Jillian Ross is the Master Printer of the David Krut Workshop (DKW) at Arts On Main in Johannesburg. The workshop specialises in intaglio printing, relief, monotype and experimental mediums, and she has to date, collaborated with over 70 South African and international artists in creating unique and editioned fine art works on paper.
Arriving in Johannesburg in 2003, Jillian began as an intern at DKW and now manages a team of printmakers, all trained in-house. Collaboration and innovation are the bywords for the workshop, and multi-tasking is the key to testing the limits of art-making mediums with established artists working alongside emerging artists.
Jillian’s most notable ongoing collaboration exists with William Kentridge. Since 2006 the workshop has collaborated with the artist in creating over 250 editions. Among others, three major bodies of work are: the Triumphs & Laments Woodcuts series of six life-size, multiple-plate woodcuts with collage (2016 – 2020); the Universal Archive series of 75 linocuts on dictionary pages (2011 – 2014); and The Nose series of 30 etchings (2006 – 2010). On large projects such as the above, Ross involves printers and interns, allowing skills transfer and development.
Recent projects include multi-media works by emerging artist Pebofatso Mokoena for Internal Probes (exhibited in Johannesburg, 2020); multiple process prints with Serbian-born Maja Maljević for Silence of the Change (Johannesburg and New York, 2019) and Latitudes Limited five-colour silkscreens with artists Sthenjwa Luthuli, Pebofatso Mokoena, Mbali Tshabalala, Adejoke Tugbiyele and Clint Strydom, created for the first edition of the Latitudes Art Fair in Johannesburg in 2019.
Jillian and Amé Bell, the Gallery Director at David Krut Projects in Parkwood, Johannesburg, collaborate on the conceptualisation of DKW’s ongoing projects in line with the exhibition programme. Together they maintain relationships with artists and develop art fair and international collaborations.
Bio: Jillian Ross was born in Edmonton, Alberta, Canada, in 1978 and completed a Bachelor of Fine at the University of Saskatchewan in Saskatoon in 2002. Ross has apprenticed with Master Printer Phil Sanders from PS Marlowe, NYC; Master Printer Jack Shirreff from 107 Workshop, UK; Master Printer Randy Hemminghaus from Judith Brodsky Centre, NYC; and alongside many other printmakers throughout her career. She has given lectures at the Southern Graphics Conference: Print MKE in Milwaukee and at the Highpoint Centre for Printmaking in Minneapolis.
She was a leading artist-in-residence for the BAiR Text program at The Banff Centre in 2016. Her collaborations are documented in various book publications, both local and foreign, as well as work on paper journals such as Art Africa, De Arte, Art in Print, Printmaking Today and Art on Paper. Many of her collaborative projects with William Kentridge have been shown internationally at well-respected institutions, such as: Kunstmuseum Basel (Switzerland), Art Gallery of New South Wales (Australia), The Berlin Kulturforum (Germany), Instituto Moreira Salles (Brazil), The Royal Academy and The Hayward Gallery (United Kingdom), and Zeitz MOCAA – Museum of Contemporary Art Africa (South Africa).
Kim-Lee Loggenberg (1987) has worked as an Editioning Printer and collaborator at the David Krut Workshop since 2013. Kim-Lee specialises in intaglio printing and takes a special interest in the application of chine-collé and the creation and printing of water- and oil-based monotypes.
Kim-Lee’s notable recent collaborations include the making of monotypes and a current etching project with Heidi Fourie, and an ongoing series of water-colour monotypes with Nina Torr. Other collaborations include Robyn Penn, Maja Maljević, Endale Desalegn, and Diane Victor. In 2017 Loggenberg was integral in the printing of Deborah Bell’s large-scale etchings and Mikhael Subotzky’s photogravure project with visiting United States-based Master Printer, Phil Sanders.
Kim-Lee has been the editioning printer for artists Deborah Bell, Sam Nlengethwa, Diane Victor, Mikhael Subotzk, Lynda Ballen, Robyn Penn, Maja Maljevic, Wilma Cruise, Mischa Fritsch, Quinten Edward Williams and Jaco van Schalkwyk.
Kim-Lee has facilitated multiple public print workshops and technical talks for David Krut Projects. Watch and listen to her “DKP Inside Story on Deborah Bell’s artwork Aware of Being Aware, 2017“.
