Finalist in the 2025 Gosford Art Prize

 

Field Notes: Magpies, TetraPak Drypoint/Collagraph

 

I’m excited to share that my TetraPak drypoint collagraph Field Notes: Magpies has been selected as a finalist in this year’s Gosford Art Prize.

Now in its 26th year, the prize has grown from a community-driven project into one of the Central Coast’s major annual exhibitions. Open to artists from all over Australia, it attracts an incredible mix of work across all mediums — from traditional techniques to new media.

Field Notes: Magpies is a print featuring three magpies in quiet, everyday poses — a kind of visual note-taking from my regular encounters with these birds. Created using a recycled TetraPak plate, it reflects my ongoing interest in turning discarded materials into something that invites a slower look. The fine lines and textures are a bit like a page from a field journal — a quiet reminder of what’s at stake when waste overtakes habitat.

The exhibition runs from 6 September to 9 November 2025 at Gosford Regional Gallery — worth a visit if you’re in the area.

Looking Up: A Trip to Kakadu

I recently returned from a trip to Kakadu National Park, and it’s hard to put into words just how extraordinary it was. It’s a place where ancient landscapes stretch endlessly, where crocodiles snap in the rivers, and where the sky is alive with birdlife.

I spent much of my time looking up — watching the silhouettes of kites, black-necked storks, and magpie geese trace patterns across the sky. It was both humbling and energising, and I know the experience will shape my upcoming work in quiet but powerful ways.

There’s something about seeing nature that raw and vast that reminds you of your smallness, and your responsibility — a perspective I hope to carry into the studio as I sketch out new ideas.

Northern Beaches Envronmental Art & Design Prize - Finalist

I’m honoured to share that my collagraph Standing Still has been selected as a finalist in this year’s Northern Beaches Environmental Art & Design Prize. Now in its fifth year, this annual prize has become one of Australia’s leading art and design competitions with a focus on environmental awareness and sustainability — a theme close to my heart and practice.

The exhibition will be presented across three venues — Manly Art Gallery & Museum, Curl Curl Creative Space, and Mona Vale Creative Space Gallery — from 1 August to 14 September, open Tuesday to Sunday, 10am–5pm. Prize winners will be announced on Thursday 31 July at 6:30pm.

Standing Still presents an Australian Magpie, a symbol of resilience amid changing environments. Created using recycled Tetra Pak, this piece explores the tension between nature’s beauty and human impact. The magpie stands as a quiet reminder of what we risk losing, while the substrate — a discarded material of convenience — reflects the realities of our disposable culture. I hope this work invites viewers to pause, acknowledge this contrast, and consider their role in shaping a more sustainable future.

You can find more details about the exhibition and the prize here.

 

Standing Still, Collagraph (TetraPak)

 

40by40 Exhibition - Mosman Rowers Art Gallery

Earlier this month, I was part of the 40by40 Members Exhibition at Mosman Rowers — an inspiring group show featuring works by members of Warringah Printmakers Studio. Running from 13th to 30th May, this exhibition showcased an impressive collection of original prints, each no larger than 40cm x 40cm, celebrating the creativity and versatility of our printmaking community.

The show brought together a wide range of techniques, from linocut and woodcut to etching and collagraph, highlighting the many ways our members experiment within the traditions of printmaking. It was wonderful to see the variety of ideas, textures, and stories explored within this small format.

I exhibited my collagraph (TetraPak) Quiet Watch — a little print that invites a moment of stillness and reflection, much like the piece itself.

Art @TheRowers 2025 - Finalist

I’m delighted to share that my linocut print Bronte Kestrel was selected as a finalist in this year’s Art @ The Rowers Acquisitive Exhibition. It’s an honour to be part of this exhibition for a second year running, alongside so many talented artists.

This year’s competition was judged by the renowned Australian artist Susan Rothwell, with the exhibition running from 25th February to 21st March 2025 at the Mosman Rowers Club.

Bronte Kestrel is a work that reflects my ongoing fascination with native Australian birds and the coastal spaces they inhabit — a subject I find endlessly inspiring in both my printmaking and illustration practice.

