Introducing advances in non-toxic intaglio printmaking at the Centre for Visual Arts UKZN through practice based research.

Master of Arts in Fine Art. University of KwaZulu-Natal, Pietermaritzburg, 2018.This study investigated the reduction of hazards in intaglio printmaking through practicebased research of non-toxic etching and intaglio materials. Traditional etching techniques involve health, safety, and environmental hazards that can be minimised by using alternative non-toxic materials and processes. This study investigated the potential of using non-toxic intaglio printmaking methods in place of traditional methods at the Centre for Visual Arts (CVA) at the University of KwaZulu-Natal (UKZN). A review of literature on non-toxic intaglio printmaking revealed a gap in non-toxic research specific to the South African context. A case study of a Belgian non-toxic printmaking studio was conducted over a period of three months, which enabled practical non-toxic printmaking experience to be compared with traditional printmaking methods. Qualitative data was collected through artistic practice, observation, interview, and collection of artefacts. The non-toxic alternatives were found to be capable of achieving the visual effects generally associated with traditional etching methods and materials, while reducing the number and variety of hazardous materials present in the printmaking studio. General Systems Theory was used to analyse the ‘parts' which comprise the ‘whole’ etching system. The processes and materials used in etching were studied as parts with interrelations that are used as a means of artistic production. By isolating these parts and systematically testing alternatives, a non-toxic etching method was developed for the CVA. This practice-based research process resulted in a series of printed artworks. These works explored relevant themes including toxicity, disruption, the overview effect, and the impact of human activity on the earth system. The works incorporated traditional and high-altitude perspectives of mining waste sites which were identified as disrupted South African landscapes. In these landscapes, toxic chemical waste and extractive mining activities had changed the environment dramatically. The disruption of the landscapes depicted in the printed works is a thematic extension of the disruption of traditional printmaking methods through the introduction of non-toxic methods. This disruption improved safety by reducing chemical hazards in intaglio printmaking practice, and contributes to making this mode of artistic practice more sustainable