I’ve added another page to my Portfolio Pages here with examples of some Gel Prints. I’ve also been using the prints made this way as elements for collage. I’ve always liked collage, ever since I came across the work of Max Ernst and Kurt Schwitters in my teens, too many years ago.
Here’s a couple of slightly larger collage pieces (about 12″ x 9″ or 300 x 225 mm)
Finally here’s another one from some time ago, using prepared papers again, but this time by monoprinting on paper smaller than the plate, so taking the colour to the edges. I originally intended this to be overprinted with a drypoint, but I haven’t taken the plunge yet…
A bit late but I’m part of this show. If you can’t make that we’ll also be at the Black Swan Art Boot sale in Frome, Somerset on 8th July. That’s a great place to find a huge variety of work and Frome is worth a trip anyway.
Because I couldn’t stand at the press for quite a while (see the previous post for why), I also made some small collage pieces. These have no particular theme, they are just playing with the medium.
All are available in my Etsy shop here (£25.00 each, matted to fit a 10″ x 8″ frame – see the listing for full details):
This link to an Etsy search on ‘mixed media collage’ also brings up some other items including a number from my ‘Made to Music’ series (£15 for unmatted, £30 matted – see the listing for full details – and making me realise that I’ve worked this way on several occasions.
I have another series called ‘Around Avebury’, which has yet to be added to the Etsy shop. These are all in handmade oak frames. You can find these on my Portfolio Pages.
I’ve been unable to do any printing for quite a while because I have been plagued with problems with my foot, putting me on crutches since mid-November. I used my down time looking at a lot of pictures, but also thinking about subjects and themes. I’ve been interested in neolithic rock art for some time now and living near Avebury and Stonehenge it’s impossible to avoid standing stones. Scattered also across the landscape of Wessex are hundreds, if not thousands of barrows and burial mounds and of course the White Horses like Pewsey, Cherhill, Westbury etc in Wiltshire or Uffington in Oxfordshire. In addition we have the famous Cerne Abbas Giant, the Long Man of Wilmington and assorted other hill figures, many now lost completely.
It isn’t just Britain with these features. The stone alignments of Carnac in Brittany are well known, but there are a multitude of standing stone circles, alignments and dolmens across France and Ireland and much further afield.
Putting all this together made me wonder about the sort of landscape we might have seen in that era – and now if more had survived. Out of that has evolved the print series I’m putting together, which will take landscapes, more or less stylised and incorporate into them other figures, drawn from Celtic and Saxon myths or from cave paintings as well as the sort of abstract shapes found in rock art.
Technically these prints will incorporate collagraph and dry point plus perhaps solar etching and ultimately hand embellishments. I expect also to use monoprinting or hand painting as the ground on which the prints will be made. I’m also going to try and incorporate some of the techniques used by Australian artist, Kim Westcott (see http://www.kimwestcott.com although the site did not load properly for me) who resuses old plates in combination with new, mixing in shadow prints and rotation of the plates to create her drypoints.
I have no prints as yet, but here are some rough sketches and photos of some plates in preparation.
With luck I’ll have more over the next few weeks.
I’m not the only one finding inspiration in these themes. See the web pages for Irish artist Tommy Barr.
I recently realised that purely by chance I have in 2014 and 2015 made two series of tiny prints. In both cases they came about as a way to get back into making some work after illness. Looking back at the work produced it seems though, that they also have some merit in their own right, not just as occupational therapy. I’ve decided therefore to make a 2016 series.
The mainly ochre & blue print above is from 2014. It came about by chance. I used to clean up my palette after painting in acrylics by pressing a sheet of paper across it. I liked the effects so started using watercolour paper. Some years later, turning up these sheets I decided to cut them up into smaller squares with the idea of rearranging them squares into a mosaic collage. However my cutting up wasn’t very precise so that didn’t work and I was left with lots of poorly cut squares. About then I was taking a stand at an Art Boot Sale and wanted to boost my stock with some affordable items and decided to use these pieces. I ordered some 6″ x 6″ mounts with a square aperture about 2″ x 2″ (from Cotswold Mounts – highly recommended) and quickly created about 30 tiny prints. These proved very successful on the day and I sold almost half of those I had taken with me.
As an aside, when writing this post, I realised that another influence had been sitting in front of me for a few years. This is a tiny painting I acquired from artist Leslie Avon Miller back in 2009.
Moving on to 2015, I acquired a set of samples of mountboard, which I had no use for, since it is very rare that I use a mount colour other than an off-white. Taking inspiration from the images below, I used these small squares of card to create collagraph plates.
The prints above were an experiment in capturing some of the feel of the painter’s brush stroke in a print. I only made four, (I really should get back to them sometime) but with them in mind about 30 small square plates. I made some monochrome proofs on a single sheet, then set about printing. I used the plates singly and in combination, although I soon found that more than two plates usually created a mess.
You can see all the prints in the two series currently in my Etsy shop here:
Tiny 2014 series
Tiny 2015 series
At the time of writing, there are still more to add in both series.
So, what about 2016? I haven’t finally decided yet, but have two options I’m considering. Option one (provisional title Geometries) is a set of small plates I’ve made (about A7 in size) to be printed on Khadi paper. Option two (provisional title Serendipity) will take a different approach and will involve printing on business card size sheets, also from khadi, but using plates larger than the paper so printing right to the edge. I’m leaning to the latter since I am thinking of these series of tiny prints as a way to experiment rather than just to produce inexpensive pieces.
I have already posted the ‘basic’ version of this, (here) which is available in an edition of five. This is a one-off experiment in printing over prepared paper, in this case washes of acrylic paint plus some acrylic ink. I suppose this makes it a monotype – or perhaps it is mixed media?