Artist explores print and papermaking in S.E Asia
In August, artist Ina Arraoui embarked on a two-week journey across Bali, Manila, and Chiang Mai, immersing herself in the vibrant world of printmaking and papermaking. Visiting studios, galleries, and museums, she engaged with local artists and artisans, exploring the intricate processes and techniques behind their unique creations. Ina undertook the trip to strengthen connections between New Zealand’s print and paper makers and their counterparts in Asia, with the ultimate vision of establishing a collaborative space in Auckland where artists can share ideas and foster innovation in contemporary printmaking and papermaking. Ina's travels were made possible through the support of the Foundation's Arts Practitioners Fund.
Ina with Indonesian artists Agung Prabowo and Sekar Puti outside ARTA DERAU, their printmaking, papermaking and ceramic studio
As the founder and director of the annual, three-day Printopia Festival of Original Print, I have been actively promoting the art of original hand-pulled prints, celebrating local artists working in the medium, and looking at how to grow the region into being one of the printmaking hubs of the Asia Pacific.
The purpose of the tour was to connect with members of the recently established Asia Pacific Print Club (APPC), a network of studios that elevates the medium and increases exposure for artists across the region through group exhibitions and collaborations.
I visited several studios in Bali, each one being a unique expression of the founding artists, reflecting their personal journeys and experience in print and paper.
My first stop was Bali, where creative enterprise is a part of daily life for many Balinese, and where you can find an abundance of studios and workshops in every medium.
I was able to attend a short workshop on how to make paper from Daluang, a species of the Mulberry tree similar to Japanese Kozo in strength and texture.
I was impressed by the ambition of my instructor, Aryatama Nugraha, who is dedicated to experimenting with local natural materials to develop a unique Indonesian handmade paper that is highly valued and internationally recognised.
Visiting the papermaking studio of Naruse Kiyoshi was another highlight of my time in Bali.
I wanted to visit Naruse Kiyoshi’s studio as he has been doing handmade paper from the fibre of banana plants for almost three decades in Bali and is a widely respected master papermaker across Bali and Indonesia.
Papermaker Naruse Kiyoshi is well respected papermaker and an inspiration to fellow artisans in Bali
Naruse, who is originally from Japan, has an ethos of sharing his skills and knowledge with local artisans so that everyone can benefit from his research.
He has elevated the art of papermaking to something that has been inspirational to local artists.
I was amazed to see how every part of the process was done by a team of dedicated staff, whose talent made the whole process look effortless. Watching his team pull a 3 x 2 meter size sheet of paper was utterly mesmerising.
Equally inspiring is how Naruse continues to push the boundaries of the medium to produce different textures which he uses to make highly sought-after interior design objects including lamp shades, wall hangings and tables.
Something all the studios I visited in Bali had in common was their DIY spirit of having to use innovation and hard work to make the business side of the studios successful, as government grants and subsidies don’t exit as they do in Aotearoa.
Ina: " Something all the studios I visited in Bali had in common was their DIY spirit..."
For me, it was an important to see how necessary it is for continuity and growth in the printmaking industry to make sure there are studios where knowledge and skills can be handed down through apprenticeships, internships and working in collaboration.
My next stop was Manila where I was warmly welcomed by Angela Silva of Rolling Paper Press and Elmer Borlongan of Pasilyo Press, both active members of the APPC.
I was invited to give a presentation to the local print community about my experience establishing the Printopia Festival, which was a mutually inspiring exchange of ideas, followed by a delicious buffet dinner of traditional Philippine food.
The talk was hosted at Art Cube Gallery in Makati, where I was greeted by about 20 printmakers, who listened to my presentation that covered the challenges of being a print artist and running a printmaking event in Aotearoa.
Those who attended were interested to hear how I delt with similar issues they have to face including securing grants, providing educational but engaging events and exhibitions for the public to grow print appreciation.
MARS Centre for Printmaking at the Philippine Women's University
One attendee, Marz Aglipay, posted on her Instagram page: “I found myself resonating with her journey in that she started as a self-taught artist and, after finding her printmaking community, snowballed into the project that is Printopia Festival."
The following two days were a blur of non-stop visits to museums, galleries, universities, and studios promoting printmaking through exhibitions, workshops, and education programmes.
Angela’s enthusiasm for activating contemporary printmaking in the Philippines is contagious and we spent many hours discussing the challenges and opportunities that exist in our countries.
One of the biggest challenges printmakers face in the Philippines is accessing printmaking equipment and facilities. To remedy this, Angela has been involved in establishing a grant programme to build presses to lend groups wanting to set up a print studio.
Elmer Borlongan giving private tour of his retrospective of printmaking
My final stop was Chiang Mai, a city that had been on my radar for a few years now as a bit of a printmaking hub thanks to the efforts of artist and printmaker Kitikong Tilokwattanotai, founder and owner of Chiang Mai Art on Paper (C.A.P) Studios.
The Studio has a dedicated team of four full time printmakers who work collaboratively with visiting artists to make a limited edition of 30 prints, which is split evenly between the artist and studio. There are a mix of local, international, emerging, and established artists working in different media, resulting in a rich and varied collection of work.
As you can imagine, C.A.P Studios is a treasure trove of prints of various styles and subject matter, which visitors can buy online or drop in and purchase. Kitikong believes seeing how and where a print is was made, is an important way to grow print appreciation among collectors.
Kitikong has also been instrumental in providing students and emerging artists with the support and mentorship needed to set up their own creative enterprise. One studio I visited was JOJO KOBE Gallery, successfully run by three of his former students at Chiang Mai University. They specialise in silk-screen printing, workshops, one-on-one tuition, and host exhibitions by Thai artists.
Kitikong also leases presses in exchange for a single print from each edition made on the press. His lithography press is currently on loan to Hello Print Friend podcaster Miranda Metcalf and her husband Tim Pauszek who have recently moved to Chiang Mai to start a collaborative print studio.
Kitikong Tilokwattanotai at C.A.P studios, Chiang Mai
Handmade prints and paper in Aotearoa and Southeast Asia is something that is not widely recognised or celebrated on par with other art forms such as painting, sculpture, photography and video.
As we all face similar challenges, it’s important for printmakers and papermakers to share ideas and solutions, which can be applied and adapted to suit our own communities.
In Southeast Asia, I learned a lot from the exchanges of ideas and it has personally given me a feeling of being more connected and confident to take the next step in my journey, which is to open a studio in Tāmaki Makaurau where artists can come to share knowledge, ideas and skills dedicated to contemporary printmaking and papermaking, for everyone in the community to access.
I’m grateful for the inspiring conversations I’ve had with the artists I met on my journey and look forward to continuing them here, in person, in Aotearoa one day soon.
Find out more
The Foundation's Arts Programme brings Asia into the mainstream of New Zealand arts by inspiring New Zealand arts professionals to grow their connections and knowledge of Asia. It also supports the presentation of Asian arts in partnership with New Zealand arts organisations and events.
Our Arts Practitioners Fund provides support for experiential opportunities for individual New Zealand-based arts practitioners to deepen artistic and professional connections with Asia, including residencies, work placements, research tours and exchanges.
