Joan McKay
Joan McKay working on a scratchboard in her studio.
How would you describe your arts practice?
I work with sketches on paper and digitally until I am happy with the composition, size, values, focus, balance, elements and the story an artwork will tell. I transfer an outline onto an Ampersand Scratchbord which is made of 3 layers, a sealed wooden base, kaolin clay and black Indian ink.
Next I use a scalpel, tattoo needles, a fibreglass scratch brush, and other tools as needed, to scrape away the ink surface, showing greys to white as the clay is gradually exposed. It’s a lot like drawing with a white pencil. I use pigmented ink to tone and colour with layers of scratching in-between to build volume.
Once I’m happy with the piece, I seal it with several coats of clear, UV resistant, archival varnish, before framing.
But, what I am looking for in scratchboard is realism for the animals, symbols to connect them to their world, minimalism as far as including just what is important, and especially connecting with the viewer.
What study (arts-related or otherwise) have you completed and has it influenced what or how you make art?
I studied a semester of drawing in a U.S. university and a semester of Art History at ANU. For many years I have attended weekly watercolour classes, mostly at ANU. In 2017 I came across scratchboard and found it to be the medium I could use to depict the wildlife I knew so well as an animal carer. I am now a Signature member of the International Society of Scratchboard Artists. ISSA has conference workshop videos and great discussions about scratchboard.
I am constantly learning, from workshops, sitting in front of and studying gorgeous artworks in galleries, looking at artist’s work on Instagram, Pinterest, the feel of animals and birds as I care for them.
What do you find most inspiring about your art space?
Everything in reach, tilt of the desk, light, magnification when needed, being part of the family and can see out. And, with scratchboard, the ease of picking up what I need and working outside.
What does a studio day in your life look like?
I can get very lost in the actual scratchboard process, working and puzzling to get what I am looking for. When I resurface I do take breaks, stepping away from the close up work. I spend time, too, working with a photo editor in preparation and towards finishing a piece (scanning, adjusting on the scratchboard, scanning, adjusting,…).
How would you say you have grown as an artist since starting out?
I feel much stronger and trusting in my abilities and reasons for creating art. I feel my style has become recognisable. Also, it is important to keep growing as an artist, keep exploring and puzzling.
What would you say is the main driving force that compels you to make? For example, is it in the act of making or an idea or theme that you want to explore?
I know that inner driving force so well. I have to create and I feel something is missing when I haven’t. But, connecting the viewer to an animal or bird is my most important purpose in creating scratchboards. These include endangered and vulnerable animals as well as Australian wildlife I have looked after. I often wake up thinking through ideas on a theme and can visualise them. For example, the release of a joey into the wild - a joey emerging from a book and heading towards trees, a joey taking a different path, 2 joeys with one as an outline filled in with a scene from a release site.
What do you read, watch, listen to or do to stay inspired?
Instagram (a variety of artists whose artwork I admire), YouTube videos, Pinterest, a weekly drawing group with friends, workshops, art podcasts and of course visiting galleries. In all of them allowing time to wonder.