ANNUAL EXHIBITION 2024 - Warringah Printmakers Studio

This year, I had the privilege of coordinating the Warringah Printmakers Studio Annual Exhibition — and it was a record-breaking year for entries! I also exhibited two of my own prints: The Emu Queen (linocut) and Three Magpies (TetraPak). I’m pleased to share that Three Magpies found a new home during the show.

Held at the Creative Space in North Curl Curl from 13th to 24th November 2024, the exhibition featured works by members, students, and tutors of the studio. This annual showcase is always a celebration of the diverse printmaking techniques practiced at Warringah Printmakers Studio, from linocut and woodcut to metal etching — all created with a focus on safer methods and a spirit of experimentation.

Hornsby Art Prize 2024

I’m delighted to share that my TetraPak collagraph, Take Flight, has been selected as a finalist for the Hornsby Art Prize 2024! It’s an honor to be recognized in this prestigious competition again, and to have my work displayed alongside so many talented artists.

Take Flight was created using recycled TetraPak, a substrate that gives a unique texture and depth to the piece, while also aligning with my interest in sustainable art practices. This print is a tribute to the spirit of freedom and resilience, themes I explore often through the birds I depict.

The Hornsby Art Prize Finalists’ Exhibition will be held at Wallarobba Arts and Cultural Centre, Hornsby, 25 October - 10 November 2024, Tuesday – Sunday, 10am-4pm.

Paper & Ink - Group Exhibition

Recently, I had the pleasure of participating in Paper & Ink, a group exhibition at Sydney Road Gallery. This exhibition, beautifully curated, brought together an inspiring collection of works on paper by talented printmakers from Warringah Printmakers Studio. It was an honor to see my work displayed in such an elegant setting and amongst very talented printmakers.

For this exhibition, I contributed three pieces: Two Magpies (TetraPak, Collagraph), Magpie King (Linocut), and Flight of the Cockatoo (Linocut). These pieces capture different aspects of Australia’s natural beauty and my ongoing fascination with native birds. I'm thrilled to share that Two Magpies found a new home, which was incredibly rewarding

Thanks to Sarah Montgomery from Sydney Road Gallery for creating such an inviting space for our works to connect with viewers. It was a wonderful show and beautifully curated!

Creative Open 2024 - Inking Up... Imagination

I’m thrilled to be part of the Creative Open 2024 exhibition at Warringah Printmakers Studio once again. This annual event is always a vibrant celebration of printmaking, community, and creativity. Organised in conjunction with the Northern Beaches Council’s Winter Festival, the exhibition spans four days, showcasing an open studio environment where visitors can witness the creative process in action.

Creative Open is more than just an art display—it’s an invitation into the heart of our studio’s practice. Throughout the exhibition, printmakers will be working live, giving a behind-the-scenes glimpse of techniques like etching, linocut, and collagraph. It’s a unique chance for visitors to see how much care, detail, and experimentation goes into creating each work.

In addition to watching live printmaking, visitors have the opportunity to view and purchase an array of works on paper created by the studio's talented members. My own piece, “A Warm Welcome” linocut, is included in this year’s exhibition; inspired by the Welcome Swallows that glide by me on a near daily basis.

This year’s Creative Open is a reminder of why I love being part of Warringah Printmakers Studio. It's a place where printmakers come together to share, inspire, and push the boundaries of traditional and experimental printmaking. Hope to see you there to explore the magic behind printmaking and thank you for supporting local art!

This year’s Creative Open is a reminder of why I love being part of Warringah Printmakers Studio. It's a place where printmakers come together to share, inspire, and push the boundaries of traditional and experimental printmaking. Hope to see you there to explore the magic behind printmaking and thank you for supporting local art!

Pressgang - Printmaking Exhibition

Excited to be a part of this wonderful group exhibition alongside the talented printmakers from Warringah Printmakers Studio. I have two prints on show in this exhibition; “Flight of the Cockatoo” and “In Transit”. Showing at the Mosman Rowers Club Art Gallery from 21 May till 31 May.



Art@TheRowers 2024 - Finalist

So excited that my collagraph print “Two Magpies” was selected as a finalist in this year’s Art@TheRowers Aquisitive Exhibition at the Mosman Rowers Club. With over 160 entries and 53 finalists selected, the exhibition will judged by renowned Australian artist Tim Storrier. The exhibition is on from 3rd April till 19th April at the Mosman Rowers Club, 3 Centenary Drive, Mosman Bay.


