of workshop directors or partners. Are they artists as well as technicians?
Jörge de Sousa Noronha - Point & Marge Editions
Artist and technician,
partner of IDL Graphique
of person responding to this questionnaire:
Jörge de Sousa
Noronha. Point & Marge Editions, Paris
of founding of the workshop:
Point & Marge Workshop was founded
is your workshop like?
Point & Marge is an independant department
inside IDL structure (1840 / 300m2), With an independant working place. Point
& Marge provides a litho presse, an etching presse, and other studio equipment.
What media do you work in?
on stone exclusively. (work on stone and aluminium plates is also available inside
you public or private?
We are private structures.
many staff do you have currently?
8 persons work generaly as permanent
personal. Time to time, two or three more
persons can came to work. (occasional
artists are not included).
you have other activities besides printmaking, such as classes, exhibits, etc?
& Marge organise regularly special courses, lectures or workshops, inside
or outside the studio ( Christie's Education Paris, EAC etc). we also participate
to exhibitions and fairs in France or abroad. Another important activity for me
is writing (wich takes practicaly 40 % of my Working time) -technical or historical
books, articles, critical textes essais...
you print publishers, as well? Do you sell prints?
We are print
publishers, and selling prints. A new catalogue is in hand.
did your workshop originate?
Point & Marge studio emmerged in
1977 in Bergerac / Dordogne (" L'atelier de lirthographie ") and become
soon a center for teaching lithography and publishing as well, withe my own work,
at the begining, and later with many other artists (summer courses, editions etc.).
If you had to start again, what would you do differently?
nothink differently. A printmaking studio must be allways in " movement ",
It's a permanent evoluating structure. It's also the one's life professional experiennce
and echanges with so many artistes.
has the workshop evolued from the early days? Are you still doing the same things
in the same way, or have you changed? In what way?
In 1986, the
workshop come to Paris, and the studio was first installed (fore one year) inside
" Confluences ", another structure for artistes. After this, it was
established in Créteil (near Paris), working and teaching in lithography
and in etching ( 5 persons, all artists).
In 1997, the studio was relocated
in Paris (45, Marx Dormoy / Paris XVIII) for another periode, with a new very
litle structure, The Micro Studio, oriented to work and teaching as well, in lithography
only. This was also a very interesting experience, and the occasion to organise
exhibitions inside the place.
In 2002 the studio moved again and is now relocated
with IDL (52, rue du Faubourg Saint-Martin, 75010 Paris).
your workshop unique or different from the others? In what way?
don't thing that it's a unique workshop, excepte, mabe,by the fact that my studio
is, by now, oriented and specialised in working on stone only, generaly in Chine
collé technique and JDS process. But, actualy, as we know, each studio
is different, each place is obviously charged by the personality of the director
and the specifications of the structure itself and the people workink in there.
is your method of working with artists ?
Until 2000, I used to work
with artists for editions, books, etc., and teaching lithography as well. Since
that date, I don't teach lithograpy techniques in my studio anny more. Only occasionaly,
I am doing courses, or lectures outside the studio.
For me, work with artists
is to respect their different caracteres, is to be opened to different styles,
is to give only technical advice at the good moment, is to be able to instale
a climate of confidence and is also to have, over hall, a very collaborative attitude.
artists have you worked with?
Since the begining, my studio had
publications with many artists from France or foreign countries. Yvonne Boag,
Ron McBurnie, Anne Lord, Basil Hall (Australia), L.P.Bougie (Canada), M.Nisser
(Sueden), L.Tayeb, Marie Alloy (France), Xavier, and many others.
us a bit more about the most interesting ones: incidents, anecdotes...
interestin and amazing moment was , for example, when I published a collectf artist
book called " Five hundred dollarts " with five artists from different
countries. Each artist revisited the bill of 100 dollars. We took a lot of pictures
with the bills disposed side by side on a table and we had a lot of fun with all
this. We had the impression of being sudenly five very reach artists.
recently another nice experience was the pulication of " Le crâne du
cyclope " a LITHOCINE, wich is an artist book by André Chedid ( a
poem) and Xavier (lithographs) on a graphic lay out by J. de Sousa. The Goal was
to print the images on China paper, for the book, and also on a PVC film (stabyphane).
The film, hand colored by Xavier, can be seen inside a special black box , and
across a tube with lens. The ensemble was presented in a gallery during "
Le Mois de L'Estampe à Paris.
do you feel about the current moment in printmaking? Are you optimistic or pessimistic?
What do you think are the major issues the community of printmakers needs
Well, theses are very good questions. In one hand we
have a very low market for prints, but, in the other hand the current " revolution
" of printing techniques, should bring, actualy, good feelings for a new
perception and a new reevaluation for printmaking arts. We must absolutly forget
the past and look for the future, as new tools arrive to be added to all the others
we had until now.The revolution is not so much to change every thing, but to accepte
new evidences. Now, more than ever, sites like " Worldprintmakers "
are being more and more powerful and with the new medias, this will finish by
developpe (we hoppe) a new interest of the public to prints and printmaking, to
new forms of image. It seemed to me that, at this point, painters or sculpters
or even conceptual artists are not so lucky.
