Dawning Intelligence 

Editor: Here we have "Dawning Intelligence," an etching by William Lee-Hankey. Looking at this intaglio print, I'm struck by the quiet domesticity, the tenderness in the mother's gaze. What speaks to you about it? Curator: The interesting thing to me is how this work sits within the broader context of printmaking as a reproducible medium. Consider the materials—the copper plate, the acid, the paper, the press. Each of these components dictates the final outcome, which, unlike a unique painting, can be multiplied and distributed. It allows for a certain democratisation of art consumption and a discussion of labour itself. Do you see how the lines vary? Editor: Yes, some areas are much darker than others, creating that strong contrast and sense of depth. Curator: Precisely. That modulation is achieved through the control of the etching process, where the depth and density of the etched lines determine the tonal range of the print. We see then, a negotiation between technical control and the unpredictable nature of the acid bath, mirroring the control and surrender within domestic labour itself, wouldn't you agree? How accessible would the labour of creating the artwork be to contemporary society, or to potential viewers? Editor: That's a really interesting point. So, thinking about printmaking and its processes highlights the labour involved, both in the creation of the artwork and perhaps even the domestic scene depicted? Curator: Exactly. And that raises questions about value: what labour do we deem valuable, and who gets to decide? Editor: I never thought of prints in this way before, focusing so much on the materials and their production. Curator: Thinking through production is critical; consider then the work needed to make art available. Seeing this as a constructed object, and situating it within systems of making, marketing, and selling art, enables a new critical framework for engagement with the artwork.