ANNUAL EXHIBITION 2023 - Warringah Printmakers Studio

This year, I had two of my prints featured in the Warringah Printmakers Studio Annual Exhibition. My “Walk this Way” magpie linocut and “Sulphur Cockatoo” drypoint were exhibited. Held at the Creative Space in Curl Curl 15th till 26th November, the exhibition showcases the work of members, students and tutors of the studio. This exhibition is an exhibition that showcases the broad variety of traditional printmaking techniques, such as linocut, woodcut and metal etching that the studio offers using safer printmaking techniques.

Hornsby Art Prize 2023 - Finalist

I am so honoured to be a finalist in this year’s Hornsby Art Prize with my Linocut print ‘The Magpie King’. There were a record 600 entries received from all around Australia, and 85 finalists selected. You can see my print and the other amazing artworks at the finalist exhibition from 20th October until 5th November at the Wallarobba Arts and Cultural Centre, Hornsby.

Earth Greetings - 2024 Artist Diary and Calendar

It’s that time of year again! Yes, when we have a little freak out and realise that time is passing us way too fast and you never quite adjusted to 1989 and all of a sudden it’s about to be 2024. I mean, where are the hover-boards and flying cars??
Each year Earth Greetings release a collaborative artist calendar and diary that features the work of Australian artists. I’m delighted to be featured again, with two of my works, “Aussie Squawkers” and “ Willy Wagtails” included. I’m also loving the gold foil feature on the cover of the planner based on one of my red waratah illustrations. Head over to the Earth Greetings website to order your calendar and diary before they sell out.

CREATIVE OPEN 2023 - "Printmaking in Action"

Warringah Printmakers Studio participated in the Northern Beaches Creative Open this year. Held over four days (27-30 July), Creative Open is a winter arts festival on the Northern Beaches. Featuring exhibitions, open studios, walks and talks, performances and events, the festival is a great way for the public to go behind the scenes and meet local creators, writers and performers. The studio held an open studio over the four days, where we had an exhibition of works on paper with the theme “Printmaking in Action” and printmaking demonstrations. The purpose of the theme was to showcase the various printmaking techniques with clear definitions, grouping prints into categories so visitors could understand the process better. I exhibited two artworks in the exhibition, “The Magpie King”, a linocut with hand-colouring, and “On the Fence”, a drypoint with hand-colouring. I was pleased that “On the Fence” was sold during the exhibition, it’s always lovely seeing red dots :-)

My “The Magpie King” Linocut amongst the other prints showcasing the Linocut technique.

The Warringah Printmakers Studio was turned into an exhibition space for the weekend with printmaking demonstrations throughout the day.

ANNUAL EXHIBITION 2022 - Warringah Printmakers Studio

I had two works selected for Warringah Printmakers Studio Annual Exhibition. Held at the Creative Space in Curl Curl 16th till 26th June 2022, the exhibition showcases the work of members, students and tutors of the studio. Not only did it showcase the amazing talent of the exhibiting artists, it also is a exhibition that showcases the broad variety of traditional printmaking techniques, such as linocut, woodcut and metal etching. Often visitors who know little about printmaking techniques leave with a much greater appreciation of the medium.

Q&A with Earth Greetings Artist Negin Maddock: How her passion for art led to a complete career change.

I did a Q&A with the lovely Heide Hackworth, founder of Earth Greetings, over at their blog. Here it is below if you wanted to know a little more about my story:

Negin Maddock is an artist with a very scientific eye on the world. Her background as a mechanical engineer informs her beautifully detailed botanical designs, which she infuses with a touch of Australiana whimsy.

I spoke to Negin about how with a PhD in Biomedical Engineering, and a decade long acedemic career under her arm, her passion for drawing and printmaking was activated by the birth of her second daughter - and a complete polar turnaround took place.

Tell me about your art, and how you create it.

I am an illustrator and printmaker and the main genre I explore is Australian native flora and fauna. I work mainly with watercolour and ink. I study my subject in as much detail as I can before starting on the final artwork. I start by sketching my subject and then add definition with ink, followed by adding colour with watercolour. I use watercolour in a very controlled manner, to add depth and dimensionality to my illustrations. My illustrations are generally bold in colour and have a playful feel. I illustrate each element separately and then use photoshop to complete the composition, layering flora and fauna in a jungle-like feel.

