For nearly two months, I had the enriching experience of immersing myself in the world of printmaking at the Guanlan International Printmaking Base in Shenzhen, China. This wasn’t my first visit to Guanlan, having participated in residencies there 4 or 5 times prior. However, my return in October 2023 revealed significant and impressive developments since my last stay in 2019. Arriving on October 18th and staying until December 15th, I was immediately struck by the new facilities dedicated to international artists, a testament to Guanlan’s growing prominence in the global printmaking community. While the original workshop remains active, the addition of a state-of-the-art workspace, coupled with completely renovated accommodations and dining areas, signaled a renewed commitment to fostering international artistic exchange. Crucially, the heart of Guanlan’s printmaking prowess – its exceptionally skilled team of technicians – remained as dedicated and talented as ever.
My focus once again led me to collaborate with Liu Hongliang in the etching workshop. Liu is not only a remarkable artist in his own right but also an unparalleled printer. My extensive background in etching and familiarity with numerous etchers worldwide allows me to confidently assert his mastery, particularly in aquatint. This technique is a celebrated hallmark of his personal artistic practice. In our collaboration, Liu employed a distinctive double printing method on my etching, layering an off-white base print beneath the intricately etched plate, adding depth and nuance to the final artwork.
Expanding my exploration beyond familiar techniques, I ventured into silkscreen printing for the first time at the Guanlan workshop – a medium I hadn’t engaged with in almost half a century. The evolution of silkscreen processes over this time was evident, and I was expertly guided by Miya. Her expertise, coupled with her supportive and helpful approach, made this re-introduction to silkscreen both seamless and rewarding.
The Guanlan Printmaking Base’s close relationship with the China Printmaking Museum is a defining feature of this artistic hub. The two institutions frequently collaborate, with the Museum serving as a vital platform for showcasing the dynamism of contemporary printmaking. A highlight of the Museum’s calendar is the Guanlan International Print Biennial, a major event attracting global participation. During my residency, preparations for this prestigious biennial were in full swing. Regrettably, my departure preceded the opening by a few days. However, I was granted the privilege of previewing the exhibition just before leaving China and was thrilled to find one of my prints included in this significant international showcase. This inclusion underscores the Guanlan International Print Biennial’s role as a key event within the International Print Museum and art scene, fostering dialogue and exchange amongst printmakers from around the globe.
My immersion in Shenzhen’s art landscape extended beyond Guanlan. I had the opportunity to visit exceptional exhibitions at the Guangming Culture and Arts Center and the Shenzhen Museum of Art, further enriching my understanding of the vibrant Chinese art scene and its connection to international artistic trends.
In a time marked by complex geopolitical dynamics between the US and China, I was often asked upon my return whether I experienced any tension or difficulties due to the political climate. It is important to emphasize that my experience was entirely free of such concerns. The atmosphere at Guanlan was one of complete focus on artistic creation and collaboration. The shared passion for printmaking transcended any potential political undercurrents, fostering a truly international and harmonious environment.
The Guanlan Printmaking residency thrives on a robust support network. It’s impossible to individually acknowledge everyone who contributed to making my stay both productive and enjoyable. However, I would like to extend my sincere gratitude to a few key individuals: Kang Jianfei, Li Kang, Guo Qingwen, Zhao Jiachun, Gang Shi, Yinan Zhang, and Jason Yang. Their collective efforts are instrumental in maintaining Guanlan’s position as a leading international print museum and printmaking center, welcoming artists from across the world to engage, create, and contribute to the ever-evolving narrative of printmaking.
