The works are tinged with black humour and a feeling of the absurd. The images are in one way or another a comment on the human condition. Referencing and parodying notions of cultural identity while discussing the position and identity of the individual and the group as an entity within society.
On
first encounter the images are slightly satirical, comic or absurd, underlying
this there is a deeper questioning of human nature.
(The animal image as a metaphor for culture and personal behavior.)
(The crowd as an entity and a symptom of the
social grouping behavior.)
Intaglio process:
Most of my original works are Intaglio
prints. Intaglio means to incise and refers to the sheet of metal used for the
printing plate having marks, i.e. the image, engraved or etched into the
surface. These recessed areas of the plate are where the ink is left behind
after the ink has been applied and the excess removed. The plate is then passed
through a press with paper thus producing the print.
The prevailing mood in my printmaking comes from the techniques I use. The predominant one is a manier noire (Black method) process where I etch a textured surface (aquatint) into a copper or steel plate. This surface when printed would print as a continuous tone in black. From this point I lighten this surface of the plate through scraping and burnishing, with the image emerging out of a dark background.
The color is applied in a variety of ways
once the image has begun to be established on the plate. Generally with multiple
etched and drypointed plates in a form of color separation; A
La Poupee where all of the color is applied to the one plate in a more
painterly fashion; or with stencils.
Sculpture process:
The methodology of sculpture is a logical extension of printmaking. Sculpture provides a different and perhaps more playful expression for my imagery. Bronze sculpture has a great affinity with intaglio printmaking; both are of a similar nature in materials and working procedures. The engraving methods employed for the prints produce a plate in bas-relief. In the same way that final images are only revealed in the final processing stages, sculptures emerge from mouldings that are first constructed in wax then encased in a mould where the original is melted out (lost wax process) then replaced in another material form (bronze).
Bio.
Geoffrey Ricardo was born in Melbourne in 1964. Ricardo studied for a Bachelor of Fine Art at Chisholm Institute of Technology in Melbourne 1984 – 86 Majoring in Printmaking and later a Graduate Diploma of Fine Art in 1989 and Masters of Fine Art 1993 – 94 at Monash University.
Ricardo has worked as a print assistant at Bill Young Studios during 1987 – 89 editioning intaglio prints he also worked as a Studio Technician in the Printmaking Department at Monash University in 1988.
In 1990 and 91 he traveled England, Spain and the U.S. on a travel bursary as First Prizewinner for the National Student Art Prize. During this time working in private studios in Gaucin Spain and New York City.
Sessional Lecturing positions have been at Monash University, R.M.I.T. University and the Victorian College of the Arts.
Artist in residence has been at the Canberra School of Art, the School of Art and Architecture at the University of Western Australia and the Victorian Tapestry Workshop.
Since 1990 Ricardo has held numerous solo and group exhibitions at various commercial art galleries including Australian Galleries Melbourne and Sydney; BMG Art Adelaide; Grahame Galleries and Editions Brisbane; Chapman Gallery Canberra; Delaney Gallery Perth. Solo exhibitions in public art galleries including The Laurence Wilson Art Gallery at the University of Western Australia 1994; The Cullity Gallery at the U.W.A.
Group exhibitions have included the Mornington Peninsula Regional Art Gallery; the Warrnambool Regional Art Gallery; the Art Gallery of N.S.W.; Fremantle Arts Centre W.A.; the LaTrobe Regional Art Gallery
With international touring exhibitions going to the Australian High Commission in Singapore; Australian High Commission Kuala Lumpur; the Dr Earl Lu Gallery Singapore; the Lalit Kala Akademi New Delhi; Jehangin Nicholson Gallery Bombay; Birla Academy of Art and Culture Calcutta; Frederickshavn Knustmuseum Denmark.
Ricardo has been commissioned to design several posters, most notable as the Festival artist for the Festival of Perth in 1994 and also designed 3 tapestries for the Victorian Tapestry Workshop.
Ricardo’s work is represented in many public and private art collections including the Art Gallery of N.S.W.; the Australian National Gallery; the National Gallery of Victoria; the Holmes A Court Collection; the Print Council of Australia; La Trobe, Mornington Peninsula, Wagga Wagga and Warrnambool Regional Art Galleries; Parliament House Collection Canberra; the Queensland Art Gallery.