Dr Brian Gilkes




The Pharos Centre


Dr Gilkes’ work includes collaboration with artists to produce computer mediated works on paper, including editioned prints and artist’s books under the Pharos Editions impression.

Examples of this work are in permanent collections of many institutions including National Collections, Galleries and Universities in Australia, New Zealand, UK and USA.

Fine printmaking has been a central interest in his previous work as a photographer and University lecturer, when he worked in silver, iron (especially platinum / palladium), bichromated colloid and intaglio processes.

He is interested in how new technologies can increase the perceptual qualities of prints, including dimension, volume and presence.  His personal work as an artist uses digital printmaking and sumi-e painting.  His theoretical research investigates perception of space and time, with field-work in Oceania and Europe.

He lives with his wife and co-worker Dianne on a rural property in St Andrews near Melbourne, Australia, where his studio, gallery and workshop complex operates as The Pharos Centre.


The Master Printer and the Expanding Horizons of Print Perception in the 21st Century OR A New Renaissance ' Dimension and Light in Digital Printmaking


The Italian Renaissance evidenced innovative and previously largely unknown approaches to the representation of perceived reality in two dimensional art works.  Painters and printmakers simulated depth with perspective and shading, until the widespread use of photography steered their work into explorations of two-dimensional space.   Recent research into the psychophysics and psychobiology of human perception and the techniques and technologies availed by computers now enable artists in both traditional and new media to explore new approaches.
The 21st century master printer will be required by artists exploring these new avenues, to devise elegant strategies in the use of the new knowledge.  As the 16th century Renaissance did, these revelations of depth and presence may lead to renegotiation of how artists might interpret real and imagined worlds.


Tuesday 27 September


1:30pm - 3.00pm






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