For my printmaking work, my favourite techniques are intaglio methods such as drypoint and metal plate etching. I am a member of the Warringah Printmakers Studio in Sydney and spend Tuesdays exploring these techniques with other printmakers. We have access to three large scale printing presses at the studio, so it's exciting to work on large scale pieces. I do a lot of linocut at my home studio as it's a flexible technique that doesn't require a printing press.

Can you tell me about your background, and what led you to becoming a full time artist?

I literally made a complete and polar opposite career change in my mid-30's! I studied Mechanical Engineering at university, and worked as a mechanical engineer for a year after graduation before deciding to go back to uni and complete a PhD in Biomedical Engineering. My PhD investigated the effect of pharmacological treatments on the mechanical properties of bone after a fracture. I worked for over a decade in academia here and overseas, publishing my research in journals and books. In my last position I was researching novel biomaterials for applications in implantable medical devices. What led me to become an artist? It's so much more than what I can fit in the answer of a blog, but to simplify it, I found myself at a junction after having my second daughter. I chose to explore the idea of turning my passion for drawing and printmaking into a career path. I'm still on that path and whether I hit another junction in the future is anyone's guess!

What are your biggest inspirations?

All the usual things, nature, bird watching, people watching, social media. Interestingly, my biggest inspirations have come from flicking through old magazines in waiting rooms and at the hairdresser!

Describe your typical day.

I start every morning with some form of cardio exercise, except Sundays. Then it's breakfast with the family. When it's not lock-down, it'd then be rounding up my 7 and 9 year old girls and getting them to school. Once I've got rid of the kids I can relax! After drop off, I get my morning coffee from one of the many great cafes in Bronte. I always get my coffee take-away and go for a stroll around the neighbourhood. I do this coffee-walk everyday and it is an absolute must for me, unless there's a cyclone or snow-storm or aliens invading earth. Then I head home and write out my to-do list for the day and get cracking at ticking each item off. The to-do list includes everything from work to-do's (work on a commission, package orders etc.) to household to-do's (hang the washing, change the sheets, eat chocolate, feed the kids). In my mind, if a task is not on the list, then it doesn't exist. I am in complete awe of people who don't need to write everything down!

How do you find the right balance between being both a creative and business person, and also a mother?

I certainly haven't found any balance yet! I think it's an impossible task to find the right balance (at least for a perfectionist). I write my daily to-do lists, and just focus on getting done what needs to be done on that day, and if I don't tick off all the to-do's, those to-do's just roll over to the next day or get scrapped; depending on how important they are.

What do you do when you are taking a break from making art?

I'm writing this during our strictest Sydney lockdown, so taking a break at the moment involves falling down the Instagram rabbit hole, till I'm watching cat videos, and then realise I've wasted hours of my life. In the "before times" my favourite type of break is a really long walk, not the exercise kind of power walk, but the walk-the-neighbourhood-streets kind of walk. I love looking at people's houses and gardens, and really love it when people take pride in their garden and tend to it themselves. I love watching daily life from afar. I find people and how they interact with each other fascinating. I think if I were a bird, I'd definitely be a human-watcher.

Printmaking - What is it?

So what is printmaking, and what is a printmaker? The answer is in the word - a printmaker is someone who, well, makes prints. Ahh the conundrum! This doesn’t help anyone who has never been exposed to the medium. Most people have heard of an “etching”, but they wouldn’t really know how that etching was created. And herein lays the problem with the term printmaking. Those naive to the medium do not fully understand, and therefore don’t appreciate, the time consuming and physical effort involved in creating art on a piece of paper. That piece of paper carries a hidden story, which is literally a journey. The journey starts with the idea and ends with a piece of paper, it’s what happens in between that is truly magical.

In simple terms, printmaking is the reproduction of multiple identical images from a single substrate. This substrate is commonly a metal plate or a piece of lino, and printmakers will refer to the substrate simply as “plates”. Printmaking is all about inking the substrate with ink, and then transferring the ink to paper using pressure to get the resulting image. How the plate is inked, and how the pressure is applied depends on the plate material and which technique you use.

There are two printmaking techniques which you should commit to memory: Intaglio (pronounced in-tah-lio, silent “g”) and Relief.

