made with viewers is real and powerful nonetheless.”

Michael Kempson’s recent prints shown at Koel dwelling on the ramifications of the “Asian Century” reveal deeper concerns related to the prospect of connection and collaboration. Peppered with geo-political concerns his questions like, “With the rise of China and possible decline of the US, will Australians foster new relationships based on mutual respect rather than blatant self-interest? Will we facilitate open dialogue, independent of our treaty obligations, so as to best comprehend the actions of nations like Pakistan, whose complex religious and secular systems generate domestic tensions we often fail to comprehend? Mindful of the stark reality of our middle power status, can friendships be forged with dialogue and deference or will we hark back to the pompous fear driven priggishness of our past?” prompt debate on what our art policies are.

East and West

China considered as a friend of Pakistan is mainly popular amongst our masses for its affordable consumer goods market. Scant thought has been given to developing an art dialogue with Chinese counterparts. However, it is not possible to live or look at Australian art for long without becoming aware of China. Collaborative exhibitions are on the rise and currently Sydney has its own White Rabbit Gallery dedicated to Chinese contemporary art while Beijing gallery Redgate is run by Australian Ben Wallace.

Kempson’s current imagery of ‘Made in China’ soft toy arrangements “playfully explore the complex dynamics of geopolitics, conscious of the not so cute reality of Australia’s past engagement in the Asia / Pacific region.” Pointing to one of the artworks, ‘East and West’, he explains that it “is a hand drawn intaglio image on two plates printed onto a single sheet. It ponders the challenges facing Australia and how we are finally starting to come to terms with the reality of our position in the world as a part of Asia, despite the yearnings of an Anglo-centric rump. It can be read as a formal map with strategically selected countries represented by their national animals. The two overwhelmingly dominant motifs are the bald eagle reflecting American hegemony and the panda, a symbol of the economic and political rise of China, as well as restrained allusions to past domino theories.

On another level, the image also references the dynamics of the regional interaction between what could be considered friendly nations or bitter rivals. Examples include: Iran (Persian cat) and Israel (Israeli gazelle); Australia (koala) and Indonesia (Komodo dragon); North Korea (chomilla — mythical winged horse) and South Korea (tiger); Argentina (hornero) and Brazil (jaguar); United Kingdom (bulldog) and France (rooster); India (tiger) and Pakistan (markhor); China (panda) and Japan (red crowned crane).”

The artist states, “At this point in my life, as a new grandfather, I’m thinking much more about the world our young will inherit,” anticipates impending changes in the Asian century and are already reflected in his art and the communal atmosphere of his Cicada print room. This is one small example of how arts, artists and cultural institutions (an underutilised asset), can play a role in building relationships and networks across Asia.

Published in Dawn, Sunday Magazine, September 28th, 2014