Megalo Editions

Megalo Editions is a new initiative of Megalo Print Studio, laid out in 2020-21 and formally launched in 2022, in which Megalo undertakes a partnership with individual artists and creative practitioners to produce limited editions of original prints. Artists and practitioners working across multiple disciplines are invited to collaborate with Megalo staff printers in the development of a work concept, to be executed as an edition which is then equally divided for exhibition and sale.

The guiding principle of Megalo Editions is the translation of diverse artistic practice into print and print-adjacent media – led by the artist whose vision generates the work, but reliant upon open and collaborative dialogue between artist and printer throughout the process from concept to finished work. The aims of this initiative include the fostering of cross-disciplinary collaboration between artists and printers across multiple fields; and the development of income generation opportunities for both the engaged artists and for Megalo as an organisation, through the sale of works produced.

Megalo printer and Screen Studio Manager Alex Lundy with Tom Buckland (photo: Megalo Print Studio);

Joel Arthur with Megalo printer and Press Studio Manager Maximilian Gosling (photo: Megalo Print Studio);

Naomi Zouwer with Megalo Technical Officer Bronte Bell and Megalo printer and Education Manager Clare Jackson (photo by Pew Pew Studio for artsACT)

Tony Curran with Megalo printer and Education Manager Clare Jackson (photo: Megalo Print Studio)

The Megalo Editions initiative was conceived in 2020, when Clare Jackson, one of Megalo’s team of printers, approached ACT-based artists Naomi Zouwer and Tony Curran with the idea of collaborating on a new edition of lithographs. Both Naomi and Tony, while familiar with printmaking, had primarily worked in other media such as painting and collage; and both were keen to explore the extension of their practice into new disciplines.

These pilot collaborations were exciting and productive; and so in 2021, after further experimentation and discussion, Megalo Editions was born. Two more ACT-based artists, Joel Arthur and Tom Buckland, were approached to work with Megalo printers and studio managers Alex Lundy and Maximilian Gosling. Over the following twelve months, artists and printers worked together to produce the first suite of the Megalo Editions project.

Top, l-r: Tony Curran, Synthetic Attention Machine, 2021; lithograph, 4-colour, edition of 6 (printer: Clare Jackson); Tom Buckland, Destructamatic Utility Knife, 2022; screenprint, edition of 16 (printer: Alex Lundy); Joel Arthur, Various Sensations, 2022; woodblock relief and screenprint, edition of 8 (printer: Maximilian Gosling)

Bottom, l-r: Naomi Zouwer, Long Days #1 and Long Days #2 2022 (diptych); screenprint, edition of 8 (printer: Alex Lundy); Naomi Zouwer, Black and white ribbons on pink tissue, 2022; etching, edition of 8 (printer: Clare Jackson)

The artists provided their creative vision, and their time in overseeing the development of the work from concept to final ‘bon-à-tirer’ proof; and the printers, and Megalo, provided technical expertise, materials and studio access, and of course the finished product itself, ready for signing and editioning. For each edition, the artist received an artist proof (‘AP’); the printer received a printer proof (‘PP’); and Megalo received a workshop proof (‘WP’) for its archives; and the numbered edition proper was equally divided between the artist and Megalo, for retention or sale at a mutually agreed price (with no respective commission).

Megalo Editions was officially launched in July 2022 in conjunction with Naomi Zouwer’s exhibition The enchantment of things. Zouwer’s exhibition included three works developed as ‘Editions’: the lithograph ‘The enchantment of things’, printed by Clare Jackson; the screenprint diptych ‘Long Days #1’ and ‘Long Days #2’, printed by Alex Lundy; and the etching ‘Black and white ribbons on pink tissue’, printed by Clare Jackson. Alongside, Megalo presented Tony Curran’s lithograph ‘Synthetic Attention Machine’, printed by Clare Jackson; Tom Buckland’s screenprint ‘Destructamatic Utility Knife’, printed by Alex Lundy; and Joel Arthur’s relief and screenprint work ‘Various Sensations’, printed by Maximilian Gosling.