Accomplishments:

Marlene MacCallum and David Morrish:
Our book Copper Plate Photogravure: Demystifying the Process, was published by Elsevier Science (Focal Press) in the spring of 2003. This book provides comprehensive instruction on the photogravure process; building on the traditional technique and incorporating current materials and media. It also gives a brief history of the process.

Marlene MacCallum:
During the last six years, my prints and book works have been exhibited in thirty-six solo and group exhibitions in nine countries.

In 2003 my work was included in the book Visual Artists of Newfoundland and Labrador: An Exhibition in Print, published by Visual Artists of Newfoundland and Labrador.

My latest solo exhibition "Strange Chambers", was exhibited in 2002 at Prairie Art Gallery, Grande Prairie, Alberta and in 2001 at Engramme Galerie, Québec, Québec. In this exhibition, I showed seventeen photogravure prints from 1995 to 2001 and five book works from 1997 to 1999.

In 2000, I was awarded honourable mention at the first Atlanta Book Prize, Nexus Contemporary Art Center, Atlanta, Georgia.

In 1999, I was awarded the grand prize at the "Biennale Internationale d'Estampe Contemporaine de Trois-Rivières", Québec. This biennale is the only Canadian print biennale and was inaugurated in 1999. The prize was awarded for a group of seven photogravure prints.

My book works and prints are held in thirty public collections in Canada, the United States and Europe.

I have received the following grants in support of my work. Newfoundland and Labrador Arts Council Project Grants in 2003 (with Barb Hunt), 2001, 1997, 1994 and 1992. Canada Council for the Arts Creation/Production Grant in 1999 and Travel Grants in 2000 and 1999. Artistic/Creative Grants, Memorial University, in 2000, 1998 and 1997 Principal’s Research Grant, Sir Wilfred Grenfell College in 2003, 1998 (with David Morrish), 1993 and 1992.

David Morrish:
Over the past 8 years, my prints have been exhibited in thirty-two solo and group exhibitions in seven countries.

I was invited to be in the inaugural exhibition of the opening of “the Rooms” in St. John’s in 2004. I am now producing new work for “The Limestone Project”, a multi-venue international project involving eight photographers and three writers from Ontario, Newfoundland and Ireland, opening in 2004.

In 2003 my work was included in the book Visual Artists of Newfoundland and Labrador: An Exhibition in Print, published by Visual Artists of Newfoundland and Labrador.

My latest solo exhibitions were at the CCFM in Winnipeg in 2002, and "Locomotive Torpor" was exhibited in 2001 at SNAP Art Gallery, Edmonton, Alberta. In the former exhibition, I showed thirty-two photogravure prints from 1996 to 2001.

My photographs and photogravure prints are held in numerous public collections across Canada.

I have received the following grants in support of my work: Newfoundland and Labrador Arts Council Project Grants in 2003 and 2001; the Canada Council for the Arts Creation/Production Grant in 1999 and 1989/90 and 1985. (Another is pending).
Artistic/Creative Grants, Memorial University, in 2003, 2000, 1998 and 1995 (with Marlene MacCallum); the Principal’s Research Grant, Sir Wilfred Grenfell College in 1997 (with Marlene MacCallum), and 1993.

Copper Plate Photogravure: Demystifying the Process

Copper Plate Photogravure describes in comprehensive detail the technique of traditional copper plate photogravure as would be practiced by visual artists using normally available facilities and materials. We guide the reader step-by-step through the many stages of the process. A detailed manual of technique, Copper Plate Photogravure also offers the history of the medium and reference to past alternative methods of practice.
 
Photogravure arguably remains one of the most satisfyingly beautiful image making processes. The range of possibilities of ink color and paper qualities is endless. The potential for hand work and alteration of the copper plate provides yet another realm of expressive variation. Besides the advantage of unlimited possibilities for interpretation of the image, the photogravure plate can be absolutely faithful to the original negative. The subject matter and the treatment are as variable and broad as photography itself.
 
Virtually abandoned in the latter half of the twentieth century due its complexity and expense, the copper plate photogravure process is explored in this book in the context of currently available materials. Its purpose is to demystify and clarify what is ultimately a difficult but altogether “do-able” photo-mechanical process.
 
Our photogravure book came about as a result of our own research into the photogravure process, which began in 1993. We each wanted to learn this process because we felt it would be the best way to address our image interests. We were fortunate to have complimentary backgrounds, Marlene as a printmaker and David as a photographer. In the course of trying to learn photogravure, we found that there was very little current information available on the process and we wrote this book to address this gap. Our early research into this process was supported by a Federal/Provincial Co-operation Agreement Grant and a Vice-President’s Special Research Grant, Memorial University of Newfoundland for a Photogravure Workshop in 1995. We received a Publication Subvention grant from Memorial University of Newfoundland in 2002 for the book.

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