Bio: Kim-Lee Loggenberg was born in Port Elizabeth in 1987. She received her Bachelor of Technology (Btech) in Fine and Applied Arts, majoring in printmaking, from the Tshwane University of Technology in 2010.
Kim-Lee’s artistic practice involves delicate intaglio etching and drypoint prints and monotypes. Her work has featured on group shows including Kind of Blue 2019, at David Krut Projects, Johannesburg; and Life Amongst Cats, 2018, David Krut Bookstore & Gallery 151, The Cat Show, 2019, David Krut Bookstore & Gallery 151, Johannesburg.
“I love “getting to know” a plate/print. There is a time at the beginning of each project where the plate or plates you’re working on feel like strangers, the images are unfamiliar to you. You haven’t quite figured them out yet. But then after printing them a few times you really get to “know” them. You know the areas where they are lighter or darker. You learn where you need to be aggressive when wiping and when you need to be a little more careful and considerate. You form a special kind of relationship with each plate and each image. When you see the finished piece in the gallery or at an opening you remember that special relationship you built with it and each print becomes like an old friend.”
The ongoing print project for artist William Kentridge is one that Sbongiseni has been involved with from the beginning. The Triumphs & Laments Woodcuts Series (2016 – 2020) is of six large-scale, multiple-plate woodcuts with collage. Sbongiseni has been part of the core editioning team of printers and is a head carver on this project.
Sbongiseni is a founding member, alongside Chad Cordeiro and Nathaniel Sheppard III, of Danger Gevaar Ingozi Studio, which was established in 2016.
He is an artist in his own right and his work embodies a depth of introspection and honesty as well as a certain level of inquisitiveness towards the status quo within the controlled precision of an artist with the utmost attention to detail.
Bio: Born 1990 Esikhawini in KwaZulu-Natal, Khulu matriculated from a technical high school and furthered his studies under the scaffolding of a Civil Engineering degree in Durban. Dissatisfied with engineering, Khulu pivoted towards a Fine and Applied Arts degree in Pretoria at the Tshwane University of Technology (TUT). There he majored in sculpture and printmaking.
In his third year Sbongiseni was chosen to be amongst the 2012 PPC Young Concrete Sculptors Awards finalists (PPC Imaginarium). This led to his appointment as co-student assistant of the sculpture studio at TUT in his fourth year. Since then his work as an artist has been exhibited both locally and internationally, all whilst continuing to collaborate with a number of artists as printmaker.
“I love print because of its obvious contrast to sculpture. In a way sculpture and printmaking are the Yin and Yang to my compulsive production-based psychosis. DKW offers a platform for me to prove my utility and aid to the artists I collaborate with.”
The Triumphs & Laments Woodcuts series (2016 – 2020) is of six large-scale, multiple-plate woodcuts with collage and is an ongoing print project for artist William Kentridge is one that Chad has been involved with from the beginning. Chad has been part of the core editioning team of printers and is a head carver on this project.
Chad has been an editioning printer for artists William Kentridge, Senzo Shabangu, Stephen Hobbs, Deborah Bell and Rhett Martin.
His artist practice focuses on processes of working with archived or collected material as a response to multiple, interconnected narratives that are embedded in archives or collections. This additive process of cutting and pasting manifests collage-based works that exist as unique records of conversations between “the historical” and “the contemporary”, through media such as linocut, silkscreen, vinyl records, cassette tapes, mural installations, and publications.
See more of his work here.
Together with Nathaniel Sheppard III and Sbongiseni Khulu, Cordeiro co-founded Danger Gevaar Ingozi (DGI) Studio in 2016. DGI Studio is a co-operative space for artistic research and collaboration, with a focus of print-based media.
Bio: Born in Johannesburg in 1993, Cordeiro completed his undergraduate degree at the University of the Witwatersrand in 2015. He is currently completing his MAFA at the University of the Witwatersrand, where he is also a guest lecturer in the printmaking department.
“A moment that I will always remember is hanging out and printing with Aida Muluneh.”
Since joining the DKP team, Sarah has worked closely assisting Master Printer Jillian Ross with the complex William Kentridge, Triumphs & Laments Woodcuts series of six life-size, multiple-plate woodcuts with collage (2016 – 2020) making books and assembling.
She has been a print assistant on projects with artists: Maja Maljevic, João Orecchia, Mongezi Ncaphayi, the Latitudes Limited five-colour silkscreens with artists Sthenjwa Luthuli, Pebofatso Mokoena, Mbali Tshabalala, Adejoke Tugbiyele and Clint Strydom created for the first edition in 2019 of the Latitudes Art Fair in Johannesburg. Sarah recently collaborated with artist Olivia Botha to make a series of oil and water-based monotypes.
