Molly Kamenz
After studying a Bachelor of Natural History Illustration, I have become interested in illustrating the micro and misshapen elements of the natural world. I find solace in noticing how nature mirrors stages of my life. Fallow contains etchings and watercolour paintings of fertility, dormancy and decay in nature, with a focus on botanical subjects.
SAA: How would you describe your Arts Practice?
MK: I like to illustrate natural subjects through the process of printmaking and also watercolour painting. I enjoy experimenting with both hand-colouring and multi-plate colour etching, as well as other printmaking techniques such as chine collé and aquatint.
Molly Kamenz, Those three weeks, Multi-plate etching, 2021
SAA: Have you done any study? related to art or not?
MK: I studied a Bachelor of Natural History Illustration at the University of Newcastle. In this course I learned how to illustrate body parts, plants, animals, and natural landscapes. I was also able to go on exchange to America where I studied intaglio and relief printmaking under two fantastic professors.
SAA: What do you find most inspiring about your art space?
MK: I am a member of Megalo Print Studio and it is so inspiring to chat to other printmakers about their work. Being in the same space and utilising the same equipment makes printmaking a much more communal experience, compared to watercolour painting and drawing which I do alone.
SAA: What does a studio day in your life look like?
MK: It can vary depending on how far along I am with developing a plate. I could be polishing and laying a hard ground onto a copper plate, etching a plate in acid, applying an aquatint, or printing an edition.
SAA: How have you grown as an artist since starting out?
MK: I used to be very focussed on illustrating the tiny details of plants, but now I am finding that I’m more interested in trying to capture a mood or represent something in my life that keeps cropping up.
SAA: What gets you up in the morning and drives you to be a working artist?
MK: I am addicted to printmaking as you never quite know how a plate is going to turn out, and you are guaranteed that moment of surprise when you lift the paper from the plate.
SAA: How did you stay focussed and original when starting out?
MK: I think it helps me to look to the natural world for inspiration, as there is always something unique to find there – the other day I saw an allocasurina seedling that was shaped and twisted in such a beautiful way.
SAA: What are the biggest challenges facing working artists and how do you overcome them?
MK: The biggest challenge I face is putting aside time each week to draw or go into the printmaking studio. I think it’s important for me to have a regular day in the studio so that I can keep pursuing a theme.
SAA: What do you read, watch, listen to, do to stay inspired?
MK: I listen to the Talking with Painters podcast and a great podcast about printmaking called Hello, Print Friend.
SAA: Do you have any advice for young artists?
MK: Don’t be worried if your art doesn’t look perfect. I spent a lot of time seeking to illustrate something perfectly, but I think it’s more useful to see each drawing or piece of artwork as the outcome of an evolving practice. My natural history illustration teacher used to tell us about his concept of ‘pencil miles’ – the importance of time spent drawing, and getting more confident and comfortable with your art practice.