INTAGLIO PRINTMAKING

Intaglio processes require a printing press (just think rolling pin, but with enough pressure to break and flatten bones - don’t quote me on that). Intaglio methods are where scratches/grooves/etchings are made in the plate. The plate is covered in ink in such a way to make sure the ink is pushed into the grooves. But you only want to print where the grooves are, so you need to clean off the ink on the flat surfaces. This is where the whole wiping process takes place and can be pretty labour intensive. A flat palm of the hand and a thin smooth piece of paper is used to wipe the ink off in such a way that it doesn’t disturb the ink in the grooves, usually circular motions are used and in a way that reminds me of trying to polish a surface. At the end of the wiping process, the surface of the plate should be clean with ink left only in the grooves. The image is transferred to the paper using high pressure that essentially pushes the paper into the grooves which pick up the ink. A printing press is used to achieve this pressure. The plate is placed face up on the on the press bed, paper is placed on top of this plate, and then felt blankets are placed on top of the paper. Then this “felt-paper-plate” sandwich is rolled between two pins which squishes the paper into all the tiny minuscule depressions in the plate where the ink is. When it comes out the other side of the rolling pins, you very carefully pull away the felt blanket and then the paper, and voila: you have your print!

 
 

The intaglio method requires the paper to be damp to enable the movement of fibres into the microscopic grooves, and requires specialty printmaking paper that has long fibres that enables it to be dampened without dissintegrating and has directional stability, so it stretches and shrinks uniformly in all directions in response to being wet.

RELIEF PRINTMAKING

This method is the opposite to intaglio, where you ink the surfaces that are left to make the image (there’s no removal of ink in this process). Linocuts and woodcuts are a relief printmaking method. You carve away areas that you don’t want to print, and the surface areas left are inked up and transferred to paper. Relief methods don’t require the need for a printing press as you can transfer the image by placing a thin piece of printmaking paper on the blocks and rub/burnish the back of the paper with what’s called a barren to transfer the ink. For thicker papers you’d need more pressure and that’s where a press is useful.

 
 

Historically printmaking was not an art form, it was a trade that provided people with their books and newspapers. The modern day equivalent is our humble toner/inkjet printers. Anyone who prepares a simple word document on a computer and prints it out has essentially created a print. They can print this word document 50 times, each being identical, edition it, destroy the original word document, and voila! You have created a limited edition print!

Art-rageous! Winsor & Newton

I’m pretty excited that my art is featured as part of this year’s Winsor & Newton Christmas campaign, it’s pretty “artrageous” - I love a good play on words!

I really enjoyed working on this, I created two new Aussie characters for the campaign, the festive emu and wombat. I mean, who doesn’t love a snow emu and a gift bearing wombat?!

Go check out the Winsor & Newton catalogue, you’ll also find a picture of me on page 3! I’ve spotted them at Eckersley’s, but you’ll be able to find them at most art stores that stock Winsor & Newton products.

Some of My Favourite Things: Watercolours

Sap Green, Olive Green, Payne’s Gray, Alizarin Crimson. I don't think I could sleep at night without these four colour shades in my life. These are my must have colours in my palette. The majority of my watercolours are Winsor & Newton brand, I personally love the rich and high quality colour pigments they offer, but there are other great brands out there too. It’s a matter of experimenting and finding the ones that best suit your art practice.

I use the professional watercolour range in tubes, and use a folding plastic palette to hold my colours - due to its portability. It has 19 slanted wells that I squeeze a blob of colour in. I make sure to put the blob at the top of the “hill” so I can easily pull down small amounts of pigment into the well when needed. I also label the wells on the side of the palette with the colour that’s in it - just makes life a little easier, especially when you are first learning the different colour pigments. The flat areas of the palette are convenient for quick colour mixes, but I do most of my colour mixing on separate porcelain palettes. If you can, choose porcelain surfaces over plastic for mixing watercolours.

I have a lot more colours than the 19 wells allow, what colours you mostly use will dictate which ones get their own dedicated well. There are some colours that I don’t use as often anymore and they will most likely be replaced with another colour at some point. It takes a lot of experimenting and playing around with the pigments to really get to know the colours and how they interact with each other. So have some fun and get messy!

Love,
Negin x