Summary

This item is one of our 50 Treasures: Celebrating 50 years of James Cook University.

Eric Nash answers the question 'Why is this significant?'

The personal underpins Ron McBurnie's practice – friendships and stories explored, and layered with moments of social observation, and contemporary and art historical references.

The etching, John Coburn's Studio, is a microcosm of sorts for McBurnie's practice; both its creation and significance to the James Cook University Collection are personal and layered.

Having forged a highly successful career while being based in Townsville for over three decades, McBurnie has made a rich contribution to the arts community through his printmaking and, just as importantly, his stewardship of multiple generations of new printmakers. In part (and coming back to the personal), JCU's acquisition of this etching is noteworthy as it recognises the caliber of the institution's own roll call of teaching artists.

Professionally and personally, formally and informally, McBurnie has frequently fostered connection between the city's resident artists – often his students – and an expanded network of renowned Australian artist peers.

Those peers provided a leaping-off point for this particular series of etchings, Artist's Studio, which would span a decade and provide unprecedented access to the studios of twenty-six artists – such access often reserved for close family and friends. Early participants also provided recommendations of other leading artists who may be receptive to being involved, which saw the series expand.

While not an explicit objective, the series celebrates the contribution of significant north Queensland artists to the national artistic conversation. The subject of this particular work, John Coburn, is of course one of north Queensland's most recognisable artists. The Ingham product (whose work, Sentinel, is itself a treasure of the JCU Collection), is depicted seated in his studio, working with palette knife on one of his iconic, geometric abstractions, taking advantage of the natural light from a nearby window in his small, inner-Sydney apartment.

Reflective of the personal qualities of McBurnie's practice, he doesn't simply draw Coburn onto the plate, but rather into the entire process, and in doing so gives viewers a more direct and honest impression of Coburn's work setting and methods. Growing from an initial meeting, then a studio visit where McBurnie would document the studio onto the etching plate, the work was progressed during a second session to develop the portrait, and was finally resolved when Coburn's own hand rendered the canvas in progress. A nod to the romantic and mystical nature of Coburn's work, McBurnie also deliberately 'changed the tonality of the light within the room to create a suggestive range.'

John Coburn's Studio by Ron McBurnie is an important record of two north Queensland artists, in this moment acting in blurred roles of subject, sitter, and collaborators.