It's that time of year again, when printmakers all over Australia vie for the most coveted prize in the field of print media; The Annual Shell Fremantle Print Award, now in its 24th year.  Offering $7000 in prize money, the competition attracts printmakers from West to East coast in search of recognition, if not fortune.  The judges select two winners, and award six High Commendations, giving emerging experimentalists and seasoned professionals a chance to have their work seen and admired among the context of 'the best'.

Close to 300 entries were received this year and 99 of these were chosen to participate in the final selections.  Often the winning artworks are the subject of contention among critics but his year's judges can be assured that their unanimous choice is deserving.

Taking out the major Acquisitive Prize is Tasmanian Raymond Arnold's Body Amour or Char/Corps, an etching relief print.  The Non-acquisitive Prize was awarded to Victorian artist Angela Cavalieri, whose linocut in book format Quattro Pagine is 'a cut above the rest'.  The Highly Commended included: Barbie Kjar's 4 plate drypoint Vestido de Pescado, Emma Stoneman's Figure One: Posterior View - Atlas to Coccyx a digital ink jet print, Milar Milojevic's Index of Possibilities (Kilkenny) a digital ink jet print, Jonathen Tsu's screen printed artist book Portrait of an Australian, Tom Djumburrpurr's etching Untitled, and Sam Tjampitjin's screen print Kora.

Arnold's winning work successfully evokes the material texture of armour suiting, quite like a fragment of a chain mesh with layers peering from underneath.  The background pattern of diamond hatching and cross shapes within harks back to Medieval iconography.  This is superimposed with shields of abstract and oblong designs that relate suggestively to the figurative.  Arnold takes advantage of multiple imaging printing reversals to obtain mirroring effects between the upper and lower halves of the image.  The piece is sublime for this quality, the enigma of its composition is almost imperceivable.

The presence of Aboriginal artists in the award is very strong with fantastic contributions by Butcher Cherel, Boxer Milner, Tom Djumburrpurr, and Marlee Napurrula.  The stunning 5 metre screen print called Turinga by Natalie Tungatalum is presented cascading from ceiling to floor in front of a window, throwing a light through the sheer black and white with the effect of ultimate serenity, it could invoke total ambience in a room on its own.

Other notable pieces are, Nymph by Mary Scott a digital print with a bent on classical style and subject; Geoff Ricardo's Haight St, an aquatint and drypoint that is a monumental testament to this well known printmaker's darkly brilliant skill; and Jacki Fleet's History a linocut with chine colle that has beautiful materiality, like insect wings.

The exhibition displays phenomenal attempts to revive and adapt traditional techniques to modern art making concerns, whilst some pieces are heading further in the direction of technology with computer generated imagery, that removes the artist's touch from the artwork.  It's sad too that some of the prints lack appropriate presentation, particularly when printmaking attempts to position itself in the realm of 'fine art'.

This exhibition gives the public the opportunity to appreciate the diversity if not an insight into the technical difficulty which many print making methods require.  It is worthwhile spending the time to view the cream of Australia's best while you can.