It’s been a while, but following my ‘Anomalies’ exhibition (which ended last October), IÂ have a new direction for my printmaking.
Essentially, it’s an exploration of shape and format, and also more freedom to make individual compositions for each print. This is important to me so that I can maintain my basic approach to printmaking; the creation of unique, non-editioned prints. Once the shapes are made and the textures applied, I can then play with combinations of some of some of the platemaking techniques I have used before; selective use of carborundum, dripped varnishes and PVA, metal paints, cotton strands fibres and many others.
Unusually for me, this series is starting life as a set of quick sketches. I like the idea of representing something – a body; something like a moon, sun or planet – in the process of being formed. I’m also imagining the use of intense warm and hot colours, symbolising the process of forging, or a state of flux.
In the next post, I’ll show how the basic plate shapes were made.
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Hello again here I am online looking for one of my own prints – well actually trying to find its proper title without much success…never mind…………anyway its landed me up here on your blog . How nice to see that you are off on another tangent (of sorts) Working with a whole variety of shaped plates is my core way of working although I do make rectangular plates too.
Two things occurred to me as I was reading through your last few posts……
1. If you have not already done so have a look at artist Lennox Dunbar………the way he does the shaped plates the way he inter layers them etc etc etc………… .so impressive
2. Have you ever done watercolor monotypes? It’s a magical journey and so would suit your way of working. I can email you instructions and tips if you are interested. The watercolor marks can be organically shaped like the plates……………………..
Great to hear that Printmakers Council organized an exhibition in Dublin – that would have been such a fun thing to do while i was a member ………….they did organize an exhibtion of our work in Belize though which is pretty unusual. Keep up the good work.
best wishes
Aine
Hi Aine
Thanks so much for your note! So sorry I haven’t responded before now – I’ve spent the last few weeks concentrating on Instagram that I’ve neglected the website. Also, I should be getting notifications of responses on the website, but that doesn’t seem to be working.
Anyway, thanks for the references to the artists you gave. It was very interesting to note Lennox Dunbar’s attitude to the creative process, which, alongside some of the work itself, was a similar approach to mine. I really understood when he says ‘I enter the studio with no idea of what is going to happen’. It’s also interesting how he sees some of his work as always work in progress, where it is altered over time. This is something I’m starting to think about, where I might work into prints once dried, perhaps by sewing threads or adding other materials into the paper surface.
Thanks also for mentioning watercolour monotypes. I did have a look at a couple of demos on You Tube and was quite taken So, yes, please send me your instructions. It was lovely to visit Dublin, particularly as it was my first time there. The venue was really good – we turned up for the private view and stayed for a couple of days. The only were that my name was mistakenly omitted from the list of artists on the wall in gallery reception area and my print was placed in that reception area, effectively behind the door, where no work should have been located.
Next, I’m preparing to take a stand at Printfest in Ulverston, Cumbria this weekend. I think there will be around fifty printmakers there, so it should be great fun meeting them and talking to the public about all things print.
Thanks again Aine.
Kind regards,
Sinclair