There are days when I just shouldn’t attempt to do any art work – this was supposed to be an embossed print from a collograph plate – it ended up like this! I’d stupidly used a different varnish on the plate instead of the usual button varnish and the paper just stuck completely to the plate. I will print out the photograph and add it to my book of failures which I started on the degree course a few years ago
The day was saved with a brilliant talk by Charles Shearer at lunch time
Showing the scale – it felt very protective and womb like
One of the artist’s drawing – very delicate and translucent
I don’t usually post about exhibitions on this blog but this one at Yorkshire Sculpture Park seemed to incorporate many of the concepts that I am working with in my own practice – scale, repetition, modular, and inspiration from everyday environments and objects (often humble and overlooked). Above all I really thought it was a fantastic exhibition and beautiful empowering work. Ursula von Rydingsvard is a New York artist who is virtually unknown in this country but well known in the States. Born in 1942, she has amassed an amazing body of work, most pieces in this exhibition created in the last 15 years. In spite of the massive scale of the sculptures that I normally associate with male artists such as David Nash, there is a strong feminine feeling to the work. I was gutted to miss her talk last week and hope I will be able to listen to it on the YSP website at some point. It was truly inspiring for me to see such a prolific exhibition of work by an older woman artist.
I have been making a very long book during the summer months so far it has 45 leaves/plates which I have joined using a long running stitch top and bottom with bookbinding thread. I might have to strengthen some of the leaves with an extra stitch every so often. I like the idea that they can be seperated very easily and made up into any number of leaves/plates rather than one long one I will present this book when I return to the MA next week for some feedback (my final year which feels rather daunting!). Each leaf/plate is approx 30 x 10 cms.
I find it hard to believe that I have now almost finished the second year of my MA. The assessment for the practice was last week and all that remains now is to write a 3000 word proposal for the final year.
Walking (often solitary) and collecting materials during the walk have remained central to my practice, working within the area between the intentional and incidental, edges that demand a mindful awareness and presence that embodies my experiences of the landscape.
I have been making collagraphs from materials collected on my coastal walks – seaweed gives marvellous abstract marks when pressed into the plaster base – these are a couple of the latest printed to the torn edges of the paper (Fabriano Rosapina) . The first one was only partially inked and I’ve made a sequence of these ending up with a print from a completely inked plate (the second image)
Coastal walk – partially inked plate with embossing
Coastal walk – collagraph sequence
I feel that this image captures the rhythm of the walk especially when 6 are displayed horizontally as a sequence.
Coastal walk – collagraph
In the third image, above, the print is made from 2 plates – one using some sand (printed first) and the other using a large seaweed strand – I am now experimenting with introducing some minimal colour. I have also experimented printing on dry paper but this has lost the rich texture of the image. The collagraphs are 62 x 22 cms. Some of the less successful prints will be torn into smaller prints, like the ones in my last post, and be displayed as ‘path fragments’. It has become rather obsessive!
It first came up in the group crit a few weeks ago – printing to the edges of the paper – now I can’t imagine any other way – it is so much easier – so I started ripping the paper to give it that lovely deckelled edge that sheets of uncut paper have – only it is never quite the same of course!
Today I decided to tear one of my smaller collagraph prints into 4 – I used this one
Heather collagraph 20cms square
the 5cms square pieces below seem to relate to the small etching plates of the same size – you can see these in this post HERE – I like the intimacy of these tiny prints and that you have to go up close to look at them.
I have also gone to the other extreme and made the largest collagraph plate that fits on the press – 116 x 84 cms – every stage of the process presented a new challenge – from soaking the paper to where to store the prints – at this point they are still in the print room at university and then they will have to live under the bed unless I decide to also tear thsse into smaller prints. I also found it quite exhausting to print such large images! I’m not very pleased with the results, they are disappointing, and I will have to think about whether to work on the plate further. I will take a photograph of it as soon as I can find a place to display it . I only have another few days to finish my print work before the end of term next week – then the print room is closed for the Easter break for 3 weeks – assessment is a week later!