About Ms Rebecca Beardmore

A lecturer in Visual Art and practicing artist, Beardmore’s research is located in the field of Contemporary Art, more specifically within image-based media. Her research points to the intersection of Photography and Printmaking from the perspective of a contemporary Print based practitioner. Beardmore is particularly invested in exploring the value of printerliness at a time when the very materiality of the printed image is being called into question in favor of faster and more fluid forms of visual media. This period of transformation and convergence between one technology of image production and another has necessitated a space for reflection on the function of print and the art of printmaking in relation to the image as object, as artefact, as archive. Through an innovative and experimental approach to materials and techniques, her research seeks to expand the rhetoric around image perception and disrupt the image as an object of representation – evoking tensions between reading, seeing and perception.

Beardmore’s studio research fuses digital print technologies with conventional hand pulled processes, integrating the printed word and photographic image with reflective industrial surfaces. Her expertise in large scale industrial reprographic print technologies is coupled with extensive knowledge in conventional analogue print processes (specifically graphic and photo screen printing and photo-intaglio techniques). Experimentation with unconventional materials characterizes Beardmore’s practice. A master printer in training, she exploits traditional techniques and mines the possibilities and innovations of materials and making of allied industries and other creative genres, pushing their technological footprint to fit creative ends. Crucial to this research is an engagement with the intersection of image, text and material surface. Her investment in contemporary print media extends from artist books to architectural installations.

Rebecca Beardmore is actively engaged in the international print community. Recently she delivered a paper on the intersection of printmaking and photography and contemporary art at IMPACT 10, the most significant multidisciplinary International printmaking conference in Europe (Santander, Spain Sept 1-9, 2018). She has published articles, book and exhibition reviews in Imprint, the Australia Council quarterly print journal. She is a previous winner, has been an invited judge, and a regular finalist in Australia’s most prestigious print prize, The Fremantle Print Award. She exhibits internationally and is represented by Artereal Gallery, Sydney.Her works are held in the collection of the Art Gallery of New South Wales, international institutional collections including Guangdong Museum of Art, China, Rhode Island School of Art and Design, USA, University of Alberta, Canada and University of Texas Collection, USA. She has supervised a number of MFA students to completion.

Selected publications

  • Surface Deep, Solo Exhibition, Artereal Gallery, Sydney, Australia, 2018
  • Photographic Printerliness: On the persistence of materiality in the digital age, Impact 10 Printmaking Conference, Santander, Spain, 2018
  • Pandora’s Box, Novosibirsk Print Triennial, Russia, 2018
  • Beardmore, Rebecca, Talking in Print, Imprint, vol 54, no.1, p.29-32,  2018
  • Contemporary Women Photographers, Artereal Gallery, Sydney, Australia, 2018
  • Light/Matter: The Intersection of Photography and Printmaking, Symposium Talk, Indiana University, USA, 2017
  • Light.Matter: The Intersection of Photography and Printmaking, Grunwald Gallery, Indiana, 2017
  • Persistence of Vision, Solo Exhibition, Artereal Gallery, Sydney, Australia, 2016
  • Double Vision: Between the Intimate and the Infinite, Solo Exhibition, Artereal Gallery, Sydney, Australia, 2014
  • Seeing Between, Fremantle Arts Centre Print Award, winner, Major Acquisitive Prize, 2010