Megalo Editions

The guiding principle of Megalo Editions is the translation of diverse artistic practice into print and print-adjacent media. Each edition is led by the artist and their vision, but reliant upon open dialogue between artist and printer, combining technical expertise with creative imagination to produce limited editions.

We work with artists at all stages of their careers — from emerging voices to established practitioners — reflecting Megalo’s ethos as an inclusive space that values experimentation as much as technical excellence. Megalo Editions extends artistic practice into print while showcasing the vitality of the field today.

Discover the editions, support artists, and collect unique works of art.

Top, l-r: Tony Curran, Synthetic Attention Machine, 2021; lithograph, 4-colour, edition of 6 (printer: Clare Jackson); Tom Buckland, Destructamatic Utility Knife, 2022; screenprint, edition of 16 (printer: Alex Lundy); Joel Arthur, Various Sensations, 2022; woodblock relief and screenprint, edition of 8 (printer: Maximilian Gosling)

Bottom, l-r: Naomi Zouwer, Long Days #1 and Long Days #2 2022 (diptych); screenprint, edition of 8 (printer: Alex Lundy); Naomi Zouwer, Black and white ribbons on pink tissue, 2022; etching, edition of 8 (printer: Clare Jackson)

History

The Megalo Editions initiative was conceived in 2020, when Clare Jackson, one of Megalo’s team of printers, approached ACT-based artists Naomi Zouwer and Tony Curran with the idea of collaborating on a new edition of lithographs. Both Naomi and Tony, while familiar with printmaking, had primarily worked in other media such as painting and collage; and both were keen to explore the extension of their practice into new disciplines.

These pilot collaborations were exciting and productive; and so in 2021, after further experimentation, Megalo Editions was born. Two more ACT-based artists, Joel Arthur and Tom Buckland, were approached to work with Megalo printers Alex Lundy and Maximilian Gosling. Over the next year, artists and printers worked together to produce the first suite of the Megalo Editions project.

The artists provided their creative vision, and their time in overseeing the development of the work from concept to final ‘bon-à-tirer’ proof (‘ready to print’); Megalo printers provided technical expertise, materials and studio access, and of course the finished edition. For each edition, the artist received an artist proof (‘AP’); the printer received a printer proof (‘PP’); and Megalo received a workshop proof (‘WP’) for its archives; and the numbered edition proper was equally divided between the artist and Megalo, for retention or sale at a mutually agreed price (with no respective commission).

Megalo Editions was officially launched in July 2022 in conjunction with Naomi Zouwer’s exhibition The enchantment of things. Zouwer’s exhibition included three works developed as ‘Editions’: the lithograph ‘The enchantment of things’, printed by Clare Jackson; the screenprint diptych ‘Long Days #1’ and ‘Long Days #2’, printed by Alex Lundy; and the etching ‘Black and white ribbons on pink tissue’, printed by Clare Jackson. Alongside, Megalo presented Tony Curran’s lithograph ‘Synthetic Attention Machine’, printed by Clare Jackson; Tom Buckland’s screenprint ‘Destructamatic Utility Knife’, printed by Alex Lundy; and Joel Arthur’s relief and screenprint work ‘Various Sensations’, printed by Maximilian Gosling.

Images at top of page:
Megalo printer Alex Lundy with Tom Buckland (photo: Megalo Print Studio);

Joel Arthur with Megalo printer Maximilian Gosling (photo: Megalo Print Studio);

Naomi Zouwer with Megalo printers Bronte Bell and Clare Jackson (photo by Pew Pew Studio for artsACT)

Tony Curran with Megalo printer Clare Jackson (photo: Megalo Print Studio)