Her work is situated in and around the urban of the larger Johannesburg and uses linocut printmaking as primary her medium but explores with other printmaking techniques. Her interests lie in challenging mundane ways of making marks and or imagery. The process of coming to an artwork plays a big part in her practice.
Sarah believes that her role in society should be to question and or interrogate things that she is faced with. Visual language is highly effective and can be spoken and understood in many different contexts. She engages with Johannesburg, its buildings, their power relations, and their surroundings, exploring unfamiliar spaces along with her daily travelled spaces, becoming more aware of her own surroundings. She has realised that her positionality as a White South African female plays a role in her interrogation process, she marvels in creation, questions, looks at the past, acknowledges it and uses it to move to higher heights in creating a better future.
Her work has been shown on The Cat Show, 2018, DKP Johannesburg and Kind of Blue, 2019, DKP Johannesburg.
Bio: Born in Johannesburg, Sarah completed her Bachelor of Arts in Fine Arts at The University of the Witwatersrand (WITS) in 2018. She has been a Top 10 Finalist of the Wits Young Artist Award 2017 and 2018, Art on Paper Award winner of the Thami Mnyele Art Award 2017, Top 100 Finalist of the Sasol New Signatures competition 2018.
“One of my favourite memories in the short time that i have been at DKP was when we collaborated with Steven Hobbs in 2018 where we created a small pop up gift that was given to people at a performance hosted at the Four Seasons hotel in The Westcliff. The performance was a collaboration between Hobbs, DKP and the chefs that work at the Four Seasons hotel restaurant- creating multiple narratives that Hobbs performed, with canapes that helped the audience experience the stories. The evening was absolutely beautiful, and a night that could never be reproduced.”
Originally from Cape Town, Roxy joined the David Krut Workshop team in 2017 as part-time staff after she moved up to study at the University of Johannesburg. Her role was initially administrative but in 2019, after she joined the team full-time, she began working on projects as a printer and collaborator.
Roxy established a home-based silkscreen studio in 2019 to allow her to broaden her own practice. The equipment has been utilised for DKW projects, most recently illustrator Zhi Zulu’s continuation of her animal series and multi-media works by emerging artist Pebofatso Mokoena for Internal Probes (exhibited in Johannesburg, 2020); silkscreen printing for Mikhael Subotzky’s Humorism after Elliot, silkscreen printing for multiple process prints with Maja Maljević and Latitudes Limited five-colour silkscreens with artists Sthenjwa Luthuli, Pebofatso Mokoena, Mbali Tshabalala, Adejoke Tugbiyele and Clint Strydom created for the first edition in 2019 of the Latitudes Art Fair in Johannesburg.
Roxy has worked on a number of projects including post production for William Kentridge’s large-scale series Triumphs and Laments Woodcuts.
She has also made text contributions and involved in production of Deborah Bell’s 2018 book Invocations to the Plate.
Her artistic practice is focused on the sensibilities and relationship between humans and nature. Kaczmarek’s printmaking and paintings delve into the uncanny darkness of the scenes beneath the canopy of leafy forests and the desolate land and soothing seascapes. Through expressive, painterly marks, Kaczmarek explores the dichotomies of our separation from and our closeness to nature; how we attempt to package and shape the environment, yet revel in its wildness.
Bio: Roxy Kaczmarek studied at UCT’s Michaelis School of Fine Art and majored in Printmaking. She moved up to Johannesburg in 2017 to complete her Masters at the University of Johannesburg’s Faculty of Art and Design which she graduated with cum laude in 2019. The paintings, installation and prints for the Masters show exhibition ‘Third Landscapes’ (2019) interrogated the intersection of plants and people within liminal spaces of the city. Kaczmarek worked as Printer and Studio Manager at Warren Editions Studio, Cape Town (2013-2017). She won a gold medal in the Absa Art and Life Awards for Printmaking in 2012 and has done internships at the London Print Studio and at Amsterdam’s Grafisch Atelier in 2013.
“A special memory from DKP is ‘ringing of the bell’. At the end of each print project once the editions are fully printed (this can be very time consuming!) it is tradition at DKW to ring a bell in celebration. It’s always very special when it gets rung!”