Juanita McLauchlan

Juanita McLauchlan draws upon her Gamilaraay identity, history and language to explore family connections in ambitious new works focusing on personal belongings and body adornments. Trained as printmaker, McLauchlan now makes enormous contact prints on blankets: they literally mirror back the beauty of Wiradjuri Country. Then she stitches the blankets or cuts them into strips to make necklaces combined with possum-fur, and bound with red thread symbolising connections of blood through generations. Like wool, cotton thread is an introduced European material, but McLauchlan does not deny this inheritance: she celebrates both sides of her family and herself. This celebration is manifested when wool is combined with possum-fur, ethically sourced from New Zealand.

Tell us about your creative process.  What drives your practice?

My ideas come from “doing”. I need to start the printmaking process as I think of ideas for my artworks. I dream the ideas first, I let my ideas marinate in my mind and become a strong image and then the process of printmaking helps the work evolve and grow into a final piece. I never draw my works first (in a diary or on a separate piece of paper), I always start directly on the plate, for example shellac on the board helps my ideas grow. I am heavy handed with the surface; I like to play with the surface of plates.

When I do a lino, I draw directly onto the plate and it develops as I am working. When using the collagraph technique, I prepare the papers, draw onto the paper to avoid the frightening white page. When I print, I want to cover up the white and reveal an image at the same time. My works develop with some chance and I respond to the printmaking process as it develops on each plate.

I have a compulsion to move my hands and to react to the plate (there is a love affair between your hands and the plate, it is tactile, there is a relationship). When I feel the plate, I know what the print will look like.  I am driven by the repetition of printing (wiping the plate, polishing the plate, inking the plate, etc,. I love the sound and the smell of printing; it is an all-consuming sensory experience). There is nothing more satisfying than seeing multiple prints of a plate all perfectly printed and ready to be revealed. 

What excites you about printmaking and draws you to engage with it?

I started printmaking by chance! An art teacher (Bob Clarke) at my high school in Tasmania let me into the art storeroom and said “take whatever you want”, because at the time I was struggling with painting (I think paint is too wet).  I went home with a 30 x 30 cm square of lino and some tools.  After spending all night cutting that plate (I had 30 minutes sleep) I excitedly went to school the next day (skipping Biology) to print.  I was hooked! I can still smell the plate, the ink and that high school art room (with Nirvana playing loudly in the background). I loved the sound of the viscous ink rolling out onto the plate. It was so comforting, it was everything.  Printmaking is so hands-on and immediate, you can see your ideas and images come to life in front of your eyes as you carve, etc.  Printmaking gives you so much control. You control every element, there are rules to learn and when you have learnt them, you can break them.  Printmaking gave me control of my teenage life (it was one of the only things I succeeded at at school) which was so comforting at the time.  It is the removal of a substance that still fascinates me. I still rely on the process of carving away a plate to regroup at the end of the day. I still enjoy carving at night!

What is the significance of printmaking within your explorations of identity, language, culture, and country?

It is the overlapping of ‘stories’ of where we are now and the past generations which are spiritually connected to this place. It is finding where I fit in culture and society. We all want to fit in and sometimes we have to make our own pocket so we feel like we belong. Printmaking is in my pocket. Printmaking is repetitive and continuous like our DNA. We can’t hide and suppress what’s within us; it always reveals itself (just like a print). Your culture finds you when you are ready for your journey. To be culturally safe plays a big part of my life. To have the experience to be trusted with knowledge and community is a gift. Culture is a gift and we share our gifts. I have a responsibility to share my cross-cultural heritage and I do that through the process of printmaking.

How does working with natural materials and matter enable you to explore connections to the environment and the land?

One of my favourite things to do is bush dying, which I consider another printmaking process. It allows me to go out onto Wiradjuri/Wiradyuri country and collect a variety of different eucalyptus leaves (knowing each tree produces a certain colour and texture is exciting). The elements of the environment affect the leaves and that creates an element of chance in my work.  If the leaves don't produce enough oil to print a clear image, nothing is ever wasted. These dyed fabrics become part of my body adornment works. I have a couple of very special spots where I collect the leaves from. I feel welcomed on this land and thank the environment and the trees. If I don’t feel welcome in a place, I don’t take the leaves. I never over harvest and only gather what is offered.  I respect the environment and feel the connection to the country strongly. When you tread lightly on the earth and treat things with respect and kindness, your work is successful.  Leaves, nature, so many lifeforms on country, and the blankets I dye, also have nurtured many people and provided comfort and warmth. I combine the two elements to create works to tell my story and leave a timestamp for the future generations.

Are there any female printmakers / artists that influence you?

Destiny Deacon is awesome and her work is awkwardly beautiful. It has been very sad to hear of her passing.  I have a deep respect for her and her work. Her work is playful and a bit naughty and I love her mischievous approach to artmaking. I studied Tracey Moffatt in high school and still love her work. Leah King Smith is another influence: the combination of images and the overlapping of time and place is dream-like.  I also love Hannah Hoch, she was beyond her time. She was so strong and brave in a male dominated world. She produced such fantastic work in difficult times and I think that is impressive. However, my ultimate artistic hero is Karla Dickens. I have not met her yet but just give me some time. I have had some of my work hung near her work in Mudgee and that was an honor. Her use of everyday items, crossing them with cultural connections. The found objects in her works are wicked. Her work is constantly evolving and shifting, her work is tactile and has a purpose and I love that. I love the fact that she illustrates how an object can be a part of two worlds and she creates a middle ground of assimilation but most of all I love the strength and gentleness of her work. My list of influences could go on but you have given me a word limit. I also love Judy Watson's work and…

Finally what exciting projects are you working on at the moment?

So many things.  It is a very full year so far and it's only July… Being a finalist in this year's Wynne prize has really opened up my world.  I have received a fellowship from Regional Arts Australia which is enabling me to work on a major solo show to be exhibited in Sydney next year, which is beyond thrilling.  I am working on a project making body adornment necklaces, which I love making. I continue to be consumed in the printmaking studio, being intoxicated by the smell and sound of the ink being rolled on to the plate. My teenage self would be so proud to be doing something in the artworld, thank you Mr Bob Clarke.