Aura of Practice as Matrix
Read the Full Article


Expanded Field
Practice as Matrix

How to Cite

Aarvik, A. (2024). Aura of Practice as Matrix: Beyond the Expanded Field from Alternative Epistemologies to Collaborative Practices. IMPACT Printmaking Journal, (7), 14.


This paper seeks to explore the transmedial attributes of printmaking revealed through theory retrieved from the field of major mediums such as painting and sculpture and applied with a focus on the key concepts of the artist’s practice as the printmaking matrix with the attempt to move beyond the expanded field. The matrix is the mould used to cast an image, such as the copper plate, woodblock, or lithography stone, but is also considered a trace carrier in more conceptual terms. Due to the expanding heterogeneous term of printmaking, this article is limited to what can be considered analogue or hard copy printmaking (e.g., intaglio, relief, lithography), as well as its collective tools and materials (e.g., inks, plates, roller, press, acid) which can be found in a printmaking studio. The notion of aura is drawn from the German philosopher and essayist Walter Benjamin’s concept. However, it is used in a dialectical sense to accentuate the immaterial dimension of the artist’s practice which correlates with(in) the matrix.
Read the Full Article


Benjamin, W. (2008). The work of art in the age of mechanical reproduction (J. A. Underwood, Trans.). Penguin Books.

Beuys, J. and Harlan, V. (2007). What is art? Forest Row: Clairview Books.

Braidotti, R. and Hlavajova, M. (2019). Posthuman Glossary. London: Bloomsbury Academic.

Demos, T. (2017). Against the Anthropocene. Sternberg Press.

Graw, I. and Lajer-Burcharth, E. (2016). Painting Beyond Itself: The Medium in the Post-medium Condition. Sternberg Press.

Harding, R. (2013) Print as other: the future is queer. IMPACT 7. Intersections and Counterpoints: Proceedings of the IMPACT 7 International Multidisciplinary Printmaking Conference, pp.205-211. RMIT University.

Harman, G. (2018). Object-Oriented Ontology: A New Theory of Everything. Pelican Books.

Huber, R. (2012), Defining Sculpture: Beyond the Expanded Field. The International Journal of the Arts in Society, vol. 6, issue 5.

Humphries, C. Aura and the Dialectics of Printmaking, RMIT University, 2010.

Krauss, R. (1979). Sculpture in the Expanded Field. October, 8, p.30.

Krauss, R. (1999) A Voyage on the North Sea. Art in the Age of the Post-Medium Condition. Thames Hudson

Martínez Moro, J. (2018) Printmaking in Expansion: Space and Time. IMPACT 10. International Multi-Disciplinary Printmaking Conference. Cantabria University. (2019). A Brief History of Zines. [online] Available at: le/88911/brief-history-zines [Accessed 4 Apr. 2019].

Osborne, P. (2013). Anywhere or Not At All. London: Verso.

Osborne, P. (2010) Contemporary art is post-conceptual art, Public Lecture, Fondazione Antonio Ratti

Pelzer-Montada, R. (Ed.). (2018). Perspectives on contemporary printmaking: Critical writing since 1986. Manchester University Press.

Smith, A. (2004). Etching. Ramsbury: Crowood.

Stiegler, B. (2011). Technics and time. Stanford, Calif: Stanford Univ. Press.

Verwoert, J. and Rorrison, H. (2005). Why are conceptual artists painting again? Because they think it’s a good idea. Afterall: A Journal of Art, Context and Enquiry, 12, pp.7-16.

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Copyright (c) 2024 Anders Aarvik


Download data is not yet available.