Yes I am optimistic, as far as
artistes can be interested by hand made techniques in printmaking, I mean, "
all " techniques.The world of printmakers is moving very fast, and one must
accepte to be adapted to new warking ways, to go with the movement. Studions should
go away with " new ideas ", new methodes. Inform the public is today
no more enough. Printmaking must bring to him new productes, modern devices and
new programmes for a future new edcation.
Do you have norms for the editions done in your workshop?
What are they? What do you consider the numerical limit for a true limited edition?
Or does the limit vary according to the different print media?
have the norms generaly in usage in printmaking. Point & Marge is editionning
in very small editions (some times 20, 25 pieces) for prints and for artist books
20 tà 50 is very good now adays. 50 to 100 is still acceptable,
more than 100/150, regarding the present market, seemed to me, to be to much.
I mean for original prints, signed and numbered by the artist.
the best thing about having a printmaking workshop? And the worst?
me the best thig is the relationship, and the way of a collaborative activity.
worst would be to have no projets no plans to the future, to stay there wayting
for artists, publishers or the public.
the marketplace, who buys limited-edition fine-art prints?
maket is actuely very reduced but it's still there. We must go to him, and show
what we are doing and why we are doing. We must allways have in mind that the
young public today as a very different education, and printmaking is something
to him to be completly discovered.
do you think might be done to make art buyers more aware of the true limited-edition
Education, education education ...since the primary
school. I mean education in the sens of open the curiosity of young people to
every thing. Yougs are now convinced that computers " has every thing inside
". But this is very wrong, as far as you need to be curious to go to find
what you realy need, and actuly, to know what exists there to be discovered.
is your opinion of the current upsurge of digital fine-art prints?
is certainly as important as photography was when it appeared, and a new revolution
of graphics is comming just under our eys.
the traditional hand-pulled print "coexist peacefully" with the digital
As photography, I think that the new medias can " coexist
peacefully " with the precedent ones. A " new familly " is comming
into studios. We must open the door ans say : wellcome ! but we must stay vigilants.
To create some thing you allways need to have a creater. Computer art is not a
" game " to every body to do art. As for anny other medium, if you are
not an artist, your work will be not credible.
understand that you have recently discussed the terminology of digital printmaking
in an article and have come up with some new terms. Could you tell us about it?
my friend June Wayne we had long discutions about new terms in lithography, giclé,
digital prints etc.
I recently began to talk more and more about a new term
wich I invented for digital printmaking (only): " digigraphics " wich
can be used as a general term or as a more particular one as " digigraphs
" (" digis "), for exemple, and this works in french and in english
are your principal sources of information about the world of printmaking?
art revues, catalogues, internet...
do you think printmaking will go in the next 10 years?
This is a
difficult question. Nevertheless I thing pritmakers tends to work each time biger
and biger. But all this depends of what people will be donne with culture and
education for the next ten years.
have written several books about printmaking LA MEMOIRE LITHOGRAPHIQUE, L'ESTAMPE,
OBJET RARE...) How did this come about? (And where do you find the time?!) How
were the books received by the print loving public?
As I sad, books
take an important part in my life. When I become to worke in lithography I was
very astonished that I couldn't find no anny recent book on it in french. I began
taking notes allways with tha idea of publish it latter, what was done for a firs
book LITHOGRAPHIE , PRECIS TECHNIQUE.After this, other books come, like L'ESTAMPE,
DE LE GRAVURE A L'IMPRESSION, and the more recent ones wich you mentioned on the
top of this questionnary. Generaly all my books had a very good accetation by
the public, and they are apreciated by professionals. Naturally each book corresponds
to a periode of my life were my time was partialy devoted to research and writing.
I must say I like this. It's for me like a time to study, to think, to synthetise
ideas and working methods.
is your JDS Lithocolour process? Is it something entirely new, or a refinement
of older techniques?
Yes JDS is new and different. Nevertheless,
like anny other technique, one must adapt it to his own work, or choose it because
it can be very well adapted to a particular kind of work. (see my separate article
and illustrations on it).
understand that Point et Marge has entered into collaboration with Paris's oldest
functioning lithography studio, IDL Graphique. Can you tell us a bit about that
collaboration. How did it come about? What exactly do you do? What does Point
et Marge offer IDL that they can't do for themselves ?
This is a
recent collaboration (2002), of a " common interest ". IDL provides
a large space of 300m2, with 3 maccanised litho presses, and 4 hand litho presses,
where I installed my ouwn place and presses, as an independant department. They
are very old friends, and our collaboration is at different levels : artistical
and technical advice or management, exhibitions, workshops organisation, and publications.
I also took to there another hand lithopress and an etching press, and ather devices.
IDL Graphique is working with artists as Yve Clerc, Schuiten, Chu Teh Chun Ruiz
Pipo, Pincemin, and many others, and editionning old prestigious pasters as well.
My books are shown to sell there, and I also provide to visitors, when it occurs,
all information about printmaking and printmaking techniques, as well as to show
and to explain my work on JDS lithocolour process.
Jörge de Sousa Noronha : 0142094409 - 0142450334 - 0681247014