Wednesday, 24 August 2011
This week we have been putting up the final show in college. There are two rooms, I'm in the smaller one. This is the second degree show I've set up, and let me just say, getting a number of frames evenly spaced and in a straight line requires a degree in itself.
My colleagues are displaying their work in a variety of ways including mounting prints onto aluminium, sticking prints to wooden boards, and pinning images directly to the wall. I've gone with frames for a couple reasons, my work is relatively small and I didn't want it to get lost on the wall. There are other obvious advantages like frames protect your work from sticky fingers and dust.
I've gone with a contemporary ash frame without mount board, so you can see the deckled edge. My work does not photograph well - so come and see it if you can!
Friday, 12 August 2011
I added black to the purple and started to see the results I was hoping for, but of course, once you start adding black to things you lose the brilliant colour that I wanted. I didn't have too much time to experiment with this before the workshops closed but its definitely something I would want to look into in the future. There is also the option of printing in black and using watercolour on the prints to add colour.
Before I went the way of mezzotints for the degree show I was thinking of doing a few really large linocut portraits. This is a multiplate print. I had been looking at the book "Chuck Close Prints: Process and Collaboration" which is divided into sections based on print technique. Close seems to be a very process driven artist, his subject matter hasn't really changed all that much over the years, and in this book in particular I noticed that he uses the same photographs for source material over and over again (e.g the photo of Alex Katz from which Close has produced numerous portraits).
Tuesday, 5 July 2011
Day 2 in the studio this week and I reworked some areas on my copper plate, then took another proof. I'm much happier with this version so I spent the rest of the day testing out different blacks (warmer/ cooler etc) and different papers. Last day of printing is less than a month away!
Tuesday, 17 May 2011
One of the great benefits of reduction linoprinting (where you use the same block for every coloured layer, cutting away progressively and printing on top of previous colours) is that you end up with no block at the end. I feel like its a great relief to destroy your block in the process of printing an image, it allows you to cut away without feeling too precious.
Thursday, 12 May 2011
Monday, 2 May 2011
Saturday, 23 April 2011
Wednesday, 13 April 2011
In what ways are artists working with both the concept and the reality of the crowd, and what does this mean for the plight of the individual?
Productivity in the print rooms ground to a halt in March as we were writing our main essays for the course. I have been looking at identity and the crowd but feeling a bit all over the place, its hard to know what research is relevant until you have the benefit of hindsight. This essay was a chance to collect and review ideas in depth as well as maybe gain some kind of order in my work, which I feel has been a little chaotic. I have been reading books such as After Identity by Jonathan Rutherford, and I am finding it very difficult to link the academic and the visual aspects of my research. I suppose this is the most basic problem faced by every visual communicator responding to a brief (even if they set the brief themselves, as is the case here).
Thursday, 7 April 2011
The Shadow Catchers exhibition at the V&A showed work from five artists who share similar mediums. In terms of variety of technique, this is similar to me saying "they are all painters" or "they make sculpture", each of the artists approached the medium in very different ways. Processes included in this exhibition were: Photogram, Chemigram, Digital C-Print, Dye Construction print, Gelatin Silver Print, and Luminogram. My interest was mainly in the photograms, which are made by placing an object next to light sensitive paper in the dark, and then briefly exposing both the paper and the object to the light. Where the object and the paper touch, either a full or partial shadow is recorded. I found the photograms especially interesting because they involved physical contact with the object; the shadow left behind is like a memory of what was there.
Garry Fabian Miller, 'Breathing in the Beech Wood, Homeland, Dartmoor, Twenty-four Days of Sunlight, May 2004', 2004
Dye destruction print
A print made using direct positive colour paper. This paper was originally introduced in 1963 for printing colour transparencies or negatives. It is coated with at least three layers of emulsion, each of which is sensitised to one of the three primary colours. Each layer also contains a dye related to that colour. During development of the image, any unexposed dyes are bleached out (hence 'dye destruction'). The remaining dyes form a full-colour image.